Archive for September, 2009

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So You Wanna Learn to Play Guitar (pt.XX)

Thursday, September 24th, 2009

Kirk Hammett

Here is the latest entry from our excellent San Diego guitar teacher Jason M

So how do you play a Washburn acoustic?  One of the least asked questions I get is that of knowing your tone.  I don't play a Washburn acoustic but I think that it's important to note the tonal qualities of the guitar you own.  The sound that comes out of your axe will shape and define your unique voice to the point that it will eventually become "you". 

I use an ESP KH2 "Skully" Kirk Hammett signature model guitar with dual EMG 81 pickups.  It has 24 frets, an original floyd rose locking tremelo set up with a Jackson reverse dinky headstock and a body that looks like an MII Deluxe.  The neck is a little bit wider than your average electric guitar and has an almost "classical" feel to it when you grip it.  Rather than an old "file down the fret" cliche that allows for optimal shredding, my guitar has jumbo "rounded" frets which if pressed down hard enough can actually make a string bending sound.  The floating bridge takes some getting used to and if you haven't used one before you can actually make the guitar sound out of tune by leaning on it too hard with your right hand palm mute.  It has a 3 way switch which unlike a strat and more like a Les Paul you can "cut" the sound immediatly and make a really nice Morello sounding percussive "on off" sound. 

I also use a Line 6 upgraded AXSYS212 ampliphier with a floorboard that carries both a volume and a wah pedal.  The Line 6 was the first digital amp to master the art of "tube tone" back in the mid-nineties.  I don't think I've ever thought of it as a solid-state amp to be honest.  With 32 presets and 32 user presets with 4 channels each, the options are pretty infinite.  This model can not only replicate the greatest artists of all time but holds

Jason M

countless configurations of individual amp models/effect pedals/cabinet sizes/ and even offers a "noise gate" that you can open or close at will. 

Now that's not my only rig.  I also play a Zakk Wylde custom Epiphone "Les Paul" with 22 frets that I've tricked out with his custom ".60" string set up.  Getting used to a set of strings of that caliber requires a huge change in the amount of hand strength that you need.  It's also got a set of dual EMG pickups and the ability to "cut" the sound out immediately when you toggle between the rhythm and treble pickups (having one volume all the way down of course) like the KH2.

I play that one through a Scott Ian signature Randall ampliphier that has an EQ option of being able to shave your eyebrows off under the right amount of pressure.  It's got a much more pure clean tone than the Line 6 and ultimately I think the distortion channel is superior as well, but it lacks in the pedal effect options.  I like this amp because it has an L and R input in the back that I can hook my CD player or digital studio into and use as a monitor while I'm training. 

As the amp and the guitar make up your unique sound I have a digital studio that completly changes all that.  I record with a Boss BR-532 digital 4-track that has it's own effects that just don't match up to the tones that I can get live.  So technically I have a "recorded" voice and "live" voice.  There are a lot of subtle things that you have to pay attention to in the studio like thinking about "loop effects" and pre-post effects that you can alter during a mastering. 

I bring these things up because as you continue playing you may start to realize that you can't sound like Dragonforce on an acoustic.  Black Sabbath unplugged only works for "Planet Caravan"… and maybe some of their Dio stuff.  If you want to develop your own tone I believe it's important to understand how to control those factors. 

Breakdown your own rig and let me know if you have any questions that might help create your ideal sound.

Until next time, enjoy your tone!

Jason M

Jason M

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Instrument-Switching: A Good Idea?

Wednesday, September 23rd, 2009

Here is an interesting article that we found featured on September 17, 2009 on the Oxford University Press Blog about whether it is good or bad that your child is a music instrument switcher:


Amy Nathan is an award-winning author of books for young people including The Young Musician’s Survival Guide: Tips From Teens and Pros, out now in a new expanded second edition. A Harvard graduate with master’s degrees from the Harvard Graduate School of Education and Columbia’s Teacher’s College, she is an ever-struggling piano student and the mother of two musical sons: one a composer and trumpeter, and the other a saxophone-playing government major.

Which six of the following professional musicians were instrument-switchers as kids (answers at the end of the post)? Instrument-switchers start learning to play one kind of instrument that either they (or their parents) thought would be great for them — only to discover later that there is another instrument that they love a whole lot more. And so they switch.

( ) Joshua Bell, violinist

Andre Watts

( ) André Watts, pianist


( ) Paula Robison, flutist


( ) James Galway, flutist


( ) Ann Hobson Pilot, harpist


( ) Cynthia Phelps, violist


( ) Carter Brey, cellist


( ) Sherry Sylar, oboist

At this back-to-school time of year when kids are returning to music lessons, many parents have a nagging worry that their kids will turn out to be instrument-switchers. What if they don’t stick with the instrument the parents just shelled out a lot of money for? What about all the money spent on lessons? Will that be wasted? If they switch, how will they ever catch up with kids who didn’t switch?

Judging by the high level of musicianship of the pros in this quiz —

Music for Children

switchers and non-switchers alike — switching isn’t the disaster that some parents fear it will be. However, the prevalence of instrument-switching does mean that it’s unwise to rush out and buy an expensive instrument for kids until they’ve spent a year or so learning to play it and are sure they really like it. If a family doesn’t already own an instrument a child can learn on, start by renting — or borrowing.

Making up lost time on the new instrument didn’t pose a serious problem for the switchers in the list above. Many had been reluctant practicers with their first instrument. But when they switched, practice time became less of a chore, turning instead into something they actually wanted to do — well, at least much of the time. After all, the new instrument was one that they chose for themselves, one whose sound spoke to them, one they really wanted to play. They were willing to put in regular practice time in order to master it. As for all those lessons with the first instrument — they weren’t a waste, but provided an introduction to music that carried over to the new choice.

“Switching is okay, but don’t switch too soon,” warns Daniel Katzen, who plays French horn with the Boston Symphony. He started on piano at age six, tried cello for a while at age nine, and then two years later finally found the instrument that was right for him, French horn. As he explains in The Young Musician’s Survival Guide, “You can’t tell about an instrument in just a few months. Other instruments always look cool. But after you start playing, you find that no instrument is really easy if you want to play it well.”

Instrument-switching may actually be something a parent could encourage a youngster to think about if the child loves music but never wants to practice. Of course, a lack of interest in practicing could come from other causes, such as the type of music the youngster is learning, the approach the teacher is taking or an overly busy after-school schedule. But it could also be that the instrument just isn’t the right one for that kid. A better match may present itself if the youngster does a little exploring by listening to a variety of kinds of music, going to concerts at school or in concert halls, watching performances on TV, having the school music teacher demonstrate different instruments. Maybe that reluctant practicer will discover an instrument he or she really wants to play, as happened with Ann Hobson Pilot, principal cellist of the Boston Symphony. She struggled with piano lessons for years, not liking them much and not wanting to practice. But when she had a chance to try harp in high school, “I felt more expressive,” she says. “I loved it from the start. So I practiced more.”

Answers to Quiz: In addition to the Boston Symphony’s Ann Hobson Pilot, three other instrument-switchers in the list above are also orchestral musicians, members of the New York Philharmonic: Cynthia Phelps, who switched from violin to viola; Carter Brey, from violin to cello; Sherry Sylar, from piano and flute to oboe. The other two are soloists: André Watts, switched as a youngster from violin to piano; Paula Robison, from piano to flute. The two who didn’t switch: Joshua Bell and James Galway.

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Jason Mraz Writes About the Power of Music

Tuesday, September 22nd, 2009

Jason Mraz at Foxwood's, May 17 2006

We at TakeLessons are huge Jason Mraz fans. We love his music and his philosophy of endorsing the value of music education for all. Here is a recent "Journal" entry he posted on July 9, 2009 on his own site about the gratitude he feels towards all the people who have given him the gift of music in his life:

I am grateful to have music in my life. My mom was the first person to turn me on to it. She sat me at the piano, shaped my fingers to help me make sense of chords, and we would play chopsticks over and over again. My step-dad, an incredible drummer, gave me a drum kit for my 10th birthday. That gift taught me the essential rock/rap beat, a cross-stick over the hi-hat and snare while the foot slams the kick on the 1 and 3. Even if I never pursued music as a career, those few musical moments introduced me to an organized and expressive way of being that would carry over into friendships and academics, improving my attitude and overall performance at school.

I am so grateful for the many, many amazing music teachers in the public schools who kept me enrolled in the power of self-expression and group participation. I am thankful for that extraordinary study of sound and the opportunity to play when the age was most appropriate for playing.

Please support arts programs in your community, especially in the schools. At the very least, it'll give the graffiti on the overpass some depth.

Jason Mraz's enthusiasm and passion for music education for all echoes our own sentiments and our desire to inspire a generation through the power of music.

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So You Wanna Play Guitar (pt.XIX)

Thursday, September 17th, 2009

Chord

Here is the latest blog entry from our talented guitar teacher Jason, covering his thoughts on Music Theory:

I'm pretty excited about some of the response I've been getting from my students about questions they have about Music Theory.  Some of my students are in college, some of them are looking for the lost art of grimoire, and some just wanna know how a chord is built.  I'm finishing up some touches on a book that I've been making and am pleased that my ability to make it has been solely on the requests of those that had the balls to question.

Why Music Theory? 

Music Theory doesn't really have a beginning in my opinion.  It is what it is and I don't abide by it.  I'm also not a hypocrite so let me give you some thoughts on how to know the rules and then break the rules. 

Things to know: Circle of Fifths… a basic diagram of the universe that is music.  Also known as the cycle of 4ths.  It's a circle that can help you determine the Major and minor key signatures and see how they relate to each other.

Modal Scales: Ionian/Dorian/Phrygian/Lydian/Mixolydian/Aeolian/Locrian….. all the same thing.  Ex: CDEFGABC, DEFGABCD, EFGABCDE, FGABCDEF, GABCDEFG, ABCDEFGA, BCDEFGAB.  But is that it?  No, you need to learn the interval structure as well.  W=whole step, H=half step Ex: WWHWWWH, WHWWWHW, HWWWHWW, WWWHWWH, WWHWWHW, WHWWHWW, HWWHWWW.  But is that it? No, now you need to be able to transpose those into all other keys.  Take the same intervalic structure and apply it to the Circle of Fifths in any Key to check out the magic.

Minor Scales: Aeolian is another term for minor, but there are two that you can meld w/the minor to form some almost european metal sound called the Harmonic Minor…. (looks like a minor scale 'sept the 2nd to last note is sharped in a Major fashion) And the Melodic Minor (looks like a Major Scale except the 1st 3 notes look like a regular minor scale ascending/descend just like a regular minor scale)Jason

Chord Theory: Major (1,3,5) Minor or - (1,b3,5) Delta or "triangle" (1357) 7th (1235b7) Augmented or = (13#5) Delta 9 (13579) Know it to the point where you can just say…"so what" and mean it.

Relative Minor: Built on the 6th degree of the root or "1" tone.

The "5" Em minor pentatonic or G Major box patterns: Fun little thing to know before you can think outside the box is to learn the box you wanna think out of.  Move your box shape back three frets and you've uncovered E major or C#minor.

Arpeggios: Just chopped up chords played in a sequence that can be as little as say 3 notes up to 12 notes or more.  Typically you just need to know how far you need to reach to get a solid grasp when really your just playing (CEGCEGCEGCEGCEG) or (AC#EAC#EAC#EAC#E)

Composition:  I wouldn't be in the postion I am today if I didn't write all this down.  Start writing immediatly or you're just blowin' smoke.  Well, not really… but if you wanna understand what the heck you just played or what you're playing… jot it down/put it in ink/immortalize that sucker. Know what a G clef is know that an F clef is for bass, think above and below the ledger lines, understand the rhythm structures.  Write your own TAB.

Harmony: A lot of really great bands have 2 guitar players…those that don't often have a doubled guitar of themselves going while they lead.  Learn to build doubled guitar parts or add a bass part.  Add a vocal melody and you're good.  4 part harmony right there.

Chord progressions: I IV V, basic blues… everything else is out the door.

Now what?  "So what" man… don't quit, be yourself, and remember that everything I just mentioned is just a bunch of… well, second thought.  Study it, then play a few power chords of your own to create what you can call yours.

Rock,

Jason MJason1

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Campell Soup and the Grammy Foundation Help Music Education

Wednesday, September 16th, 2009

We found this really compelling article about Campell Soup collaborating with the GRAMMY Foundation to ensure that children can receive music education. Here is the article:

Campbell Soup Company (NYSE: CPB) and the GRAMMY Foundation today announced plans to make music education more accessible in tens of TeacherKidsPianothousands of schools across America. Research has shown that when students have access to arts, they tend to also perform better in the classroom.1 Unfortunately, music programs are being eliminated at many elementary and secondary schools due to the budget pressures impacting schools across the country.

To help address this disturbing trend, Campbell is partnering with the GRAMMY Foundation to provide schools access to the sort of innovative resources needed to offer students a well-rounded music education. Through the partnership, the GRAMMY Foundation’s proprietary Discovery Through Music™ curriculum will be made available to nearly 60,000 schools nationwide that are registered in this year’s Labels for Education™ program. Customized for children in kindergarten through 6th grade, the new curriculum will help young students understand the basic elements of music, including beat, tempo, rhythm and pitch, and apply these fundamentals as part of lesson plans for language arts, math, science and technology.

The partnership was announced at the GRAMMY Museum in Los Angeles, Calif., by three-time GRAMMY® Award-winning singer, Trisha Yearwood, who Trisha Yearwood pledged her support for the initiative. Yearwood talked about the importance of music education in her life and gave recognition to the music teachers that always encouraged her to explore an interest in music. “Learning about music not only fueled my career, but it also helped me to become a stronger student by thinking creatively about how to learn and explore new ideas,” said Yearwood. The singer is also a bestselling cookbook author, having secured a spot on The New York Times best-seller list for her cookbook, Georgia Cooking in an Oklahoman Kitchen.

Several GRAMMY Foundation Artist Ambassadors, including Carolina Liar members Chad Wolf and Rickard Göransson, Crosby Loggins, Dave Koz and Mindi Abair, also were in attendance to endorse the new partnership. These artists will participate in and help promote the program during the upcoming school year.

Enhanced Campbell’s Labels for Education Program

For more than 30 years Campbell’s Labels for Education program has been committed to providing educational resources to schools across the country. Since the program’s inception in 1973, billions of labels have been redeemed and more than $110 million in educational resources and equipment, including computers, athletic gear, and even vans, have been provided to participating schools.

“Today, there is a disturbing lack of support for arts in far too many elementary and middle schools,” said Mike Salzberg, President, Campbell Sales Company. “As we reinvigorate our Labels for Education program this year to support arts, athletics and academics, we are confident that with the support of the GRAMMY Foundation, we will begin to achieve our shared goal of nourishing the potential of our kids by improving access to music education in our schools and communities.”

Participation in Labels for Education continues to be easy, because Campbell products are consumed in nearly every home in America. Leading products for redemption include Campbell’s two most popular soups, Chicken Noodle and Tomato, as well as Pepperidge Farm Goldfish and 12 varieties that comprise the Campbell’s Kids soup line-up. These soups, which include Double Noodle and Chicken with Stars, are offered at healthy sodium levels and are made with whole grain pasta.

“Discovery Through Music” Curriculum

Students with a passion for music will be excited to experience the proprietary six-week Discovery Through Music curriculum designed by the GRAMMY Foundation in partnership with Labels for Education. “The GRAMMY Foundation is committed to music education in schools because it benefits students and fundamentally contributes to our culture by inspiring future generations of music makers,” said Neil Portnow, President/CEO of The Recording Academy® and the GRAMMY Foundation. “The Discovery Through Music curriculum is designed to teach children to explore and discover music within the context of other subject areas like math and science, which will help students to think more creatively throughout their lives.”

GRAMMY Artist Ambassadors Support Partnership

A number of rising young artists currently represent the GRAMMY Foundation through its Artist Ambassador program. As part of the partnership with Campbell, these ambassadors will be visiting selected schools nationwide to discuss their experiences in the music industry and inspire young students to pursue their potential through music.
To further recognize and celebrate the partnership with the Labels for Education program, GRAMMY Foundation Artist Ambassador and singer/songwriter Crosby Loggins is offering a free download of his song, “Time to Move,” at labelsforeducation.com until December 31, 2009.

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