Besides being fun, learning and playing a musical instrument can have many positive effects on your health and mental wellness. Research shows that these benefits can occur at any age and come from playing any instrument. Keep reading to see why people are playing instruments to improve their general health.
Stress Relief – Playing an instrument can help refocus bad energy into something positive and enjoyable, which in turn can help alleviate stress. Reduced stress levels lead to slowing down your heart rate and lowering your blood pressure. Research shows that playing and composing music can reduce stress by lowering cortisol levels.
Improves respiratory system – Whether you’re singing show tunes or blowing into a saxophone or oboe, one of the most important things you can learn is how to breathe properly. Producing a good sound on any wind instrument is dependent on your breath, making breathing with the proper technique a must. So while you are in the pursuit of becoming a great singer or woodwind player you are actually also improving your respiratory system.
Exercise – Playing an instrument can be a great form of physical activity. Playing the piano, guitar or drums takes a lot of upper body strength and playing for extended periods of time can help build muscle while also improving your posture and increasing your stamina.
Improves Cognitive Performance – It has been shown that playing and listening to music can help improve memory in people suffering from Alzheimer’s disease. Playing music has even been shown to help people recover from strokes as well as slow down the onset of dementia and Alzheimers.
Improved Immune System -Research between Tenovus Cancer Care and the Royal College of Music has found that singing for an hour can increase levels of immune proteins, reduce stress and improve people’s mood. Studies have also shown that making music enhances the immunological response, which enables us to fight viruses.
The 3 Most Important Electric Bassists That Every Bass Player Should Know and Study
So you want to play bass, huh? Well, let me be the first to welcome you to the club, and if you’ve already spent some time with the bass or are a seasoned player, that’s beautiful too! As a beginning, intermediate or advanced player of the bass, I think we can all agree that there’s always more to learn, and that we’re never done in our pursuit of mastering this wonderful instrument. Oftentimes I find myself looking for the next source of study, and usually I end up coming back to a handful of the same players who revolutionized the instrument decades ago. I believe that these are the players that merit a lifetime of study. I’d like to also add that this list is MY OPINION ONLY, and if these bassists stylistically don’t do it for you, that is totally fine. The key is finding players who inspire you, and learning from them, no matter what style! So without further ado, lets begin!
A lot has been made of the Fender Precision Bass over the years, but it can be argued that no one has taken it to greater heights than James Jamerson, the long unheralded bass genius of the Motown Sound. Jamerson was part of the Motown studio band called, “The Funk Brothers”, and together they played on more no. 1 hit records than The Beatles, The Rolling Stones, The Beach Boys, and Elvis combined. Jamerson was the groove master behind this unit.
The facets of Jamerson’s playing that make him stand out are his perfect time, tone, and his melodic bass line construction. Jamerson was one of the first to adopt the electric bass, a new invention in the late 50’s/early 60’s. He started on upright bass, and he played the Fender bass similarly, with just his index finger plucking the strings. This gave him a warm and punchy tone that anchored records by artists such as The Temptations, The Supremes, Stevie Wonder, and Marvin Gaye, and earned him the nickname, “The Hook”. He was also one of the first bassists to deviate from the popular music bass zeitgeist of the time, which consisted of mostly playing roots and 5ths. By delving into more adventurous harmonic territory, creating counterpoint lines with the vocalist, Jamerson rewrote the rules on how pop bass is played.
Iconic Jamerson bass lines:
Ain’t No Mountain High Enough – Marvin Gaye and Tammi Terrell
What’s Goin’ On – Marvin Gaye
Darling Dear (Isolated Bassline) – The Jackson 5
The way that James Jamerson transformed the Fender Precision Bass is what Jaco Pastorius did for the Fender Jazz Bass. He did the unthinkable in the 70’s and 80’s by turning the electric bass into a soloistic instrument, finding ways to play melody, harmony, and rhythm, ALL AT THE SAME TIME. He is best known for his playing with the jazz-fusion band, Weather Report, and folk songwriter and singer Joni Mitchell.
Jaco’s unique traits were his melodiousness, tight grooves, and outrageous technique, the likes of which had never been heard and are rarely seen or heard even today. Jaco was a gifted composer as well, and wrote several beautiful tunes that have gone on to become standard repertoire in the fusion genre. Because of his ear for composition, Jaco could play hauntingly beautiful melodies in the upper register of his instrument, which at the time was uncharted territory for bassists. Unfortunately, his melodic sense was often overlooked due to his monstrous technique that not only spanned playing fast in the conventional sense, but playing chords and harmonics as well. He did what had never been done, which was give the bass a human voice.
Iconic Jaco Pastorius examples:
Portrait of Tracy – Jaco Pastorius
Teen Town – Weather Report (a Pastorius composition)
Coyote – Joni Mitchell
There are many reasons why Stanley Clarke is important to the electric bass, but one of the most significant is that he was an absolutely monster on the electric bass AND the upright acoustic bass, one of the first masters of both. He began his career playing upright bass with straight-ahead jazz artists such as Joe Henderson, Art Blakey, and Horace Silver. With Chick Corea, he formed Return to Forever, one of the first jazz- fusion bands and would go on to release a number of hit records as a solo artist.
Clarke’s standout features are his ability to play both electric and upright bass at a high level, his compositional ability and being one of the first bassists to bring slapping to prominence. Clarke has lead his own band for decades, where he plays both basses, and has even found a percussive way of playing on the upright bass. In his band, they play mostly Clarke original tunes, but he is also an accomplished film composer, having scored such projects as “Pee Wee’s Playhouse”, and “Boyz n the Hood”. And while the slap bass concept is credited to Larry Graham of Sly and the Family Stone, Clarke played a large role in bringing it to prominence and expanding it technically.
Iconic Stanley Clarke examples:
School Days – Stanley Clarke
The Romantic Warrior – Return to Forever
Silly Putty – Stanley Clarke
I hope this gives you some new stuff to check out, and if this is all familiar territory to you, I encourage you to keep exploring and see if maybe there’s something undiscovered that you can find. Happy listening!
Author Maximillian G. is an up and coming bassist and bass superfan who can be found gigging all over NYC and is also available for private bass lessons in your home. Contact us today to schedule your NYC bass lesson with him!
Image courtesy of Phaitoon at FreeDigitalPhotos.net
Unlike the guitar, saxophone or piano, when it comes to singing, your body IS your instrument. And we all know that taking care of our bodies is not only paramount to living a healthy life but also helps you sing to your full potential. So when it comes to the idea of little kids starting voice lessons there’s a bit of confusion so allow me, someone who started formal singing lessons at 5 years old and with not a nodule in sight, to clear up any misconceptions.
Let’s begin by saying that most likely your 6 year old isn’t chomping at the bit to sing Italian Art Songs. If they are? Cool, we’ll cover that so read on. They probably enjoy singing the soundtrack to the latest Disney hit or Taylor Swift song. Either way, professionally trained voice teachers know that working with voices that haven’t matured yet require tapping into a skill-set and repertoire that accommodate an undeveloped body and mind.
Our philosophy is pretty simple, we think kids playing music, any kind of music, is igniting that part of the brain those newspaper articles are always talking about, so we’ll teach any song a kid wants, and we’ll show them how to sing it in such a way that they are laying the groundwork for correct vocal technique while having fun! Yes, it’s possible!
The first song I learned how to sing was the theme to Sesame Street. My teacher knew I loved it, it was simple, familiar, and I enjoyed practicing it every day. I eventually moved on to show tunes, ran through the Les Miz book, the Rogers & Hammerstein classics, discovered the Tapestry record, was introduced to Italian Arias and opera, fell in love with jazz, all the while rock and folk rested closely in my heart. But the point I’m making is that every genre I sang as I grew up, I was always using proper technique because my teachers recognized the right repertoire to suit my age and growing body.
Kids today have shows like The Voice to inspire them- and that’s amazing, but some of those contestants have no formal training and are actually straining their voices pretty badly. You can hear a lot of them “sitting” on their vocal chords, putting all that tension on the throat where it doesn’t belong. That’s the damaging stuff we are avoiding with proper coaching.
So are we looking to have your six-year old work on their belly breathing and tongue position? We’ll get there over time, but for now that child will enjoy singing their favorite songs while the seeds to formal training are planted. And you can rest easy knowing they’ll be no permanent damage in sight for your young musician.
For in-home singing lessons, visit: http://www.musictoyourhome.com/voice-singing-lessons-nyc/
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Ever hear the saying pee clear, sing wet? We know it sounds gross. But think about it. Last time you drank a glass of milk didn’t it feel like you had, well, a glass of milk stuck in your throat? This obviously will not help with your vocal technique but here are some insightful tips from the pros that will.
Hydrate! We are all constantly bombarded with calls to hydrate and we’re jumping on the bandwagon too. 8-10 glasses of water a day. Sing wet.
Rest! Yes, resting is good for your body and your voice. Fatigue will not help you nail The Queen of the Night aria by Mozart.
Humidify! Dry air? Fix it. Grab a humidifier and use it at night. Steam showers are another great remedy for staying moist.
Eat well! Melons promote hydration. Fruits loaded with antioxidants are great for overall vocal function. Fried foods and spicy foods are not.
Warm up! Do your vocal warm-ups before you hit the stage, start your lessons, or jam with friends. At this point, if you don’t know this, call us ASAP and we will send you a voice teacher directly to your home to show you proper vocal exercises!
There are also some over the counter remedies out there. Try Singer’s Saving Grace, a throat spray that soothes throat dryness. Enjoy a spot of tea now and then? Indulge in Throat Coat Tea, which according to its description, “helps you sing it loud, say it proud, stand up and be heard.” Keep any of these items near your piano during your NYC voice lesson and you’re guaranteed to impress your teacher!
Learning to care for your voice and use it properly at an early age will definitely help you avoid the dreaded nodes we hear so many pop stars battling with today. Take good care of your body, take good care of your instrument. It’s simple, pee clear, sing wet.
Image courtesy of Pixomar at FreeDigitalPhotos.net
There exists in my adult students a special phenomenon that I have affectionately labeled The “Should” Syndrome. Symptoms of this syndrome include excessive self-doubt, narrow judgment regarding what is going well with their playing, and when their frustration is at its peak, passive aggression toward their teacher when she tries to give them a compliment. It is always interesting to note the difference in attitude between the kids I teach and the adults I teach. Some of the adults enjoy music as much as the kids do, but there is always an air of self-consciousness about their age and what they don’t already know (read: what they “should” already know by their age). Mistakes in lessons are immediately followed by apologies. Comments are made about how they may be “too old” to still be trying to learn this. They lament, “I would be good at this now if I had just started playing when I was young.” Etc., etc., etc.
Kids, on the other hand (especially the younger ones), rarely apologize or even acknowledge their mistakes. An eight year-old who gets a new guitar rips it out of the delivery box and immediately starts banging on it and sliding his fingers around the fretboard, experimenting with the different sounds even though he doesn’t know anything about the instrument yet. This is because he is too busy being interested in this new, alien thing in front of him than he is with what the world’s expectations of him regarding that thing are. A thirty-eight year-old often comes to their first lesson waiting for instructions and not doing anything until the teacher instructs them to, for fear of looking silly. Ultimately, this is not such a bad thing, but they don’t feel free to experiment and connect with their guitar on their own level because this way might not be the “correct” way. I see this in my more experienced adult students too, as well as my musician colleagues. Once you’re older, your personal responsibilities and psychological demons start to cloud your connection with your art. As adults – both beginners and professionals – we are all familiar with the following scenario:
It’s a weekday afternoon and I need to squeeze in some practice time in the only free hour I have today. As I pick up my instrument, I remember for the third time that the rent is due tomorrow and I’m still waiting for that one check to clear. There’s nothing I can do about it now, but it’s still bothering me. I begin to warm up by playing some scales. As I play and some notes don’t come out as well as I would like them to, I begin to tense up my hands and body. Then the tension makes it even harder. I watched a YouTube video of a ten year-old prodigy playing faster-than-lightning this morning. I’m at least a decade older and I can’t play these scales nearly that fast. My mistakes don’t just feel physically uncomfortable now. I feel silly for making them, as if someone is in the room with me and judging me for being a bad person.
Speaking of being a bad person, I got into a fight with my significant other yesterday and said some mean things, and along with the rent, that’s on my mind too. I look at the clock and I have half an hour left. I still feel silly about those mistakes with my scales, but now it’s time to move on to the pieces I’ve been working on. I still don’t like my sound right now, but I know I have to get this work done.
The phone rings as I’m ten minutes into working on this piece. There’s an issue with a project I’ve been assigned to at work and I need to put down my instrument and go to the computer to solve it. I could fix it later, but my boss will probably want it done right now, and I don’t want to look bad. I’ll need to practice everything another day, even though my sound is still not great and I only have a few days before my next lesson. When will I ever sound like that kid in the video? What am I even doing with my life?
Young children don’t go through this thought process when they play. Children do not have all of the subconscious biases about how the world “should” be, like adults do. They do not separate the everything in their environment into strict categories, like adults do. They do not have a defined idea of who they are yet, so they do not exclude possibilities and pursue their interests without hesitation. (A friend of mine who teaches elementary school told me a story about how on the day before winter break, she had her students cut out and color pictures of holiday objects. The choices included Christmas trees, menorahs, etc. When a boy from a Jewish family chose a Christmas tree, she inquired as to what made him choose Christmas symbols rather than Hannukah ones. The boy stared at her, puzzled by the question, and said “I just think that the tree is pretty”. What many adults would assume he “should” choose did not even occur to him!)
Because of this openness, children have an extreme advantage when it comes to learning anything, and they absorb information like a sponge. The advantage to starting to play music when you are younger, then, is not because people eventually become “too old” to learn – the advantage lies in the fact that the more time you spend studying music when you are a child, the more time you’ve spent building a connection to music without ever questioning your worth at it or having to deal with adulthood’s endless distractions. This connection causes a snowball effect of positive experiences, which slowly creates a positive self-image regarding music for an individual once they have reached adolescence and eventually, adulthood. By this time, they are not trying to learn music – they are a musician.
What is the solution, then? Obviously, we cannot do a System Restore on our minds to make ourselves stop thinking like an overly self-aware adult.
Recognize that even if the voice inside your head has some unhelpful things to say, you can learn to silence it and just enjoy the music. Think about all of the things that you enjoyed as a little kid with unbridled passion and how you approached those things. Have fun and stop the adult voice in your head that says your picture is “wrong” because you didn’t color in the lines. Play like a child…
Rianne M. is currently giving guitar lessons in NYC to adults and children, and occasionally blurs the line between them with her teaching styles. Contact us today to schedule a lesson with her!
The oldest instrument in the world is the flute; to be specific, a couple of 42,000 year-old bird-bone flutes found in a cave in Germany. The last few centuries have transformed the Western concert flute from a hollow stick or bone with holes in it into a shiny, intricately wrought metal tube with a complex mechanism of keys, springs and rods. However, the musical character of the flute is still closely tied to its history as a ceremonial instrument and with the natural world of wood and bird-bones from which the earliest flutes were fashioned. With its shimmering tone and ability to play very high and very fast, the flute can evoke the calls of birds, rolling hills and soaring skies, while it’s dark and smooth low register conjures up an air of mystery and ritual.
It’s an amazing feeling to play an instrument with such deep history, but that’s only part of the flute’s story…
Over the last century there has been increasing interest into the sound-world of the flute beyond its beautiful and rich tone. When I first began delving into this world in my early years of college at the Melbourne Conservatorium of Music and more recently at the Manhattan School of Music, I was astonished by the variety of possible sounds: the low beat of a distant drum, the sound of a passing jet, gentle rapid fluttering (the sound of amplified hummingbird wings?), very high whistling, the crisp POP of popping corn, a train horn, a siren… the list goes on (and beyond easy comparison with environmental sound). These sounds are known as extended techniques, and the flute has one of the most diverse ranges of extended techniques of any instrument. Extended techniques have been increasingly explored by performers and used by composers over the last century because as well as being fun sounds in themselves, they broaden the expressive possibilities of instruments. If you think about it as an artists’ paint palette, extended techniques have broadened the color range of instruments from the primary colors of traditional tone to a vast range of mixtures and shades.
As well as expanding the expressive potential of instrumental music to fit with our ever-changing world, extended techniques can be extremely useful practice tools. An important reason for learning music is that it sharpens our ears and it teaches us to listen. However, the attention to detail necessary for productive practice can be frustrating for students, and this is where extended techniques can be very helpful. Incorporating extended techniques into learning an instrument can re-introduce the freedom of play into a context that can quickly become obsessive and un-creative. Sometimes when that high note just won’t come out the way we want it, rather than repeating it over and over and becoming annoyed and disheartened, playing a few multiphonics (for example) can help press the re-start button: refreshing the ear, re-connecting with a spirit of experimentation and in this case approaching the issue of air-speed (the problem behind the troublesome high note) from a totally different angle.
Learning an instrument is many things, and it is something different to everyone, but without a doubt it should be fun and creative! The best music comes from a place of imagination as well as great technique!
Andrea W. is now available for flute lessons in your home or online. Contact Music To Your Home to schedule yours with her today!
If you really want to get yourself into a routine and stay motivated while practicing your instrument, then it’s best to have a solid plan. The following are five tips to keep you going:
1. Create the right atmosphere
Nothing will motivate you in your musical practice like the right environment. You might be one of those people who prefer a quiet room. Others need a little bit of stimulation. Whatever setting you like, try to be consistent so as to enter the right mindset when you start practicing. If you will need water, snacks, picks, pencils, manuscript paper, and sharpeners etc. have them with you. If you use apps, download them in advance.
2. Warm up
Musical instrument practice is much like a physical workout. To get yourself in the mood, ensure you do a warm up every time before you start. That way, you will be able to prepare your mind and body before the actual practice. It doesn’t have to be 15 minutes of fiddling with scales but can be something like sight reading or playing a familiar song if you like. Also, get into the right mindset by considering the keys of the pieces you are rehearsing.
3. Set Goals
Practicing is not synonymous with just playing through your music. You need to have the end in mind at the start of each practice session. With a prior goal for each practice session, you will find yourself progressing more quickly and effectively. Only that each goal needs to be broken down into smaller and focused objectives. Every time you complete a goal should help you feel more accomplished.
4. Be realistic
Many people – including your teachers – have told you to “get a lot done now”. Of course, it’s not realistic for you to do all your practice in one go. It gets even worse when you have a tough part to practice. The best way to go about this is to practice a little but more often. That way, you can go through a long-drawn process bit-by-bit. Think more about quality and not the quantity of your practice. Practice smarter and not necessarily longer if you want to have the willpower to keep going. Small and realistic goals should help you overcome areas that looked tricky and accept any missteps you might have made.
5. Identify and overcome problems
There is no need to ignore any areas you might find problematic. Learn to identify where you are using the wrong fingering or stumbling out of time. Decide why it’s going wrong and make up your mind how you will fix it. Obviously, different problems require different techniques. Problems with rhythm call for steps at mastering it. You may want to practice rhythm by simply clapping it out or use one note alongside a metronome. That way, you will know when to increase the tempo and when to slow it down. With time, you will master your musical instrument. Having the right music teacher is also a huge factor in overcoming plateaus and ultimately making the most progress. That’s where we come in, contact Music to Your Home to set up your NYC music lesson today!
When starting to learn something new, especially when it’s violin or guitar, it can be hard to stay dedicated, to want to overcome the barrier that prevents most emerging musicians from keeping with guitar or violin and becoming good at that instrument. But think—it only takes about sixty hours of violin or guitar lessons before you become good enough to feel comfortable playing, knowing that if you keep up at this rate you’ll be able to play pretty much anything within a few more months of dedicated practice.
It’s before this point of sixty hours that you have to find yourself inspired somehow, and that’s where listening to other music comes in. It can be hard to be inspired by violin music if you’re unfamiliar with classical in general, or to find pleasure in guitar if you don’t really like the blues. But that doesn’t mean you can’t learn to like the kind of music you’re learning to play. The key to excelling at at the guitar is to think about how you’re spending your time, and to recognize that you’re learning, and that it takes time to get good, even if it is difficult. But once you get over that initial barrier, that first hurdle, you can play better and more widely. So if nothing else, just counting down your sixty hours of practice can be motivation enough when starting out. That’s roughly four months of practice at half an hour a day.
Music lessons as a noble practice
Above all, remember that the way you’re spending your time, learning guitar or violin, is a noble effort. When you have a great teacher from the Manhattan, someone who’s practiced for years and performed onstage, you can rest assured that what you’re doing will pay off; even if you aren’t a natural. Because experiencing difficulty in learning something new makes you a stronger, better person, especially if you stick with it and get to the point where you can play pretty much anything you want.
Playing the guitar should be fun right? If you’re the type of person we like to call a “strummer” and you’re not looking to rip a technical solo, then this list of songs is perfect for you. Most of these tunes use only 4 or 5 chords and are great for singing along to. This list is sure to impress your guests at your next BBQ.
Wish You Were Here- Pink Floyd
This is one of my favorite songs to play especially on acoustic guitar. It has a very simple intro that can be learned by ear or the tabs can be found here http://tabs.ultimate-guitar.com/p/pink_floyd/wish_you_were_here_ver5_tab.htm . The rest of song uses C, D Am, G and Em. It’s a great song that everyone will like hearing, or you can just rock out alone in your bedroom…
Free Fallin’- Tom Petty
This is such an iconic rock song. Practically everybody knows it. To play it in the same key as Tom Petty, put a capo on the 3rd fret and play D, A, G and you’ve got it. The entire song is basically just 3 chords! Singing it like Tom is another challenge and we’ll save that tip for another blog.
Redemption Song- Bob Marley
This is an extremely powerful song. It has a short and simple intro that can be found here: http://tabs.ultimate-guitar.com/b/bob_marley/redemption_song_tab.htm The chords are crafted in such a way to create an emotional atmosphere for anyone listening. The best part is any beginner can master this one. It’s also another great song to sing along to without worrying about complicated chord changes.
Strong Enough – Sheryl Crow
Sheryl Crow is an incredible composer. This song uses a few basic chords. The verse and Chorus is D, G, Bm and A with a bridge using Em, Bm C and A. Not really a lot but another easy and fun song to play. If you’re not a girl, go find one to sing this with and you’ll be in business.
Here is a song that is known internationally. Everyone has their opinions about Oasis but no matter what they are, there is no disputing the popularity of this song. The acoustic guitar strumming the intro is so recognizable but easy to play. Throw a capo on the 2nd fret and play Em, G, D, and A and that’s basically it. The chorus uses C, D and Em. There are some extensions to these chords, but for a beginner the basic forms will work nicely. This is a song that everyone will love to sing along to.
The guitar comes in three types, classical with nylon strings, acoustic with steel strings and electric with steel strings and pickups to electrify the sound. Within that, there are literally thousands of options of styles and colors. And they come in all shapes and sizes. From Jimmy Page’s double neck, Jerry Garcia’s Tiger, BB King’s beloved Lucille and Willie Nelson’s Trigger, there are plenty of guitars out there to satisfy your musical appetite.
But what about that six year old who’s thinking about starting lessons? I don’t think you’re running out to buy The Flying V just yet. So where do you start? Let the pros at Music to Your Home be your guide. Our first piece of advice is don’t go out and buy the most expensive guitar on the rack. It’s not necessary at this point. As the student progresses, you’ll know when it’s time to make a bigger investment, but for now you can get a decent set up for under $200.00.
For beginners there are generally three sizes of guitars to choose from, full size, ¾ size, and half size. Here’s a breakdown but remember, the only true way to get the right fit is to head to a store and try one in person.
The half size guitar is great for kids ages 3-6. The ¾ should work well for 6-10 year olds. Finally, the full size should cover you after that, but be aware that there are variations of regular size guitars, so once again, hold one and see how it feels!
Now that you have an idea of size, let’s discuss string type. Nylon strings are much easier to push down on and softer on little fingers and many of our teachers would suggest starting on those. If steel strings are preferred, go for it, but know that it will take a while to build up the calluses that all guitar players eventually develop.
Is your child a lefty? There are a couple of lefty guitars out there, however, like baseball mitts, the choices are much fewer. You can also learn to play right handed, or string a righty guitar upside down. Many lefties simply adapt, and learn to play righty.
Don’t forget the accessories too – stand, tuner, case, picks, and an amp for your little shredder if needed.
Whatever guitar your child ends up with, our instructors can teach them how to tune it, care for it and hopefully, one day, play your favorite song on it!
Image courtesy of Iamnee at FreeDigitalPhotos.net