Beyond The Open Position Piano Chord
Those of you who have been reading my articles for some time know that I’m a big fan of the open position chord. This is where both hands play a chord together. It’s a great technique that allows beginners (and pros) sound good at the piano right away. But, it’s just one method or way to approach chord piano playing.
Another method I use is something called the crossover technique or arpeggio. Here the left hand plays a cascade of notes ascending or descending (usually ascending) while the right hand plays melody. This technique is especially suited for New Age piano playing because we can get a gentle flow of notes in the left hand. In fact, you can use over 2 octaves just in the left hand. This covers a lot of musical space so to speak and creates a lovely backdrop over which melodies may be composed or improvised.
For example, in the upcoming lesson, Winter Sky, we have a 16-bar phrase in the Key of B flat. The chords are all charted out for you and you can hear me playing the left-hand crossover pattern. This pattern uses much of the left hand right away. The right-hand plays octave melody notes and the whole piece is finished in a few minutes.
Usually, when we use the open position chord, we skip the third in the left hand. In this lesson, we use the third to create a denser sound. And it works out well! You see, when you block out or chart the chords using the crossover technique, you create a harmonic background, a canvas of sound over which you paint in your foreground using melody instead of paint! A unique, but very helpful way of seeing how an improvisation or composition can be structured!
Edward Weiss is a pianist/composer and webmaster of Quiescence Music’s online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at http://www.quiescencemusic.com/pianolessons.html for a FREE piano lesson!
Some Awesome Music To Listen To
People can now find more and more ways to find great music to listen to, and the options for how they can listen to that music are growing. The Internet is teeming with great music, which is the same stuff that is available in your local music store. Before the Internet, you had to purchase your favorite music from a music store, and quite often, you had to buy the whole album. After a few years, singles were released, but there was no guarantee that you can get the single you are after.
Nowadays, you are able to download music to listen to on a variety of different sites. You can choose the exact song you want without purchasing the entire album, but you still have to pay for it. You can choose a random variety of songs and download them to your computer. Then you simply have to burn the songs to a CD or download them into your MP3 player. Modern technology has given us more ways to get great music to listen to.
You can also store your music right in your computer. If you are craving for some music to listen to, you can listen to them through one of the many music players on your computer. You can use Windows Media Player, Real Player, or QuickTime. On the recent computer models, you dont even need any kind of media player, you simply pop in the CD and a control panel will pop up.
If you own an older computer model, it is advisable that you listen to music when you are not doing anything else on your computer. When you open your media player, and choose your music to listen to, everything else on your old computer will drag. This may also cause your music to skip and stutter. This normally doesnt occur with newer computers. If your music is skipping, or your computer is lagging, it usually means that you are doing too much at once.
Dont forget that the music store is still an option when you are choosing music to listen to. It can be very easy to get your music online, but it can be also fun to buy an album. You may be interested on a single song from an album, but you havent heard the rest. You may find that there are many songs on that CD that you will also like. There is just something special about the experience of browsing through a music store and finding something amazing.
Morgan Hamilton offers expert advice and great tips regarding all aspects concerning Music To Listen To. Visit our site for more helpful information about Music To Listen To and other similar topics.
How To Buy A Classical Guitar Tips And Hints To Help You Make A Good Purchase
Purchasing a classical guitar can be a difficult task particularly if you are not yet an accomplished player. Here are some tips and hints on finding a good quality classical guitar whether it is in the hundred dollar range or the thousand dollar range.
If you are have ever gone into a well stocked guitar shop you have no doubt been confused by the selection of guitars. There are literally hundreds of shapes, sizes brands and types of guitars. And the price can range from a hundred dollars to several thousand. .If you are a beginner, judging the sound quality can be difficult to do because your ear is not yet highly trained. Here are some tips to help you make a good choice.
When in a guitar shop and looking at the guitars you should always ask a sales person to help you. This way you can take guitars down and play them. If you cannot play very well you should ask the sales clerk to play for you so you can get a feel for the sound of the different guitars. If the sales clerk doesnt play you should ask if there is someone working in the shop that does play. As a last resort you should even ask other customers in the store. Not listening to the different guitars is like shopping for a car but never test driving any of them. Guitars have very different feels and tones and you should listen to a lot of them to get a sense of what you like. Dont be bashful in this respect. Guitarists are usually a very gregarious bunch and a guitarist will almost always jump at the chance to play for someone else. If you dont yet play well and you cant find somebody to play for you I recommend you not purchase a guitar. You should come back another time when someone is available to play or you can bring a friend who knows how to play.
Check the size and shape of the guitar
Classical Guitars, of course, come in different sizes and shapes and you should sit with a wide variety of them to get a feeling for what is comfortable to you. Your body shape has an effect on this. If you are over six feet tall the smaller guitars might not be comfortable for you and the fret board may be uncomfortable for your hands. So even if you cant play music you should always hold and sit with the guitars to get a sense of how the different ones feel.
Check the mechanics and playability of the guitar
Here are several things you should do when considering the purchase of a classical guitar.
1. Play every note on every string all the way up and down. Listen for frets that dont play properly. They will give a rattling sound and if this occurs on any fret at all you should put the guitar aside and try another one. This is a sign of inferior quality. Every string should play cleanly on every single fret.
2. Check the action of the strings against the frets in terms of how much pressure is needed to play notes and chords. You should play bar chords all the way down the frets to insure good pressure. If it is too hard to press the strings in order to make a clear chord this could be a sign of an inferior guitar.
3. Play harmonics on the strings. This is an excellent test of the quality of the guitar. Playing harmonics is the technique of plucking the note with your right hand and only lightly touching the string with your left hand. Test the harmonics of all the strings on the 5th, 7th, 12th and 19th frets. If you do not know how to play harmonic notes ask the sales clerk to help you.
4. Examine and test the tuning pegs. Do they look clean and sharp? Wind and unwind them while watching and feeling for smooth turning motion.
5. Visually examine the whole guitar. Look it over very carefully from front to back and top to bottom. Are there any small cracks? Are the frets firmly installed into the fret board? Are there any cracks or glue exposed around the bridge?
6. Tap on the front of the guitar (The sound board) in a variety of different spots. Does it have a rich echoing sound or are there spots where it sounds dead and limp? The internal structure of the classical guitar is very important for the sound and important for the longevity of it. Dull thud sounds could be an indicator of an inferior instrument.
7. Examine the details. Look at the purfling around the edge. This is the decorated pattern that goes around the full body where the soundboard or face meets the sides of the guitar. Is it accurately laid in? If this has variations and inconsistencies it is a good sign that the guitar is of inferior quality.
8. Dont hesitate to take a good look inside the guitar sound hole. You will see wooden braces in there. Do they look straight, accurate and well placed? If you see sloppy globs of dried glue around these braces it could be an indicator of inferior craftsmanship.
9. Remember that there are three distinct areas you must consider when purchasing a classical guitar: The Look, The Feel, and the Sound. If you keep all three of these things in mind and carefully examine the guitar in relation to these you will be able to choose an instrument that will bring you a lifetime of trouble free playing enjoyment.
A Classical Guitar is a purchase that can give you a lifetime of enjoyment and you should consider the purchase carefully. Even if you dont plan on playing every day you should buy an instrument that is of good quality so it will maintain its sound quality for a lifetime. And to do this you dont need to spend thousands of dollars you just need to know how to identify a well made guitar.
Will Kalif is the author of two self-published epic fantasy novels. You can download free samples of his work at his personal website:
Storm The Castle - Creativity and Fantasy with an edge
Or you can visit his site devoted to classical guitar at:
The Classical Guitarist
Simple ABA Form Creating Your Own Piano Compositions!
Form to give shape to something. Yes, form is about giving music shape. Odd as this sounds (because we can’t see music) there can be a definable shape to our creations. One of the more frequently used forms is called ABA.
This means we play a section of music 1 or 2 times, we play another (B) and then we return to our first section. Seems simple enough right? Yet many students have trouble creating their own piano compositions using this simple form. Most likely, this has to do with thinking too much.
Many students over think things and make their job of music creation that much harder. It doesn’t have to be that way. Not if you think in phrases! For example, take the lesson Rainforest Revisited.
Here we return to Lesson 3: Rainforest which is basically an extended improvisation. In Rainforest Revisited, you’re shown how to add another section of music - a contrasting (B) section to create a new piece of music in ABA form.
Now most of you have no trouble when it comes to improvising and just playing the piano. Your music flows out of you and this is how it should be. The problem comes when students try and think about what comes next. Wrong approach! Don’t think! Continue your next section the same way - by using your intuition.
Here’s how I came up with the (B) section for Rainforest Revisited. I simply sat down at the piano, played the original Rainforest piece and allowed my intuition to guide me to the next section. I didn’t ask what should come next? No. I felt my way through. I knew the (B) section would be 8-bars or so long and just came up with something contrasting to the original Rainforest. I now had a (B) section and could turn the entire thing into an ABA form piece of music!
Edward Weiss is a pianist/composer and webmaster of Quiescence Music’s online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at http://www.quiescencemusic.com/pianolessons.html for a FREE piano lesson!
The Twelve Faces Of The Happy Hour
Cheeky chappies in crew cuts and tank tops have never stunned the music audiences. What did we have before? Haircut 100 in their slightly cheesy, too clean approach probably came close around the early eighties but it wasnt until the Northern talents descended on us in the shape of The Housemartins that many sat up and took note. These people, who have now settled into their roller skates are gliding cheerfully towards middle age and are now perhaps, bashful at still owning London 0 Hull 4.
This debut album still smells distinctly of those early local working mans club days. Paving the way, although modestly for Paul Heatons re emerge in 1988 as the front man of The Beautiful South. This album is, however, lacking in no connection whatsoever for the future successful career of DJ Norman Cook.
Taking on board the political stance of The Style Council, The Housemartins slotted into the genre of mod pop out spoken - ness with great ease. These four young lads were the innovators of Brit Pop and marked a turning point in the way British bands were represented. This hadnt been achieved with such esteem since the invasion of Mersey Beat in the early sixties.
Proud of their Northern roots, they claimed themselves as the forth best band to come from Hull, hence the title of their album; London 0 Hull 4. The only other band, perhaps known to us drippy Southerners from Hull was Everything But The Girl. Worming its proud way to number three in the album chart in June 1986, it sat through the summer in the top ten and on our record decks and had proved to be a shift in genre in the music scene of that time. Where other opinionated bands of the mid eighties swung graciously towards New Romanticism, The Housemartins chose to bring their Northern brashness south rather than be allowed to be coated in Londons finest commercialistic gloss.
These lads, namely, Paul Heaton, Norman Cook, Stan Cullimore and Hugh Whitaker spread their mod like poses across the back cover of their album, tinged in a green hue. Like spotty, giggling youths let out on a Friday night, they appear, visually immature and mouthy. Perhaps more being at home with an Airfix kit in their hands was more their style than making a good record. We are, then, pleasantly surprised at their tight harmonies, clever production and talented song writing capabilities marked in this album.
With feet firmly fixed together, we happily shake our knees this way and that to this first, catchy personified track which has been since set in stone as a theme from the decade other genres forgot. Happy Hour, for those who dont know, should speak for itself. Its jangly guitars and racy drums create a smoke filled, Northern high street pub scene on a Saturday night are coolly dissolved by Heatons soulful, and almost angelic voice. A fast, jumpy record that was released as a single in May 1986 and also made it to number three. A feat that very few new bands achieved in those days. Still, in the same vein, we are introduced to Get Up Off Our Knees, which it predominant in its piano theme. Still the same strong lead is taken by Heaton whilst the other three provide harmonised cries. A stronger political thread appears from now on. It is a immense indication of the real spirit that was the band. It is obvious to see how the shallow mindedness of Happy Hour became such a great hit. It was a song with a narrow subject which didnt need an audience to think about it.
The sullen, sobering Flag Day, perhaps sounds more of a strong musical number to end a mediocre student written play. The Housemartins do show us how they had learnt, so far, to use their own voices as the backbone of a track. Obviously a performance such as this appealed to them, hence the future single cover Caravan Of Love. A definite resemblance to this single can be heard in Flag Day. It was released as a single in February 1987, but failed to make any impression.
Reflecting back to the new wave sound of the late seventies, this eighties band complete the first set of tracks here with a modish, jumpy number with fast lyrics and a chorus of all four flitting from the bottom of one octave to the top. Anxious, is certainly a descriptive word that could be used for describing this track. It still holds the same catchiness as Happy Hour, but somehow appears to be a better fusion of both voices and music that previously heard. However, on a flattening note, Reverends Revenge, is a short piece that can only be described as a reflection of Happy Hour, and also completely instrumental. It is a cute interlude within this album, although it will not stimulate any sense of the listener. Again,. The audience will be a touch disappointed with Sitting On A Fence, as it also clings onto the theme of Happy Hour, a little too close, structurally.
Utilising their firmly established juddering timing of short bursts of guitar notes and soothing vocals, we embrace this album now like an old school friend. It may be seen as repetitive in each track, yet each song seems to offer something different from the next. Sheep, may be an unimaginative title yet this track is still holding a joyful theme. A touch of guitar solo featured in this track offers the listener another talent of this band it its primitive stages. Short in its length, we find these tracks inoffensive and delightful. In the same vein again, Over There feels like, as most of these songs, another extension of Happy Hour. For those who adored the uniqueness of this particular track, will be delighted with this track. For the others who wish to strive for unfamiliar territory, please look elsewhere.
Think For A Minute, is a slower paced song that builds a sturdy base for Heatons light, echoed vocal. A touch of the dreamy, mysterious side can be felt through the motion of this song. This track was the second best single release for the band. Sitting fairly pretty at number eighteen in September 1986, it appears to us now, that at the time, this band couldnt wait to get the album, with its singles, over and done with as quickly as possible. This particular track is the most thoughtful of the album. It shows us the slightly serious side of the band and perhaps is the best feature when expressing the future impressions offered through Heatons, The Beautiful South.
It isnt long before we are subjected to the light air in Were Not Deep, which is yet another branch off Happy Hour. Filled with arrhs and shuddering bab bab bas, for its chorus. We are transfixed by the abruptness of this tracks and their strong drift towards that depressing unemployed feeling. Perhaps we should feel lifted somewhat with Lean On Me, and its gospel like piano ridden anthem. It is a stage set for the thoughtful, deep filled apple pie lyrics. Heaton takes his position here to stand alone and give the track his tonsil threatening best performance. Bluesy tinkles of the piano send this rolling song into heights not yet experienced by the common or garden Housemartin listener. It shows us another side of this band who kept on giving us their unique brand of song pen ship.
Freedom, jumps into a chanting anthem with just a hint of Happy Hours. Thumping and jolly, the mood has been lifted back into pint spilling mode and this makes us glad to have bought the album, although listening to it now, it appears, like all the best past albums, dated and a touch dusty. We are surprised to hear a rumbling, slightly heavy guitar which, naturally doesnt fit with their Dads chunky cardigans.
Since the making of this album, we perhaps, in hindsight, didnt need to be exposed anymore to the Happy Hour variations that this album brought to us. Yet, we still scanned the record shop shelves for the next instalment which was to come in the form of The People Who Grinned Themselves To Death, in September 1987, which gave us the political edge we had been looking for. Knowing that there was more to the lives of The Housemartins, we felt strained, experimentally with London 0 Hull 4. It was certainly the safety net that the band had wanted as a first album; use the best track and use it to death is an many ways possible. This was what happened here, but it is with the better albums and The Beautiful South , with all its working class glory and socialist issues, to come, along with the mixings of Norman Fatboy Slim Cook, that makes us appreciate this album a lot better now, that when it was first with us.
The band split in 1988.
Paul Heaton - Vocals
Stan Cullimore - Guitar and vocals
Hugh Whitaker - Drums and vocals
Norman Cook - Bass and vocals.
Produced by John Williams
Go! Discs. 1986.
Bought on vinyl at a record fair, Sussex, two pounds.
Available of CD in all record shops for around the five pound mark.
Michelle Duffy (sam1942 on dooyoo & Ciao) 2006
Michelle is a freelance writer in the South of England and owner of the websites, http://www.generationsounds.co.uk, http://nevermindthebloggers.bravehost.com and their successful sister, Never Mind The Bloggers at http://paperback-writer29.tripod.com. She has been writing over the last year, for five major consumer websites across the world and is one of the only two music category advisors for one website in the U.K. Her websites promote young, amateur and professional bands/artists and their fan clubs whilst also reviewing them for local and world wide promotion. She has also recently launched the blogs; ‘The Ramblings Of An Old Rocker,’ ‘Bohemian Waffle,’ The Rhythm Rock And Blues Machine and The Mopeds Musings and Generation Sound Suite. She is currently working on two shops selling her music styled artwork and now sells on Ebay.
Now You Can Download Your Own Personalized Music Collection Over The Internet
First came the computer which allowed people, mostly computer geeks, to assimilate large amounts of information and crunch numbers in a fraction of the time that it used to in the past. Then came the internet which allowed people to communicate almost any topic instantaneously. Finally, the digital age arrived with computers, cell phones and PDAs (personal data assistants). Along with all the digital wonders emerged the MP3, a digital recording device used primarily for recording music.
Once the MP3s had established their popularity, the musical download services came into being. Some of these offered free downloads which touched off numerous legal battles pitting the music industry and recording artists on the one hand against the music download services and music recording public on the other. As you would expect the fight was over money. The music industry and artists were claiming they were losing money in the form of residuals. After much wrangling, a settlement was reached between the two sides. Now all one has to do is pay a small fee and you can download to your hearts content.
The offerings for downloading are as numerous and varied as there are individuals. All forms of music are available such as Classical, Country and Western, Jazz, R&B, and Rock. One only has to download their favorite song or music and then they can take it with them on their portable MP3 digital music player. Being digital, the MP3 player has the advantage of being smaller, lighter in weight and is able to record more musical tracks on the storage medium. In essence, the listener becomes his or her own DJ. You can not only pick the artist you like but also your favorite songs by that artist as well. Or you can customize your music to your own tastes and mix and match similar types of music from various artists. The possibilities are endless.
Predictably, with the success of the digital MP3 players has come a whole new diverse set of downloadable products and support gear. Now with the new hardware and software one is able to not only download to their computer but also burn their music onto CDs. Now you have the capability of making your own permanent music collection for your CD player. Being connected to the internet gives anyone instant access to millions of titles and artists from around the world.
This revolution in entertainment isnt limited to music. There are now downloads to your computer of things such as free public domain sheet music, movies, cartoons, TV shows, documentaries, and even movie trailers of coming attractions. Many of these downloadable audio-visual programs will be able to be enjoyed by your own cell phone in the near future. Some companies are trying to create the ultimate in portable communication/entertainment devices. The cell of the future will be a phone capable of seeing the person you are speaking with, MP3, PDA, and theater. The future is now.
Interested in this subject? Try this link for more of the same.
Albert was born in New Orleans, La. At the age of 22 he attended LSU where he attained his doctors degree. He then joined the U.S. Navy as a staff officer and was able to see much of the world. It was during his stint with the navy that he discovered his passion for travel. Upon retirement, he decided to settle down in the Orient and enjoy life and all the wonders that the Orient had to offer. He remains there still and indulges himself in his primary hobby: travel.
(Don’t) Play By The Rules
I was walking on campus today back from our weekly gig at the University of Texas’ South Mall, when I heard a member of the Young Conservatives of Texas speak. March 2nd is Texas Independence Day and so this fellow was preaching that if you work hard and play by the rules you too can lead a good life.
Maybe it’s the skeptic in me, but it made me think, What a bunch of crock! Most people, including most musicians, work hard and play by the rules, but did you know that Americans carry, on average, $5,800 in credit card debt from month to month. Well I ask you, what kind of life is that when a huge majority of country is in unprofitable debt?
But I’ve been reading books like Rich Dad, Poor Dad recently, in an attempt to learn music business and finance skills from people who make millions. Do they follow the rules? Yes…sorta.
The questions that came to me as I walked by the Young Conservatives were, Who makes the rules? and Are we following the Right rules?
That’s really the key that many successful business people learn. It’s not a matter of are you following the rules. It’s are you following the Right rules?
You see, our community is filled with rules on what you can’t do, but there are also tons of rules that say what you can do, but most people don’t know what they are.
Taxes are a great example. The average musician might not deduct things like car travel to and from gigs, or the cost of their picks, because they may not know that they can.
The same goes with promotion. Just because you’re on MP3.com and get a dozen emails from other musicians in a form letter saying, play my song, does not mean that you should put together your own form letter and spam thousands of musicians.
Or just because most musicians do their best to attract the attention of a Major label A&R or even the President, does not mean you shouldn’t schmooze with the secretary.
The point is know the rules, but then look beyond them. The rules are a guide. They are not etched in stone. Break the rules. Do what others are NOT doing and you will do a better of job standing out in the crowd.
Bard Marc Gunn of the Brobdingnagian Bards has helped 1000’s of musicians make money with their musical groups through the Bards Crier Music Marketing and Promotion Ezine and the Texas Musicians’ Texas Music Biz Tips. Now you can get personal advice by visiting http://www.bardscrier.com for FREE how-to music marketing assistance.
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The Men In Black Of The Music Industry
A&R stands for Artists and Repertoire. These individuals are responsible for selecting the musicians and artists that get signed to various labels and record companies. A&R may also act as ‘talent scouts’ and scan musical venues or unsigned artist haunts such as live performances and clubs, as well as listening to the demo’s which arrive at record labels’ doorsteps.
The phrase A&R was initially coined by label representatives who would look for ‘Artists’ and their ‘Repertoire’ or music. They are also responsible for developing and steering an artist’s career within the walls of the industry after an artist has signed a record deal. They may even find the right type of songs for artists to perform, helping them to find the right producers, studios or engineers to work with.
Most A&R reps need special types of skills to make it to their position. These might include a good prior understanding of the in’s and out’s of how record labels and music companies work in general, and although not compulsory, a professional certificate or degree in the Advertising, Marketing, or a Promotional field is of value to an A&R Reps CV.
A&R personnel are really under pressure to find star talent and big ‘hits’ for the record industry. This is the bottom line. In order to make this possible it is quite certain they will have to keep a sharp eye on current music trends at all times, and find out what the current popular sound or act is. Latest trends with Reps have been to acknowledge artist’s that are already whipping up some steam with their music in their own right. If an artist is creating a whirlwind of popularity, and selling a few thousand CD’s independently, it is much more likely the A&R of a suitable label will find out and tune in to their relative success and offer them a deal. The logic behind this is, the artist has already developed a public image and proven themselves enough musically to attract fans in their own right. With that kind of proof so visible, the A&R don’t have to work too hard to ripen the seed!
The advantage to A&R reps is they don’t have to worry too much about talent development in so much as promoting the great talent they have already found. Of course this means that the less popular you are in the music world, the less likely the A&R are going to choose you as the next big thing. There have been many cases where a specific style/act has been picked out of obscurity and been shown the red carpet, but recently, many independent artists are trying even harder to promote themselves, cutting out the middlemen and pocketing their own profits. The ideology being ‘I’ll just do it myself and if I ever happen to get the real deal then that’s just a bonus’.
In a lot of cases normal every day musicians have the ability to promote themselves to a large extent without the backup of A&R or record label finance. With the advent of so much internet interaction between unsigned bands, the booming rate of home based music production, and the amount of promotional support by so many music related websites, the possibility of making a decent little musical profit off your own back is now more possible than ever before.
What are A&R representatives looking for? Well apart from being interested in your musical talent, there are many obvious things an A&R rep will consider before evening bothering to hand you a contract! They will quite possibly be very interested in what’s going on in your personal life, your past history and your reliability. Their job will be on the line if they convince the record company to invest a lot of money in your act and for whatever reason you end up letting them down. Anything from what is happening in your private relationships ie: girlfriend/boyfriend, family, do you have any problems with them? They want to know how reliable you are and if you are suitably willing and capable of standing in the spotlight.
You didn’t think they would give you a deckchair, a Pina Colada and fill up your Bank Account did you?
Any artist they would seriously give consideration too should be prepared for a high level of commitment and hard work in a cut-throat and often cruel business.
You won’t necessarily be able to spot an A&R representative down the pub, even though you could be standing right next to one at your local. These fellas will have good social skills as well as the clever ability to negotiate with performers. Good communication and an eye for spotting quality artists and talent is high in their agenda. So perhaps it pays to do your very best when performing live or circulating your music.
You never know when the Big Brothers of the Music world are watching you!
Carla is a musician and freelance writer with over ten years experience in the music industry. She currently manages independent music label Melodrift Productions, and is the Editorial Assistant for News site http://www.indienewslive.com For detailed information on Carla’s career please visit http://www.carla-acheson.co.uk
Rueda In New Zealand
Origin:
Rueda de Casino originated in Havana, Cuba in the 60s. Rueda is a particular style of Salsa where dancers form a circle and dance in pairs (leaders and followers). All dancers perform the same moves as they are called by the caller and dancers swap partners quite a few times during one dance.
Music:
Rueda’s music is exactly the same as Salsa music, as it is just a variation for the dance and not the music. The music is played in 4/4 with beats 4 and 8 representing a pause and the other beats representing steps. Claves, Congo or the tin drum are often used to mark the main beats of the music.
Dance:
Rueda is a particular style of Salsa where dancers form a circle and dance in pairs (leaders and followers). All dancers then perform the same moves when the moves are called by one person in the circle. Most of the moves involve dancers changing partners and so, dancers find themselves moving around the circle during a dance. A lot of the moves have hand signals to represent them, which is particularly useful when dancers are dancing in a big circle or in a noisy environment when it is not particularly easy to hear the caller. Most Rueda moves are common to partner dancing in Salsa, whereas some are specific only to the group variation of the dance.
Latinos NZ Popularity Scale: 7/10
Rueda is quite popular in New Zealand and is quickly gaining popularity with more dancers getting used to the dance. On an average night out in a Latin Club in New Zealand, you will often see Rueders get together for a few Ruedas.
Why dance with just one, when you can dance with them all?!
Article taken from Latinos.co.nz (http://www.latinos.co.nz)
Do You Like Madonna’s Music
Madonna’s music: I could care less about it. Madonna’s stage and video acts: Nope! I do not like her music, although she is a talented singer and dancer. I loved her in Evita. But her popular stuff, I would never spend a dime on it.
Notice I don’t say it’s trash and YOU should not waste your money on it. I cannot say it because the reality is enough people like it to have made the woman a Gazillionaire many times over. For me to say it’s a waste of money, or I want to prevent others from throwing their money away would not just be ridiculous but I would make myself look stupid. That I do not like Madonna’s music does not constitute proof for my belief it is bad music and the consequent claim her music is a waste of your money. To come out publicly and say something like,
Don’t waste your money.
What worthless amateurish drivel.
There is absolutely nothing worthwhile in her music.
and not offer proof for your claim is not just ridiculously silly but grossly irresponsible. It is not a well thought-out, and well-structured argument. It is, if you think about it, hurtful to the person you claim to be criticizing.
I happen to have been a music major at the University of Kansas. I also had enough hours to take a minor in music theory and composition. I have, therefore, a unique perspective in making a judgment call, evaluation, or review on the musicality of Madonna’s music. If I wanted to review Madonna’s music, I would do so as a musician. I would have the background and skills to make an informed, rational, and critical review. I would not be reviewing her music based on my personal tastes. That would be unfair. I would do so with insight and would say things related to the musicality of her music.
I would not say, Don’t waste your money on her music because I didn’t care for it.
That would not be a review.
I do not even know what to call it: screed?
And besides, it is unfair to the artist and maybe even unethical. Just because YOU spent money on a CD or a concert ticket and were disappointedit did not appeal to YOUR tastesdoes not give you license to trash it. Others who have a higher degree of musical training than you may see the situation differently. They may contradict you with an insightful review.
I guess some people do not care when they are made to look silly.
Much of the American public does not know how to give an insightful review of a book, concert, singer, opera, or whatever. They make their judgments based on whether or not it appealed to them and not whether it met the objective standards of its genre.
Your tastes are not the objective criteria by which to judge anything done by someone else. At best, all you can say to someone is, I didn’t like it, but I may be wrong.
Many also review a play, concert, book, or movie based on what they thought it should be and not for what it was. They review a travelogue as though it was a piece of fiction and that is wrong. They complain over something that they believed (subjectivism) should have been in the book as though the author was supposed to know this to prevent their nasty disappointment and subsequent vicious screed.
And here is the kicker: They will trash something without a modicum of insight in the face of wonderful reviewers who bothered to do their homework and offer insightful reviews.
Lack of Insight Reviewer: There was absolutely nothing worthwhile in thisdo not waste you money.
Insightful Reviewer: This work has the ring of authenticity and one of the best I’ve seen on the market today.
So, who’s right?
Some will say that the fact they spent THEIR money on the work entitles them to trash it.
Ahhhhthe joys of I am an Entitled American!
Well, I still wouldn’t pay a dime for a Madonna’s concert, CD, or video.
But, I could be wrong.
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