Viva Verdi 2013 Concert | PRIVATELESSONS.com Photos
Viva Verdi 2013 Concert
Categories:
posted by PrivateLessons.com at
8:57 AM
October 30, 2013
How to play, understand and figure out all scales - Part XXXIV | PRIVATELESSONS.com Music Lesson Tips
How to play, understand and figure out all scales - Part XXXIV
C Harmonic Major Pentatonic Scale #2. (HMaj Pent #2) Also called Dorian b5 Pentatonic Scale.
Buy "Grab It" by Vince Lauria the key to soloing and song writing:
http://www.amazon.com/GRAB-IT-Vince-Lauria/dp/1478714476
http://www.amazon.com/GRAB-IT-Vince-Lauria/dp/1478714476
C Harmonic Major Pentatonic Scale #2. (HMaj Pent #2)
Also called Dorian b5 Pentatonic Scale.
Also called Dorian b5 Pentatonic Scale.
ALL scales repeat the same pattern up and down in tone. C major scale: C, D, E, F, G, A, B and C. Numbers are given to correspond to the major scale degrees or positions.
C Major Scale: C=1/Root, D=2nd, E=3rd, F=4th, G=5th, A=6th, B=7th, C=8th/octave.
C Major Scale: C=1/Root, D=2nd, E=3rd, F=4th, G=5th, A=6th, B=7th, C=8th/octave.
C Harmonic Major Pentatonic Scale #2: C=1/Root, D=2nd, F=4th, Gb=b5th, Bb=b7th, C=1/8 octave.
Memorize the C Harmonic Major Pentatonic Scale #2 note names and number formula.
C HMaj Pentatonic #2 - note names= C, D, F, Gb, Bb, and C
C HMaj Pentatonic #2 - number formula= 1/R, 2nd, 4th, b5th, b7th, and root/8.
C HMaj Pentatonic #2 - note names= C, D, F, Gb, Bb, and C
C HMaj Pentatonic #2 - number formula= 1/R, 2nd, 4th, b5th, b7th, and root/8.
C, D, F, Gb, Bb, C
1, 2, 4, b5, b7, 8/1.
Using the note name chart below - play the C HMaj Pentatonic #2 scale starting from low thick E string 1st fret up neck, then back down neck. Repeat this same process for each string. Remember to say note names out loud as you play each note up and then down in tone. Repeat this process for all 6 strings: Low E, then A, D, G, B and thin E string. The underlined fret number indicates dot positions:
open 1 3, 5, 7, 9, 12, 15, 17 19, 21, 24
open 1 3, 5, 7, 9, 12, 15, 17 19, 21, 24
Now play and say out loud as you play the C harmonic major pentatonic scale #2 pentatonic scale. Play the C note twice ascending and descending to memorize root note positions.
The note to note intervals are the same. This applies to any string, octave, position, instrument or Key. Repeat this same process for bass, piano and any other instrument.
All materials for personal use only.
Copyright © 2013 Sun and Earth Music
'Any unauthorized broadcasting; public performance, copying or re-recording
will constitute an infringement of copyright. All rights reserved
Copyright © 2013 Sun and Earth Music
'Any unauthorized broadcasting; public performance, copying or re-recording
will constitute an infringement of copyright. All rights reserved
posted by PrivateLessons.com at
8:54 AM
October 25, 2013
How to play, understand and figure out all scales - Part XXXIII | PRIVATELESSONS.com Music Lesson Tips
How to play, understand and figure out all scales - Part XXXIII
Harmonic Major Pentatonic Scale #1
C Harmonic Major Pentatonic Scale #1. (HMaj Pent #1) Also called Ionian b6 Pentatonic Scale.
ALL scales repeat the same pattern up and down in tone. C major scale: C, D, E, F, G, A, B and C. Numbers are given to correspond to the major scale degrees or positions.
C Major Scale: C=1/Root, D=2nd, E=3rd, F=4th, G=5th, A=6th, B=7th, C=8th/octave.
C Major Scale: C=1/Root, D=2nd, E=3rd, F=4th, G=5th, A=6th, B=7th, C=8th/octave.
C Harmonic Major Pentatonic Scale #1: C=1/Root, D=2nd, 3=3rd, G=5th, Ab=b6th, C=1/8 octave.
Memorize the C Harmonic Major Pentatonic Scale #1 note names and number formula.
C HMaj Pentatonic #1 - note names= C, D, E, G, Ab, and C
C HMaj Pentatonic #1 - number formula= 1/R, 2nd, 3rd, 5th, b6th, and root/8.
C HMaj Pentatonic #1 - note names= C, D, E, G, Ab, and C
C HMaj Pentatonic #1 - number formula= 1/R, 2nd, 3rd, 5th, b6th, and root/8.
C, D, E, G, Ab, C
1, 2, 3, 5, b6, 8/1.
Using the note name chart below - play the C HMaj Pentatonic #1 scale starting from low thick E string 1st fret up neck, then back down neck. Repeat this same process for each string. Remember to say note names out loud as you play each note up and then down in tone. Repeat this process for all 6 strings: Low E, then A, D, G, B and thin E string. The underlined fret number indicates dot positions:
open 1 3, 5, 7, 9, 12, 15, 17 19, 21, 24
open 1 3, 5, 7, 9, 12, 15, 17 19, 21, 24
Now play and say out loud as you play the C harmonic major pentatonic scale #1 pentatonic scale. Play the C note twice ascending and descending to memorize root note positions.
The note to note intervals are the same. This applies to any string, octave, position, instrument or Key. Repeat this same process for bass, piano and any other instrument.
All materials for personal use only.
Copyright © 2013 Sun and Earth Music
'Any unauthorized broadcasting; public performance, copying or re-recording
will constitute an infringement of copyright. All rights reserved
Copyright © 2013 Sun and Earth Music
'Any unauthorized broadcasting; public performance, copying or re-recording
will constitute an infringement of copyright. All rights reserved
posted by PrivateLessons.com at
8:01 AM
October 22, 2013
How To Stand When You Are Singing | PRIVATELESSONS.com Music Lesson Tips
How To Stand When You Are Singing
ReadyToSing Voice Lessons- Eve Soto
The purpose of singing posture, is to insure that singers do not restrict their breathing,
When learning vocal techniques that may involve very specific and detailed instruction, it is to your benefit to keep in mind, what is the goal of these instructions, and how will you be using your singing. One area in particular that receives a lot of attention is posture. Students often spend much time practicing difficult techniques that are nearly impossible to apply while singing. “Keep your chin up, chest out, shoulders back, feet together, stomach in and lifted ". What is the goal? And can I do this while I am singing. Unless you intend to be stationary during your performance, you must modify these techniques, and understand why you were using them in the first place. The purpose of singing posture, in my opinion, is to insure that singers do not restrict their breathing, which is a very crucial part of singing. When performing, whether you are recording, sitting, or working the stage, do not slouch, or position your body in a way that directly restricts your diaphragm. Sometimes when students are having trouble breathing at a specific point in a song, I have them throw a punch to help them retrieve and release more air. The momentum of the punch allows them to breathe out with more impact. The result is a stronger note. Look for other movements that will assist better breathing. Go ahead use your body.
Eve Soto (Your Vocal Coach)
Eve Soto (Your Vocal Coach)
posted by PrivateLessons.com at
5:24 PM
Quick Pro Tips for Credible Youtube Clips | PRIVATELESSONS.com Articles
Quick Pro Tips for Credible Youtube Clips
I recommend this excelent video on proper lighting -Ney Mello
Here are some basic and essential film and music industry tips for producing Youtube clips of credible level to the desired discerning viewer
What makes the difference between typical household-made Youtube videos and credible quality videos is the following series of sometimes very subtle factors. It is affordable to follow all these criteria. The expense escalades as the production value goes up, but actual video credibility is not synonymous with Hollywood standards in production values, but with relevance, care, and simple aesthetics.
-Recording the sound separate from the camera.
-Special Lighting.
-Non-distracting background.
-No room/ location background noise.
AUDIO and FILM
Recording sound is done via any type of recorder that can be positioned to capture the sound where it sounds best in the room. The camera microphone is not a good location because it is too far from the source and captures way too much room sound.
Camera mics lead non-professionals to incorrectly think that they should be used for video clip production.
Sound and image are NOT the same and do not get captured in the same way. Camera mics are a forced convenience for purely utilitarian lowest quality reference documentation. It is not how film or video audio tracks are made.
Once the shoot is done the audio from the recorder is synched to the camera video via a DAW software program such as Presonus Studio One Pro, or Logic Pro.
For the film editing, simple programs like iMovie are often used. Final cut pro, which was used by the film production company to edit my "Maximum Speed Picking with Ney Mello" DVD is a top pro standard but not a necessity for producing a good clip for Youtube.
The camera audio track is used for reference synching the real audio tracks to the video and then discarded.
SPECIAL LIGHTING
Special lighting is covered in a very succinct and detailed manner in this wonderful video by Anders from Norway:
BACKGROUND
The back ground is everything. That is so because it always determines if the viewer is going to watch your clip or skip it as a non-credible or low credibility effort.
It makes sense to not have a typical messy room background or cluttered shelves and irrelevant objects in the background. They signal that you don't care; That you are very inexperienced; and are not very discerning or organized, which makes people think that you are also not very authoritative or credible either...about anything you may be covering on the video clip.
Avoid small items and piles of paper or books (unless there are very many in a shelf , which act as a texture rather than as distracting items). Avoid beds, bedroom furniture, basement storage backgrounds.
Avoid decorative small objects. A recording studio equipment rack is fine and cool factor because it reads as texture.. A large painting or mosaics in a wall read as high level sophisticated texture. A few small decorative items on a table or behind the speaker, read as distractions and are viewed as careless presentation...
A professional recording studio environment, (private or public) is a very good background because the general public does not have the experience and commitment to afford that very expensive equipment. Prosumer equipment and typical bedroom "home studio" background should be avoided.
Having some good gear is not the same as having real professional gear in a room that is treated for recording or mixing. Inexperienced people can afford good recording gear and typical acoustic foam wall applications but not actual high end.studio equipment and room treatment.
Low cost recording gear in the background signals lack of experience and credibility, as an experienced source of information, and should be avoided if the author desires to be treated as a knowledgeable source of information by the viewer.
A quality viewer has a sense of what is real studio and what they have at home so, it is best to avoid a background that looks like their home studio!.. Go to to a studio to shoot real studio background or use a different type of background.
A warehouse background has cool factor . An old dilapidated house has cool factor ..A typical basement or garage setting does not. Everyone has one, which eliminates the clip's credibility, and it is full of clutter and claustrophobic low ceilings.
ROOM NOISE
Room Noise is a video clip signals lack of credibility, unless the clip is produced, by a world known author, or already established name in the field,answering questions for example about his books or a known professional musician answering questions. Answering fan questions is not the same as producing a specific topic video. The requirements are very different for each type of video, for public acceptance.
Only news clips or documentary films allow for back ground noises to intrude
Have fun with your video shoot!
As one can see it takes a lot specific detail work. to produce a simple youtube clip that is taken seriously. The viewer knows that anyone can do a video, but not anyone can do a credible video that represents something of actual value and real use for the the viewer. And what we call "production value" in the film and music industry is precisely what defines whether the Youtube clip is of interest or not.
There is no need to spend tens of thousands of $ or Euros, but one has to be very selective and precise with all the factors above to avoid the typical signs of bad video production. The attention to all these details is what production value means!
It can be done with very small budgets, but completely following the detail work is crucial.
posted by PrivateLessons.com at
5:23 PM
Preparing a Performance | PRIVATELESSONS.com Music Lesson Tips
Preparing a Performance
The quality of a performance depends primarily on the way you've prepared. How to check your practice habits to build the strongest-possible performance.
There are way too many myths about making music for an audience! Most performers seem to think
that a profound performance came about by luck. I don't think so!
We should always plan adequate time to prepare for a recital. This starts with KNOWING YOURSELF: how long will it take me to get this piece to the top of my game? One reason great artists seem to be so consistently marvelous, is that they don't play before they're ready. They have learned to plan ahead and do not program works that are not thoroughly studied, memorized and mastered.
Frank Sinatra would never perform a song for anyone - not even a close friend - until he had sung it 100 times by memory. If you play your piece three times a day by memory, it will take a little over a month to reach this point. We now know that the brain wraps myelin around the nerve fibers that carry messages or encode skills. The more layers of memory, the more myelin, the more likely you will be able to play at your very best and communicate the true message of the the piece. We are talking about deep-memorizing - knowing the piece "inside-and-out". Frank probably didn't know about myelin, but he instinctively knew that he was a different performer when he really "owned" a piece.
Preparation obviously starts with the reading level - getting to know the notes, the melodies, the rhythms. But this is only Phase One of numerous phases of mastering a great work. I believe that a musician must research the piece, the composer, the period. In today's age it is so easy to learn about the music we are studying! There is really no reason why a person should be playing a mazurka and not know what a mazurka is, for example.
Listening to recordings can stimulate your imagination and help you to realize the possibilities with a piece. Dig in and know where your sections are, key changes, interludes. Take the time to do this very early in your study, and it will pay big dividends as your understanding grows.
How much do you sing as you practice? Singing the melody, the countermelody or the bass line will deepen your memory work significantly and quickly. When you have physically sung a section a number of times, it will be easy to "silently sing" as you play. Do play sections of various lengths, constantly tweaking and noticing details.
It certainly helps to have several "small" performances before a "big" one. Corral a friend, neighbor or family member and accustom yourself to playing this piece for others. For me, each piece needs a chance to "harden" under the fire of performance.
It also helps to think of a performance as a chance to share a marvelous work of art with others. Point your audience to the music, not to yourself. This view will help you to put self-consciousness at a minimum.
Once a piece is well-learned, play all the way through it at slowish-medium, medium, quick and full-tempo speeds daily. Your physical and mental reflexes develop and strengthen each time.
Just as you know your way around your house - even if you come in through the back door - you want to know your performance work so thoroughly that you can hear it, think it and create it coming from any direction. When you have mastered your piece technically, intellectually understand its makeup and have hardened it through many play-throughs, you will be able to go out and focus on your message. And your listeners will be able to ride with you through the experience! For that is what music is - an experience.
that a profound performance came about by luck. I don't think so!
We should always plan adequate time to prepare for a recital. This starts with KNOWING YOURSELF: how long will it take me to get this piece to the top of my game? One reason great artists seem to be so consistently marvelous, is that they don't play before they're ready. They have learned to plan ahead and do not program works that are not thoroughly studied, memorized and mastered.
Frank Sinatra would never perform a song for anyone - not even a close friend - until he had sung it 100 times by memory. If you play your piece three times a day by memory, it will take a little over a month to reach this point. We now know that the brain wraps myelin around the nerve fibers that carry messages or encode skills. The more layers of memory, the more myelin, the more likely you will be able to play at your very best and communicate the true message of the the piece. We are talking about deep-memorizing - knowing the piece "inside-and-out". Frank probably didn't know about myelin, but he instinctively knew that he was a different performer when he really "owned" a piece.
Preparation obviously starts with the reading level - getting to know the notes, the melodies, the rhythms. But this is only Phase One of numerous phases of mastering a great work. I believe that a musician must research the piece, the composer, the period. In today's age it is so easy to learn about the music we are studying! There is really no reason why a person should be playing a mazurka and not know what a mazurka is, for example.
Listening to recordings can stimulate your imagination and help you to realize the possibilities with a piece. Dig in and know where your sections are, key changes, interludes. Take the time to do this very early in your study, and it will pay big dividends as your understanding grows.
How much do you sing as you practice? Singing the melody, the countermelody or the bass line will deepen your memory work significantly and quickly. When you have physically sung a section a number of times, it will be easy to "silently sing" as you play. Do play sections of various lengths, constantly tweaking and noticing details.
It certainly helps to have several "small" performances before a "big" one. Corral a friend, neighbor or family member and accustom yourself to playing this piece for others. For me, each piece needs a chance to "harden" under the fire of performance.
It also helps to think of a performance as a chance to share a marvelous work of art with others. Point your audience to the music, not to yourself. This view will help you to put self-consciousness at a minimum.
Once a piece is well-learned, play all the way through it at slowish-medium, medium, quick and full-tempo speeds daily. Your physical and mental reflexes develop and strengthen each time.
Just as you know your way around your house - even if you come in through the back door - you want to know your performance work so thoroughly that you can hear it, think it and create it coming from any direction. When you have mastered your piece technically, intellectually understand its makeup and have hardened it through many play-throughs, you will be able to go out and focus on your message. And your listeners will be able to ride with you through the experience! For that is what music is - an experience.
posted by PrivateLessons.com at
5:22 PM
