Wednesday, March 31, 2010

4 Steps to Learning How to Play Any Song on the Piano


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1. Determining the melody - Melodies are the actual tune to a song, some song are melodious and tend to be a bit flat but it sound good because it is sitting on a nice set of running chord. For beginner I would recommend starting with song that are melodious and get the tune of it, Play it on the piano in single tune, it means without the chords and bass lines. Melodies determine what chords will be played. If you can use your ear to figure out what notes are being played in the melody, you are 1/4 on your way to learning a song!

2.Harmonizing the melody - This part of it, is that you must have some understand of chords and how chords are form. In music and music theory a chord is three or more different notes that sound simultaneously. Once you have figured out the melody, it is time to harmonize it. This is simply choosing various chords to accompany the melody. There are several techniques and tricks to doing this. An example of a chord formation is always use the 1, 3 and 5 note of a scale for a major chord, example C chord is make up of C, E and G and a G chord is G, B and D.

3. Altering Chords - This is the best part! Now that you have strategically figured out the melody to a song and have harmonized it, altering your chords to produce certain sounds is the next step. If you were playing gospel music, you would alter your chords differently than if you were playing classical or country music.

4. Listening - After you have determined the melody, harmonized the melody, and altered some of your chords, there are various techniques you can use to make sure that your song sounds right. Personally I listen to the bass line and whether is from the bass guitar or from the piano this can help you more, the bass line does help you to determine the timing of the song too.

I personally learn all these theory from "The Secrets to Playing Piano By Ear" 300-pg Course by Jermaine Giggs and would strongly recommend this if you want to learn to play piano by ear. He has taught literally thousands of musicians how to play the piano by ear. This is very different from learning to read music score as what the classical pianist are trained.

Ideas To Help With Percussion In The Beginner Band


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The beginner band is a big challenge, you have an entire band of students who are just starting to learn their instruments, and you are trying to both educate and inspire them to play.

Getting the percussion section to work effectively can be one of the biggest challenges, particularly if you don't know a lot about percussion.

Don't let them be "drummers" only - be "percussionists" instead

This is the most important thing to realize - that band students are often attracted to percussion so that they can play the drum set. The drum set (or drum kit) is often used in the school band, and often is very important, so students feel that if they are not playing it they have to sit there and wait.

The band director has to find a way around this situation - if you only have one drummer, then great! They can play the drum kit and away you go.

The issue can happen when you have multiple drummers in the band, sometimes two, four, eight or ten! One way that works very effectively and has been used for many years is to have one player playing snare drum, one playing bass drum, and one cymbal player, even if you have a "drum kit" part written out. If you have this type of band I recommend having this setup at all times, and making the students stand up to play the snare drum. You then have the cymbals and concert bass drum, and its designed to be played by three players all the time.

Have an Auxilliary Percussion Table - and make them stand up to play at all times

There is nothing worse than vaguely hearing a shaker or tambourine in a school band, and struggling to see the person sitting on a chair behind the drummer!

When playing tambourine, triangle or shaker - these instruments are often more critical to the sound of the band than the snare drum or drum set, so therefore they must be taken really seriously.. by the band director as well as by the players.

So always have a "traps" table with everything in easy reach. Its not too expensive to make one or buy one of the available professional ones.

The players must always stand up to play, and have their music stand set up so that they can look immediately over it at the band conductor.

Warming up - please don't ignore us!

I've been a percussionist in a school band... there is nothing more frustrating that spending your time sitting in the school band room while you wait for the wind players to tune up and warm up. Often the band director will spend up to half an hour warming the players up - and expect the percussionists to remain quiet during that time.

How to deal with it?

- If you're going to warm up for half an hour.... Tell the percussion section to arrive later than the rest! - it makes no difference to you and its better than them being a distraction!

- Why not send them into a different room for their own section rehearsal during this time? Get a specialist teacher or assistant to work with them on their parts

- Use predefined warm-up routines that go along with what you are doing with the wind players. (doesn't always work, but can do depending on the materials you have)

Be prepared to supplement the band book

When I helped out with beginner bands I found it necessary to supplement the band books that the students were using with additional materials - often the materials are not interesting or they don't have enough variety to keep the students engaged in the materials.

They'll need lots of work on basic rudiments and rolls - often the band books don't address those things early enough. So therefore you may be able to supplement it with other material which is available online and in books.

Everyone playing mallets?

I'm going to leave this up to you - it depends on the different personalities in each of the bands you have. One popular series of band books the "standard of excellence" has snare drum/bass drum on the left hand pages of the book, and mallet percussion on the right. Another type the "essential elements" has one snare drum and one mallet percussion book.

I think that percussionists should rotate and do as much as possible, and if that means that they each need two books, whereas every other member of the band needs only one.. then that's the way it should be!

There are no quick fixes to make percussion better in the beginner band, but hopefully this article can give you one or two ideas that will help!

Cole Porter's Song "Night and Day"


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"Night and Day" was written by Cole Porter for the 1932 Broadway musical, "The Gay Divorce," starring Fred Astaire. It was the last Broadway show for Astaire and the last show that he performed with his sister, Adele.

In 1934 Hollywood produced a film version of the Broadway musical, retitled, "The Gay Divorcee." The Hays Office, Hollywood's self-censorship body, determined that the original title was too controversial. The film starred Fred Astaire and Ginger Rogers in their first leading roles together.

"Night and Day" was the only Cole Porter musical number used from the Broadway production. As a footnote, one of the film's big production numbers, "The Continental," by Conrad and Magidson, won the Academy Award for Best Song that year.

In 1946 a film was made about Cole Porter's life, called "Night and Day." The biography, starring Cary Grant as a heroic and heterosexual Cole Porter, was not accurate in detail or character, but Porter did not object.

Cole Porter was born in Indiana in 1891 to parents who were wealthy. He received an extensive musical education, learning the piano and the violin by age six. His favorite of the two was the piano which he practiced two hours daily. By age ten he was writing words and music to original songs, and by age seventeen he published his first song.

Porter also received an impressive academic education which carried him through Yale and into Harvard Law School and the Harvard School of Music. While at Yale, Porter became the president of the Glee Club and a cheer leader, and, among the 300 songs he wrote while at Yale, he wrote two football fight songs that are still played today. Despite being the roommate of Dean Acheson, the future Secretary of State under President Truman, Porter dropped out of Harvard Law School to continue with his music education.

After World War I, Porter moved to Europe where he met and married Linda Lee Thomas, a beautiful and rich divorcee and a descendant of the Lees of Virginia. Their relationship was a loving, supportive, lifelong partnership. Cole Porter was gay and had numerous male interests which Linda had agreed to allow. However, the marriage was at times unstable when Porter's gay interests threatened the couple's carefully maintained social appearances.

Following their marriage in 1919 in Paris, the Porters lived an extravagant lifestyle in Europe through the 1920's. Their palatial home in Paris had floor to ceiling mirrors and zebra skin upholstery. Later, they moved into a famous palace in Venice where their lush parties included fifty gondoliers, circus acrobats, and a ballet company. They also built a night club outside their palace which accommodated 100 guests.

Back in New York, Porter's first few contributions to Broadway musicals were poorly received. However, by the end of the 1920's Porter gained recognition, and through the 1930's and 1940's he was one of the brightest stars on Broadway. He worked excessively and tirelessly on his musical productions and spent time in both New York and Hollywood.

In 1937 a terrible horse riding accident crushed both of Porter's legs. As the story goes, while waiting for hours for help to arrive he composed the lyrics to a verse of his song, "At Long Last Love." The accident left him crippled and in pain for the rest of his life. He underwent more than 30 leg operations until his right leg was finally amputated in 1958. Following his leg amputation, Cole Porter dropped out of music production until his death in 1964.

Porter said that the stimulus for the ballad, "Night and Day," was his memory of hearing distant tom toms while cruising down the Nile River in Egypt.

"Night and Day" was sung by Fred Astaire to Ginger Rogers in the film, "The Gay Divorcee." The romantic lyrics of Cole Porter and the lovely dance of Astaire and Rogers combine to create one of Hollywood's most memorable moments.

Here are the Cole Porter lyrics to "Night and Day."

Like the beat beat beat of the tom-tom

When the jungle shadows fall

Like the tick tick tock of the stately clock

As it stands against the wall

Like the drip drip drip of the raindrops

When the summer shower is through

So a voice within me keeps repeating you, you, you

Night and day, you are the one

Only you beneath the moon or under the sun

Whether near to me, or far

It's no matter darling where you are

I think of you day and night

Night and day, why is it so

That this longing for you follows wherever I go

In the roaring traffic's boom

In the silence of my lonely room

I think of you day and night

Night and day,under the hide of me

There's an oh such a hungry yearning burning inside of me

And this torment won't be through

Until you let me spend my life making love to you

Day and night, night and day

Seth Davis - Insane Drum Clinic

Don't forget to hit the HQ button when starting! Seth Davis is a professional Drummer/Clinician/Musician and run's his drumming business "Insane Independence Inc". He has dedicated his life to helping drummers to fully understand their capability and has helped thousands reach their goals. He is the Author of the Moeller Killer technique which many have studied and feel is one of the most innovative and powerful training routines for hand & drumset technique. Due to the fact that everyone cannot study with Seth personally, he decided to film the Moeller Killer and release it this summer. Seth completed the shoot May the 22nd and is now editing, details coming soon. I will also be uploading more videos as well as some rare practice footage. For any other questions and or input, email him at worldsfastestdrummer1200@gmail .com or send him a message here or at his myspace and I will reply asap. Good luck with your drumming. KW



http://www.youtube.com/watch?v=6k_OIGK1w4Q&hl=en

Monday, March 29, 2010

Getting Your Song Idea Underway


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I had to write up a flow diagram the other day for the process I need to follow to get a song/lyric from idea to completion. You might find it useful:

1./ You are walking down the street thinking about nothing in particular. One thought leads to another and suddenly you are struck by what seems to be a great idea. A concept arrives waiting to be fleshed out. This is often called ' The Muse'. Any bit of inspiration or muse that passes by is worthy of pursuing. It might come from your walk down the street or it might come from an exercise such as object writing. Object writing is the process of writing from your senses about a particular object/thing/person/place or time, within a set time frame of 5 or ten minutes.

2./ If your great idea has not come from object writing then you need to do some; Find a quiet place to set yourself up with pen and notepad, or word processor if you're computer inclined. Set a stopwatch or timer, most mobile phones have one these days, and write for 10 minutes on your subject. For example this afternoon I came up with the concept of "losing altitude". This could be about a relationship running out of steam or taking a dip or going through a period of turbulence, so, the challenge is to get metaphors related to the concept and make them into useable phrases for our song. Here's some example writing;

Losing altitude, we're dropping down, my tummy is left up in the sky somewhere. Losing altitude, who's in control of this plane? I've got my hand on the controls, but you keep wrestling them away. While we're wrestling the plane is going into a dive and we're losing altitude. The ground is spinning up to meet us, I want to jump out of this plane and be free wheeling on a parachute, pulling my own cords, not be your puppet on a string. etc.

Usually you can find a few choice phrases from your stream of consciousness sense based writing that can be valuable to expand on, which is part 3.

3./ Pick key words or themes from your main idea and find rhymes. I am a great fan of the methods of Pat Pattison of Berklee Music college. In his book Writing Better Lyrics Pat advocates that we not just look for perfect rhymes, but also family rhymes, assonant rhymes and near rhymes. So, from our example we might look at the words altitude, dropping, sky, control, plane, dive, losing, spinning, parachute and cords, to find a database of rhymes we can use.

For "altitude" you might try: solitude, latitude, attitude, unscrewed, voodooed, argued, stewed, mood and feud. Now any of those combinations can open up a world of possibilities,but if you stick 'on theme' you might get a coupe of rhyming lines like;

Hey, I know we argued

and you're in a terrible mood

but, I'm reaching for my parachute, 'cos , [ I brought in one of the other key words which happened to be a near rhyme]

baby, we're losing altitude.

Not the greatest prose in the world but a starting point. What about dive? Drive, test-drive, arrive, survive, alive, real-life, jaws of life.

We're in a nose dive

this isn't a test-drive

if we're gonna survive

somebody's gonna have to go and get the jaws of life.

4./ Once you've got a few more ideas flowing try to story board your song and work out if there is a narrative flow. What will each part of the song say? To carry on the example, part one could be; boy and girl are going on holiday they are flying and he thinks that there are problems in the relationship. Part 2 could be the woman's perspective, what she thinks is wrong. Part 3, a bridge, might be them playing out disaster scenarios, and a final verse might be a happy ending as they are coming in to land at their destination, losing altitude, but in a controlled way. Could this journey be a plan to rekindle the romance?

5./ Rewrite the main idea using new lyrical/rhyming ideas within the story board

6./ If you're stuck for a rhythmic idea try to extract it from the working title of the song. Our working title of "losing altitude" could be broken up to represent he following; Loo-zing-al-ti-tude or, ta Tum ta ta Tum. Try ta Tum ta ta Tum at different speeds to see what matches the 'feel' of the song.

7./ Start speaking out loud some of your rough prose and rhyme to see how it might fit against the rhythm and start trying out melodic ideas

8./Hit the "record" button on your tape recorder or computer and get writing, and rewrite, rewrite, rewrite, until you're done!

Types of Drums


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Drums are percussive instruments built by stretching a membrane across an opening in a vessel. The most common property of various types of drums is their pitch. Drums are the one of the oldest and the most omnipresent instruments. Even with the various types of drums present, the most common aspect is the origin of sound. Sound in a drum originates from the vibration caused when you strike the membrane, called the head, with another object. Drumheads can be made from the skin of a goat, cow, antelope, or sheep, or even a synthetic material. The types of drums that exist vary as markedly as the people who use them for communication, ritual, or entertainment all over the world.

The common way of classifying drums into different types of drums is by their shape. Most drums fall into the following categories

cylindrical, barrel, conga, waisted, goblet, or bowl.

A frame drum, with its squat hoop, and a long drum, which is thin and tall, are both the cylindrical variety. A barrel such as a Tabla, goblet such as a Djembe, and bowl such as a Nakari, are named for their shapes so they are easily recognized. The conga tapers at its bottom, and the waisted drum tapers in the middle, as with a Changko's cinched waist.

A further classification on the types of drum is made on the basis of which side the drum might have a head. A drum may have a head at either end of the body or only on one. Drums like congas and bowls have one head, but frame drums have two. Some drums can be carried while walking or dancing while some drums are stationary, such as the Djembe from Mali.

Besides the categorization of various drums into types of drums one should be aware that not all drums are specifically tuned. The drums develop their tone due to body shape or head size. Pulling a cord or shifting a peg to stretch the head can adjust the pitch of a drum.

The western world of rock music listeners is more familiar with non-pitched drums, such as a bass or snare drum in a drum set. These can be used in combination with any harmony or key.

We can also differentiate drums in a drum kit as types of drum. A drum kit consists of a collection of various types of drums and cymbals. It can also be accompanied by various percussion instruments such as cowbell, wood block, chimes or tambourines arranged in a suitable manner for the convenience of the drummer.

Differing music styles implement the components of a drum kit in different manners. Ride cymbals and hi-hats are usually preferred more in a jazz set-up, whereas a bass drum and snare drum is preferred more for rock music.

With the on-set of technology another type of drum that gained popularity is the electronic drum kit. It was in 1980 that electronic drums were introduced. Today they can be easily used as an easy replacement for other various types of drums in acoustic settings.

Scott Travis - Highlights

Scott Travis is known Worldwide as one of the greatest heavy metal drummers for the band Judas Priest. Scott dreamed of being the drummer for Judas Priest as a teenager. In his hometown in Virginia, while waiting in line for a show, he gave his demo tape to the band. But no one ever called. He then devised a plan to bring his drumset down to the venue on the next tour, and play his drums in the parklot so they could hear him. In 1986, he left the band Hawk, to join the most prolific shred metal band ever, Racer X. With Jeff Martin on vocals, Paul Gilbert on guitar and John Alderete on bass, Scott now had a "musicians" band to show off his drumming talents. The song Scarified, put his amazingly fast feat into the drumming world spotlight. However, the band could never get a major deal. Rob Halford and Jeff Martin were musical friends in Phoenix, Arizona. Bonded by similar vocal styles, the two became friends and ofter appeared at each others show. After the end of Racer X, Scott briefly joined the band, The Scream with Bruce Bouillet. But fate would intervene. Rob Halford mentioned to Jeff Martin that Priest would soon need a new drummer. Jeff knew just the man for the job. That connection in Racer X paid off, as Jeff called Scott and said, "Guess who needs a drummer?" The dream had been realized. In late 1989, Scott Travis was named the new drummer for Judas Priest. In 1990, Judas Priest released the album Painkiller. The title track would become the signature track for ...



http://www.youtube.com/watch?v=izvM6UMyFqg&hl=en

Multicultural Music in Early Childhood


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Music is a universal language. Exposing children to the music, songs and dances of other cultures should simply be another aspect of the music and movement program, integrated quite naturally on a daily basis. In the home setting, if another language is not spoken, exposing children regularly to the sounds of another language through music is a good idea.

Why is it a good idea? Young children learn by being actively involved in the process, through exploring and experimenting, through copying and acting out. And so it is with learning music, including the music (and language) of another culture, the foundations for which are best learned while developing primary language. As such, a successful early childhood music program must incorporate movement (including dance) and should quite naturally involve learning across the curriculum. In other words, through music, the child can also develop language, mathematical concepts, physical development as well as social and emotional outcomes. Music, of course, is not exclusively reserved for the school domain. At home or in a childcare centre, music, including music from other cultures, should form part of the structure of everyday play. EVERY child has the right to a musical education. Like other forms of verbal and non-verbal communication, exposure to music should start at birth and even before.

It is important to bear in mind that not every child will naturally take to singing or learning to play a musical instrument. Physical expression through dance and drama is the way some children prefer to enjoy their musical experience. How wonderful to extend that experience by using the dances, the music and the costumes from another culture. And what child doesn't love dressing up?

In musical interpretation there should be no pressure on the child to "get it right" because there is no right or wrong but simply the joy of participation. When a child feels successful at something, the child gains enormous confidence. This is critical where children are suffering from low self-esteem due to poor academic achievement. The more you can extend the creative arts experience, therefore, the better.

Furthermore, by exposing children to other cultures in a positive way, they gain understanding and learn acceptance of others. They need to be made aware that somewhere in another corner of the world are children just like them. These children are also having fun by singing songs, chanting rhymes, playing games and dancing. In this way inherent social values are gained, especially discovering that difference simply means diversity. Thus, it encourages a sense of harmony and inclusion rather than discrimination and distrust.

Studies show that exposing children to the sound, rhythm and intonation of language and music from diverse cultures assists them to discriminate between sounds, which assist with the acquisition of language skills. Listening is a skill that needs to be taught, as opposed to hearing which is a sense we are born with. Listening to the sounds of another language encourages concentration. In time, it starts to make sense, in the same way that as babies, we all learned to understand the spoken word. Introducing children to Languages Other Than English (LOTE) cannot start soon enough. Far from confusing children, learning another language actually enhances the learning of their mother tongue.

Unlike adults, children absorb the language of another culture easily. Children who come from bi-lingual households quickly learn to discriminate between the two languages and use them both appropriately. They soon become aware that communication, in whatever form, gets them what they want.

Whether in a classroom, a nursery or at home, children are naturally attracted to the sounds of another language. Most adults can remember the foreign songs that they learned at school. How many English songs from school can we remember? And why limit it to songs? Include finger plays, dances and relaxation music. To the child, it is not important what the words mean as the music conveys the mood and that is everything.

Saturday, March 27, 2010

Cobus - Avenged Sevenfold - Afterlife (Drum Cover)

Laus Deo Semper. www.cobuspotgieter.com http This is a drum cover of Avenged Sevenfold's song, afterlife. I had only been playing doublebass for a few months at the time of this recordig, so please be lenient with he comments about that ;) For the record, ALL double strokes were played with one pedal, ie the ones at the end of the gutiar solo, as you can very clearly see by how crazily tired I was after that piece :) I would hve LOVED to show you the footcam of this, but I forgot to rewind the tape for the whole third set, so with a few songs I unfortunately couln't use the footcam shots. I have to emphasize, I know calling this a "cover" is wrong, seeing as I only PARTLY stayed true to the song's drums (or lack thereof), through the WHOLE song I play some variations of the beats, phrasing and fills, since 99% of what I play is improvised. Even though I have done my fair share of session and studio drumming, that has little to zero effect on these video's, I kind of see them as live performances. I'm NOT aiming to be accurate to the original drums, I'm just aiming to enjoy myself. And I thoroughly succeeded in doing that, might I add :) Avenged Sevenfold - Afterlife from the 2008 self-titled release is the copyrighted property of it's owner(s). (External) Drums by Cobus Potgieter. For any and all info you might need (equipment, sponsorships, recording process, updates) please visit www.cobuspotgieter.com and have a look around.



http://www.youtube.com/watch?v=ZS4PfHJeFyc&hl=en

How to Maintain a Drum Set


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It is full of fun to play a drum but at the same time one must take care of the drum set. There are few steps to maintain a drum set and one can easily follow them. The following steps are listed below:

1. One must not forget to detune your drums slightly before packing up, especially in more humid conditions. This preserves the life of the heads and allows them maintain their elasticity.

2. Don't miss Drum Bum's drum tab database.

3. When you change your drumheads, write the date in small numbers off to the side of each head. This will help you know how long it's been since the last time it's been changed. Remember that there is no specific period of time to gauge when you should
replace your heads. It should depend on how they sound (feel), how hard you hit and how often you play.

4. Simply tape 4 or 5 pennies to the back of a 5" strip of duct tape (about 1" wide) and tape it to the bell of your ride. This will allow your cymbal to sizzle as if it had rivets in it.

5. One must remember the local library as a rich resource of information about drums, drum set, miscellaneous drum things and overall percussion. So one must keep in contact with them to maintain a drum set.

6. It is also very necessary to clean the drum set from time to time. It is cleaned by sandpaper. Sometimes comet used for this use. If that scares you, then try dish soap and water with a heavy nylon scrub brush. A cheap old hair brush with thick wiry bristles works great.
Best type of maintenance is always wiping your cymbals down before storing them away. If you still have the plastic bag that your cymbal came in, put the cymbal in the bag before putting it in your case. This helps to keep gunk off the cymbal while it's being stored and helps prevent the cymbals from wearing each other down as they're bounced around during travel.

Who Sang Spirit In The Sky?


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Yet another generation of music lovers has been introduced to an "oldie but goodie." Gatorade's newest sports drink, Tiger, named for golfing great Tiger Woods, is promoted via a "Moonshot" video which depicts the world's greatest golfer (in a space suit) lacing a drive off the surface of the moon to the tune of the late 60's classic (released in 1969) "Spirit In The Sky."

"Spirit In The Sky" is the song that puts folk-rocker Norman Greenbaum in the "one-hit-wonder" category of popular music (it peaked in March of 1970 at #3). It has endured despite Greenbaum's short and uneven career in record-making. (Greenbaum was known for unusual songs with odd titles such as "Canned Ham." But hey, this was THE 70s!)

Although "Spirit In The Sky" is not considered a gospel song in the traditional sense, clearly the subject is going to the great beyond...if you "have a friend in Jesus." A strikingly traditional religious sentiment for the period.

"Spirit In The Sky" was prominently featured in the 1995 Ron Howard directed blockbuster Apollo 13 starring Tom Hanks. It was also notably recorded by alt-country rockers The Kentucky Headhunters and, more recently, by British pop singer Gareth Gates.

Spirit In The Sky Lyrics

(Words and Music by Norman Greenbaum)

When I die and they lay me to rest

Gonna go to the place that's the best

When I lay me down to die

Goin' up to the spirit in the sky

Goin' up to the spirit in the sky

That's where I'm gonna go when I die

When I die and they lay me to rest

Gonna go to the place that's the best

Prepare yourself you know it's a must

Gotta have a friend in Jesus

So you know that when you die

He's gonna recommend you

To the spirit in the sky

Gonna recommend you

To the spirit in the sky

That's where you're gonna go when you die

When you die and they lay you to rest

You're gonna go to the place that's the best

Never been a sinner I never sinned

I got a friend in Jesus

So you know that when I die

He's gonna set me up with

The spirit in the sky

Oh set me up with the spirit in the sky

That's where I'm gonna go when I die

When I die and they lay me to rest

I'm gonna go to the place that's the best

Go to the place that's the best

Thursday, March 25, 2010

About Madonna's Vogue, Setting and Costume


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How do you set up a setting for a music video? Imagine Madonna's Vogue. Imagine the setting, then imagine the world and its development! For any design setting, it's good to describe the setting and the concepts associated with that setting e.g. sophistication , elegance.. Aim to describe then the nature of the elegance and the sophistication.

The great feather fan rises and opens up the world of Vogue and the setting. And this is the world! Then quickly strike a pose. The world or setting of Madonna's Vogue is akin to the 20s world of Hollywood permeated with Art Deco influences. Remember the unique American Hollywood designs of the era e.g Cedric Gibbons' designs. In this world, strike a pose.

Cinematography is about creating a world and in Vogue poses are a part of that world. Vogue is a sophisticated mirror-reflected world of poses, of individuals posing. What kind of individuals? Maybe think of them as 'posers' , people who are striking a pose. It's all a game and the 'posers' must play their game of elegance and match each other in their poses.

Madonna's Vogue is about the pose of the body ; natural and artificial poses ; However Vogue was also a 20s dance upon which the video was based. The dance was also called Performance. Thus how to you translate the Performance dance into a setting, a cinematographic setting? How do you merge this into setting and costuming? These questions won't be answered here but in the design setting for a theatrical performance, they are important questions.

Thus Vogue or Performance is about natural poses and artificial poses too and the whole dance aims to minimise the distinction between natural and artificial poses. This is an important element in Performance. But sometimes the aim is actually to accent and emphasize the distinction.

Setting: A great feather fan rises to open up our world and our setting And this setting incorporates the development e.g. in the choreography from something formal to something less informal. This is also apparent in the costuming as well as of course the dance and its rhythm. There are more poses in the beginning and you might say that this is something natural. Posing is like a first step and grade in choreography. Poses are central to choreography and choreography in theatrical performance.

How do we materialize things in design, interior design, costume design? For example, in this video, you may want to materialize a certain 'concept' of eroticism as apparent in the 20s? How do you materialize the concepts of 'eroticism? You want to materialize this concept through a variation of the Performance dance. You can imagine these as stages in the design development. And there are the design elements too.

And what are the design elements of Madonna's Vogue? What are the elements of the setting? You can call the great feather boa or fan an element. The maid distorts in a way any sophistication and elegance that you might expect in the video. The maid also gives a glamor and eroticism to the sophisticated elegance associated with the 20s Hollywood world; This is another design element. There are also the men in tailored shirts, one with a low slouch hat ; the pillar, a man's scarf, the general evening wear. There is also the peroxide blonde hair of Madonna. There is also her attitude. There is attitude in the video. Attitude is another intangible element in a choreographed performance and this attitude is apparent in Vogue.

We have to take into account that the video has an 80s, early 90s feel but this is not so important. What is important is the mood that is created. Yes there is the 80s feel of the costuming especially apparent in the 'heavy and draggy' trousers in the final dance scenes. The jackets have their pads and there are other elements of 80s costuming as well as the wide shoulders such as the general 'power' look as well as the slightly cropped and flared trousers Madonna wears in one of the final scenes. woolen tailored costuming associated with the 80s. However there is still a timeless elegance about the video, the performance which is useful in doing any design project. The whole has a sophisticated glamor and elegance about it and within this world, we can choreograph the dance which is a variation of Performance or Vogue.

In Vogue, seduction has a sophistication about it. The video is a seduction and this is another intangible element. Using the elements available to it which are mainly its use of the Performance dance, the other aim of the choreographed performance in Madonna's Vogue is seduction. It aims to seduce. This world aims to seduce.

Review of Composite Acoustics Bluegrass Guitar (8LB)


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CA Guitars (a.k.a., Composite Acoustics) produces incredible dreadnought guitars. Model 8LB is unique among carbon fiber guitars. Specially designed for bluegrass music, the CA 8LB provides what bluegrass guitar pickers seek -- a dreadnought guitar with a deep, warm, somewhat punchy (yet not too punchy) bass that does not overwhelm the mids, along with singing highs.

The first thing that you may notice upon playing this guitar is the resonance. As with a lot of carbon fiber guitars, the resonance is booming and seems to come straight out from the soundhole in a floating cylinder of sound. My favorite part of the 8LB, though, is the control a picker has. Especially, I can strum a full and resonant chord, but immediately pick out individual notes that come through clearly. Most noticeably, during rhythm, I like to jump my fingers along the mids between chord changes - hammering on/off, sliding, and bending notes away -- and the mids come through fully during those chord changes, preceded and followed by chords that you can make either booming and resonant, or smooth and mellow.

Bluegrass guitar virtuoso Tim Stafford plays a CA Guitars Model 8LB and said the following about the instrument: "I was recently backstage at the IBMA Awards with my Composite Acoustics getting ready to go on, and Tony Rice asked me to play the guitar a bit for Del McCoury - both true legends of Bluegrass music. Tony said: "Listen to that. Isn't it something? It sounds incredible!" Del just grinned and agreed. But these comments are nothing new."

More Time to Kill - Lamb of God Drum Cover

Song: More Time to Kill Band: Lamb of God Album: Sacrament request from zeroskater133 good song, good band, good drumming enjoy



http://www.youtube.com/watch?v=TnWBc9Lc_5A&hl=en

Wednesday, March 24, 2010

Guitar Lessons Chords - Learn Everything From Beginner to Advanced Chord Progressions Online


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There are many young guitar players that commonly try to accomplish a little bit too much all at once and often disregard beginner guitar lesson chords and scales. However, what many of these players do not realize is how much these lessons can help you build technique and increase your overall ability to develop as a guitarist. Below we will walk you through some of the aspects of these lessons that can be so beneficial.

In order to build finger strength and overall dexterity, it's extremely important to practice with the help of exercises. Sure learning your favorite song will allow you to learn a few new chords or a riff, but utilizing a variety of different warm up and practice exercises designed to increase dexterity is a must. It's also quite common for players to learn chords through learning songs and not really know much about them. This is precisely where guitar lesson chords come in handy.

Developing the ability to play and write with your guitar fluidly is one that requires more than simply an understanding of a chords shape. In order to increase your overall ability when improvising, writing, or jamming you must increase your understanding of chord structures. Beginner and intermediate guitar lessons chords will give you a basic to build from and expand your knowledge.

Perhaps the most notable reason of all of learning guitar lessons chords through tabs or other interactive lessons is the ability to avoid learning bad habits early on. One of the biggest problems that a lot of guitarists have when trying to advance their playing is being held back by old bad habits they developed through not taking proper lessons. These can come in the shape of many issues from picking problems to chord changes. One of the most common issues is players that have developed odd ways of playing chords that are considered unconventional. While the fingering of any given chord might have worked for the player at one time, learning new chords or scales might prove to be a lot more difficult as they are not designed for someone who plays the way he does. This is why developing good habits for the way you play early on will most likely save you a lot of frustration when trying to advance your skill set even further in the future.

Another great reason why all players should be learning guitar lessons chords and scales is simply for practice. Commonly sticking to learning the same songs from one or two of your favorite bands or genres will not give your playing the depth that comes from traditional lessons. All great guitarists have learned many different techniques that span genres and generations and never limit themselves. You may not realize how learning jazz and blues chords will help you write songs now, but you will not know how you could live without them once you do.

Tuesday, March 23, 2010

The History of the Drum


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It seems musical instruments have found their place among the children of today's society. You can purchase child size pianos, harps, guitars and drums. The instruments have also won a place in the video game genre with games such as guitar hero being one of the all-time top sellers. While a child's piano or a kid's drum set may be popular today the original drum was not intended as an entertaining instrument.

The very first drum actually originated as long ago as 6000 BC. In some excavations in the region of Mesopotamia small cylinder shaped barrels were found believing to have dated back as far as 3000 BC. The original purpose of the item was to accompany ritual chanting in ceremonies that the ancients would perform. They were often kept as sacred ceremonial tools rather than as the entertaining devices we know today.

As people and cultures evolved the instrument evolved with them and began appearing in several different styles. The African version is an elongated drum which is played by the tapping of one's fingers upon the skin. Related to this type is the Brazilian or South American model known as the conga. Usually the conga is created in sets of two and is a small shaped piece that is also played by tapping the finger's against the skin.

A drum kit is the actual setup we've come to associate with the modern instrument. It generally consists of the bass drum, the snare, the tom and cymbals or high hats. While the kit actually existed before the 1960's the advent of rock and roll on the music scene really brought the instrument to new heights of popularity. It was no longer viewed as just an accompanying piece to the other instruments, but was now a sound in its own right. It became a very popular way of creating and expressing music and songs were created that now included drum solos.

With emerging technology the drum also became a synthesized instrument. Today you can purchase a synthesized set that incorporates all the sounds you can create with the traditional drum in a digitized format. You can even purchase musical synthesizer software to create the sound of drums on your home computer.

If you have a child who is interested in learning to play percussion you can purchase a kid's drum set that is age appropriate for them to use. In years to come the set can be added to as the child grows in ability as well as age. With so many options available with today's modern drum there's no telling how far your child's imagination will take him or her. Less than 50 years ago electronically created music was virtually unheard of so who knows what lies ahead for our children's musical talents.

Saturday, March 20, 2010

You're Still a Grand Old Flag


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George M. Cohan's encounter with a Civil War veteran inspired a song that became a Broadway hit. From there it became a household name.

That song was, and is, "You're a Grand Old Flag". This song celebrates Old Glory and all that it stands for. The song is a patriotic march with a catchy lilt and equally catchy lyrics. It certainly is a summer concert-in-the park favorite.

George Cohan found himself next to a veteran of the Battle of Gettysburg one day. He noticed the man had a neatly- folded American flag in his hands but that it was ragged looking. This man said to Cohan, "She's a grand old rag."

This triggered an idea for a song in Cohan's head and he wrote one using this line. There was consternation from people over the term 'rag'. Many felt it was an insult to the Stars and Stripes and they wanted that word removed from the lyrics. Cohan did just that, changing the word to 'flag,' and the rest is American musical history.

Cohan wrote the tune in 1906 for his stage production 'George Washington Jr.' The play, and the song, premiered on February 6, 1906 at the Herald Square Theater in New York City. The story starred Cohan, who played a U.S. Senator's son who desires a simple girl from the southern United States. His father has different aims - wanting his son to link up with an English woman of prominence. The story is their battle to achieve two different goals.

The play and the song 'You're a Grand Old Flag' were a huge success. From Broadway it subsequently moved into America's living rooms over the years because of record and sheet music sales. In fact, this was the first song from a stage musical to sell over a million sheet music copies.

You're a Grand Old Flag became a staple at the family piano and was played across the country. The tune is bright and positive. It evokes feelings of national pride, and one cannot help being uplifted upon hearing it.

George M. Cohan was born in 1878 in Providence, Rhode Island. His parents were Vaudeville performers who continually toured the country. George traveled with them, along with his older sister Josephine. He honed his show business skills as a member of the Four Cohans -- this mother-father-sister-brother act. They kept up a hellish tour schedule with the B.F.Keith Circuit and belted out four to six performances a day. This paved the way for the big time for Cohan, the dues-paying years teaching him much.

Eventually Cohan became a prolific Tin Pan Alley tunesmith and penned many popular songs. Others included "Life's A Funny Proposition After All," "I Want to Hear a Yankee Doodle Tune," and "Over There."
His influence was so great he earned the moniker "The Man Who Owned Broadway." Along with that he is known as the father of American musical comedy.

Cohan was not only a songwriter. He wore these hats as well in his career:

* Playwright
* Composer
* Actor
* Singer
* Dancer
* Director
* Librettist
* Producer

His influence and popularity as a true American entertainer resulted in a film about his life. This film was Yankee Doodle Dandy, which portrayed his rise from his Vaudeville days to his Broadway success.

Today, Broadway and its tunes may be a whole lot different from Cohan's time. They still owe a debt of gratitude, however, to this eminent American songwriter and his stage musicals.

Songs like "You're a Grand Old Flag" still speak today to people who are thankful of and appreciate the opportunity America offers.

Wednesday, March 17, 2010

Basic Drum Set Lesson by Aaron Bland: Quarter Note Placement

Basic Drum Set Approach: "Quarter Note Placement" Introductory instructional video by renowned drum instructor Aaron Bland. Covers the basic fundimentals of approaching the drum set using a "quarter note constant" on one hand and permutations of patterns on another limb. "quarter note placement"



http://www.youtube.com/watch?v=NZJcStq-I0g&hl=en

Monday, March 15, 2010

Learning to Play Guitar-Guitar Scales - A Unique Approach


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This article presumes that the reader is familiar with several different types of guitar scales, and has a good working knowledge of guitar chords (triads and extended chords). Further, this article presumes that the reader is familiar with some basic music theory (key signatures, chord and scale function within a key signature, etc.).

In general, guitar scales and guitar chords are a must-know for every guitar player. The depth of each player's knowledge is relative only to the desire of each individual guitarist. For example, some guitarists can play a few guitar scales and guitar chords, but have no desire to truly understand the music theory behind those scales and chords. Other guitarists thrive on scale and chord construction, diatonic and chromatic relationships, and usage (including substitution principles).

This article is intended for the intermediate and professional guitarist. It is also intended for the advanced beginner who has decided to advance to intermediate and then on to professional levels of proficiency.

Learning and practicing guitar scales is essential to one's growth on the instrument. If one truly desires to learn to play guitar, then guitar scales must become part of the learning process. Of course, the exception is for the campfire type of guitarist. Playing a few songs at the beach doesn't require an in-depth study of guitar scales.

As the title of this article suggests, one can practice guitar scales and have fun with music theory at the same time. In fact, if one is practicing correctly, recognition of music theory should be occurring simultaneously along with the mechanical practice. Let's play a game with guitar scales and music theory. This is an easy game to play, yet extremely profound in application.

First, we must establish the foundation for the game. Therefore, we'll utilize the major scale along with it's construction and function within a diatonic tonality. Further, and in the spirit of simplicity, the C major scale will be referenced for explanation purposes.

The C major scale (diatonic scale) consists of eight notes (scale tones) to the octave. For example, C (1)-D (2)-E (3)-F (4)-G (5)-A (6)-B (7)-C (8) represent the notes and degrees of the C major scale. In theory, these notes are represented as I-II-III-IV-V-VI-VII-VIII or I (VIII always means I). All of these notes and numbers represent the players in our upcoming game.

The purpose of the game is simple. However, an explanation for playing the game is appropriate in order for one to fully understand the essence of the game.

Years ago, one of my students asked me how many different ways the major scale could be played. At the time, I was teaching in Hollywood California. I instructed my student to go grab the Los Angeles phone book (sitting on top of an amplifier in my recording studio), and bring the phone book to me. Baffled, my student complied with my request. I opened the phone book and asked my student what the population of Los Angeles was. Of course, the answer is millions of people. Millions of people results in millions of telephone numbers. Hence, the name of the game is Playing The Phone Book.

The rules of the game are as follows. The numbers of any telephone number are matched with the corresponding degree of the major scale. For example, the telephone number 576-3321 would translate into playing the following notes V-VII-VI-III-III-II-I or G-B-A-E-E-D-C (5-7-6-3-3-2-1). When the number 9 is encountered, it means to skip to the next note. When a Zero is encountered, it means to repeat the previous note or command. When the number 8 is encountered, it means the same as the number 1. How would you play the phone number 236-5431? How about 652-3800? How about 871-9056?

How many phone books would you suppose exist in the United States? How many phone numbers would you suppose exist in the United States? How many different ways (presuming you understand the phone book game) do you think the notes of the major scale can be played? Millions! That's right, millions.

By playing the phone book, one develops an awesome awareness of note location and note function. There are hundreds of variations of this game that I teach to my willing students (for scales, chords, and substitution principles). The results are staggering for both fingerboard awareness and knowledge of music theory.

The next time you find yourself with a little time on your hands, pick up the phone book and play it. However, be ready to receive a few strange looks from your loved ones and friends when you attempt to explain your actions. That's also a part of the game. You know, it's called consequence. Just kidding! Have a great time playing the phone book.

©2008 Michael E. Fletcher. All Rights Reserved Worldwide.

Saturday, March 13, 2010

How to Buy a Full Drum Set


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Are you looking into purchasing a full drum set? There are a number of models and brands of full drum kits to choose from for the beginner, intermediate, and professional. You can find acoustic drum sets that are fairly cheap in price to expensive high quality kits. Before purchasing, check out the determining factors regarding the reasons for acquiring a drum set.

Reason for buying a drum set

You might want to answer a few questions first before buying a drum set to make sure you are getting the right one. Will it be used as a hobby? Will the set be used for learning how to play? Are you buying this for your child? Will you be using the kit for gigs or recording? Are you looking for a set that is new or used?

Components of a full set of drums

A full set of drums may look different from one individual to another though it is probably safe to say a basic setup consist of a snare, one or two rack toms, floor tom, bass drum, single kick pedal, hi hat, ride cymbal, and two crashes (all hardware and stands included). You can add another floor tom or more rack toms, crash cymbals, extra kick drum or double bass drum pedal if so desired. Generally speaking, the number of drums in the setup will denote the size of the kit such as a four, five, or seven piece drum kit.

Cost

An important determining factor would be the amount you are willing to spend. Drum sets cost anywhere from $100 up to a custom built set of $6,000 or more. Most sets do not come equipped with hardware such as cymbal stands, cymbals, and kick pedals which can add to the cost. So it is best figure out your reason for the purchase and all that you need to complete the full drum kit.

Where to buy a full drum kit

You can find drum sets at your local music store, from the newspaper, and through the internet. Some merchants may not carry used drums but you can still find great deals on both new and used kits.

Make sure when you make the purchase that you start with the basic setup and add to it if desired.

Thursday, March 11, 2010

Tech Itch - Therapy Sessions

This dnb Mix is by the legendary Tech Itch. The Mix was taken from a 30 min set and edited down to fit here



http://www.youtube.com/watch?v=WhmSXWbhw3E&hl=en

Tuesday, March 9, 2010

Resources in Piano Teaching - Creative and Innovative


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Are you a piano teacher? Are you looking for some reliable, creative and innovative resources in piano teaching that your students would really appreciate and enjoy? Well, if you are a piano teacher who wants more than creativity, effectiveness and efficiency in the music classroom or studio, I must say that you've just landed on a right page. In this post, you would get to know some tips on coming up with more innovative and useful resources in teaching piano.

Most piano teachers out there always aspire not just for professional growth but also for the improvement of their resources in piano teaching. Showcasing our students' talents and abilities as well as reinforcing their personality and character, music and piano teachers venture into many things that can make these things happen. To help those who are in need and to resolve these issues, read on and see how you can take your teaching experience to the next level.

The following are some good and innovative resources in piano teaching that your students would surely enjoy and appreciate - getting more and more excited and enthusiastic to attend each music class or session.

The integration of technology in the learning process is a good start.

Innovation in music teaching is the inclusion of new trends and tricks in the strategies of piano teachers. Coming up with new stuffs and methods in teaching heightens the levels of interest and motivation of your students without worrying about the attainment of academic objectives and the like. On a personal note, students would surely look forward to each activity and worksheet that they would participate in the classroom.

Piano teachers' software can be found online - updated and innovative.

There are some reliable resources in piano teaching that can be taken and adopted from different web applications or music teaching programs available online. The power of technology in terms of software creation and programming has greatly and positively influenced and conquered the music education arena. Without putting quality and efficiency at risks, piano teacher's software can really be helpful and useful to most piano teachers out there.

Find a reliable piano teachers' website today.

Music teachers' websites are made readily available to most music teachers out there to give them what they truly need and deserve. Those piano teachers, who thirst and crave for more innovative and effective resources in piano teaching, should try it online - researching and finding for those reliable inputs and tips.

More so, with just a very few clicks, you can find links to those pages that are considered as networks and linkages of other educators around the globe. This can indeed be a good place for you to expand your knowledge and skills in piano teaching.

Create better musical activities and make them involved.

Musical activities provide children with important experiences that can aid them improve themselves - including these aspects: physical coordination, timing, memory, visual, aural and language skills. Through these tools and activities, you can anticipate a better classroom environment and learning situation as you would see them more motivated, inspired and enthusiastic in participating in every activity and participating in each lecture or discussion.

So, what are you waiting for? Visit a piano teacher's website today, find your own piano teacher's software and make use of those creative and innovative resources in piano teaching. Enjoy and more power!

Sunday, March 7, 2010

Tama Imperialstar 5 Piece Drum Kit

Tama Imperialstar 5 Piece Drum Kit Stage Master Hardware Experience the ride - Tama Old Time Gospel Bluegrass Gospel



http://www.youtube.com/watch?v=0YxCdvR8qZI&hl=en

Friday, March 5, 2010

Scott Hamilton Ballad Essentials Jazz Music CD Review


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The exceptionally talented Jazz artist Scott Hamilton has released him CD entitled Ballad Essentials. I am very confident and happy to announce that I believe Scott Hamilton fans, and Jazz fans alike will be pleased with this one. With the release of Ballad Essentials Scott Hamilton's artistic excellence is on full display as Hamilton has once again delivered a brilliant collection of tracks that could very well be him best work to date.

This CD grabs your attention right from the start with Skylark and won't let go until the very last note of the very last song Tonight I Shall Sleep With A Smile On My Face, which is another great track by the way.

Scott Hamilton possesses the characteristic of being able to win you over with him talent alone. The kind of artist I frankly just flat out enjoy listening to.

I'm of the opinion that Ballad Essentials is certainly Scott Hamilton's best work in a few years. A totally enjoyable CD and an outstanding release. What I call must have music. I give it two thumbs up because it's a collection that even the casual Jazz fan can appreciate and enjoy.

While the entire CD is really very good the truly standout tunes are track 2 - Everything Happens To Me, track 5 - In A Sentimental Mood, and track 12 - Tonight I Shall Sleep With A Smile On My Face.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 - Skylark. Outstanding!

Ballad Essentials Release Notes:

Scott Hamilton originally released Ballad Essentials on February 22, 2000 on the Concord Jazz label.

CD Track List Follows:

1. Skylark

2. Everything Happens To Me

3. My Foolish Heart

4. That's All

5. In A Sentimental Mood

6. I Should Care

7. Body And Soul

8. 'Round Midnight

9. My Romance

10. Stardust

11. I'll Be Around

12. Tonight I Shall Sleep With A Smile On My Face

Personnel includes: Scott Hamilton (tenor saxophone); Alan Broadbent (arranger, tenor saxophone); Spike Robinson, Ken Peplowski (tenor saxophone); John Bunch, Nat Pierce, Dave McKenna, Norman Simmons, Brian Lemon, Gerry Wiggins (piano); Chris Flory, Cal Collins, Howard Alden (guitar); Phil Flanigan, Monty Budwig, Bob Maize, Dave Stone, Dennis Irwin, Dave Green (bass); Chuck Riggs, Jake Hanna, Roy McCurdy, Jeff Hamilton, Allan Ganley, Connie Kay (drums).

Wednesday, March 3, 2010

Storytelling - A Native American Indian Perspective


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Storytelling should be a part of every speaker's arsenal. If you listen to the best and pay close attention, you will see that many speakers incorporate stories into their message because they have a way of connecting in a way that facts cannot. Great speakers press a point with a tale that makes their message applicable to our lives. A well-told story is descriptive and takes the listener on a mental journey that is full of sights and sounds. They evoke sensory memories and help the listener to feel as if he or she were there and a part of the story.

Outsiders often think the chief was the most powerful person in an Indian tribe, but the most influential person was the storyteller. The storyteller was the verbal source of wisdom, history, literature, knowledge, moral instruction and learning. In the Native American culture story telling is used to teach, inspire and entertain. The old story tellers were often called "tricksters" because of the way they would inject valuable lessons into the message they were sharing. The people would hear the stories thinking that they were being entertained while they were actually learning through the lessons and morals of the story and its characters. These stories were indelibly etched in the collective mind of the tribe. The storyteller moved people from interest to action through the power of story. You, as a speaker, can do the same.

Stories work to teach people because they allow the listener to participate in the story from a neutral position. Have you ever tried to talk to someone about a problem, possibly some undesirable quality that they possessed? Often, the person becomes defensive - on guard because they feel they are under attack. The ears shut and the speaker's words can easily go unheard and unheeded. Stories allow the listener to hear outside of themselves, making it easier to perceive the intended message from a place of safety. Because people have a natural inclination to find the relevance of the story related to their own life, they insert themselves in the place of the characters that they relate to in the story and find a personal message.

I want to take you through one of my own experiences and show you how the principles of story telling work. I work in a highly competitive environment where there is a wide variety of cultures and ethnic backgrounds. Interoffice sharing and cooperation is not a priority. There were a series of misunderstandings between several groups to the point where "he said/she said" went beyond gossip and was threatening to erupt into disintegration of the team as a whole and possibly violence.

Any time there is a wide group of ethnic backgrounds, cultures and ages with varying perspectives and beliefs, there is always the potential for misunderstanding. People perceive things and act on their own experiences. These are often different from the perceptions of others. When the matters are personal in nature, a situation can escalate and spiral out of control quickly. To diffuse this situation, I called the group leaders together to review our common goals and general mission. I then shared the following story with them:

One morning there was a young man of the people who went to the great prairie to observe and learn from the creatures he found there. In Indian tradition we call this "still hunting" because we sit very still in whatever environment we wish to learn from and quietly observe the things around us.

This young man went to the center of the great prairie where he found a huge rock. He sat on the rock and began to watch. After a time, he saw a mouse that was running through the grass with all of the might his little legs could muster. The young man could tell that the mouse was afraid because he kept looking behind him as he ran as if something were chasing him. The young man said, "Hold on there little brother! Why are you running? What are you so afraid of?"
The mouse looked up at the young man and replied, "Are you serious? Can you not hear the war song of brother wolf?! If you had any sense you would be afraid, too, and would run with me!"

The young man decided to find this wolf and see what was going on, so he set out in search of him. It was not hard to find the wolf as he was up on a grassy hill with his head thrown back, howling for all he was worth. The young man greeted the wolf. "Brother wolf, why are you singing a war song?"

The wolf turned to look at the young man and the young man could tell that the wolf, too, was afraid. Wolf said, "I am not singing a war song but maybe I should because brother elk has been making weapons of war. I can hear him sharpening his antlers on the trees all morning."

The young man left the wolf to see what would cause the elk to do this, and off he went in search of elk. It was not long before he found elk sharpening his great antlers on a huge pine tree. He greeted the elk saying, "Aho brother elk! Why you preparing for war?"

The elk stopped his sharpening. "I am not, but maybe I should be! Have you not heard the thunder being's war drum? I have seen him strike the earth with his might drum stick and set the prairie ablaze."

"I will go to the thunder being and find out the cause for this." And off he went to find the thunder being.

He climbed a huge mountain where the rumblings of the great war drum could be heard. There he found the thunder being sitting at a drum the likes of which he had never seen. He beat this drum with a stick made of lightning and every now and then, the thunder being would touch the earth with his stick. After greeting the thunder being, the young man asked, "Why is it that you beat the war drum? Are you preparing for war?"
"This is not a war drum."

The young man began to see what was going on and called all of the creatures together for a great council meeting that was to be held on the great prairie that very night. After all were gathered and assembled in the council circle, the young man greeted them. "I was sitting on this very rock in the middle of the great prairie when brother mouse came running by, very afraid. He said brother wolf was singing a war song and this was the reason for his fear. Brother wolf, what do you say to this?

Brother wolf replied, "It is true that I was singing, but it was not a war song. I sing in this way to greet my people and to give thanks for the gifts of the day."

Next the young man told the council that brother wolf had heard brother elk making weapons of war and sharpening his great antlers on the trees. He asked elk, "What do you say to the things that brother wolf has said?"

The elk spoke. "It is true that I was sharpening my antlers but this was not in preparation for war. My antlers are like antennae that reach up to the Creator in praise and thanks for all of the many blessings that we have. I like to keep my receptors sharp and in tune."

The young man continued, "It was after this that elk told me the thunder beings were beating the war drum and setting the earth on fire with drum sticks of lightning. Thunder being, what would you say to this?"

"It is true that I was beating the great drum but it was not in preparation for war. The thunder of the drum announces the coming of the spring rains that are so necessary to things growing upon the earth. And, yes, I touch my drum stick to the earth but the fire burns away the old and dead things so that new life may come through. All of this is done in the spirit of abundance and thanksgiving for all that is given."

The young man addressed the council, "All of you were made different by the Master of Life and yet we see from today that while we are different, we are the same. Each creature gives thanks and praise in this own way as we celebrate our gifts from the Creator. Let us work from this day forward to understand one another and to be more tolerant of our differences. Let us not rush to judgment over things we don't comprehend until we can find out the meaning and true purpose."

And so it was.

...Understanding could be seen on the faces of the group leaders. Heads were either nodding in understanding or hung because they were embarrassed at what had been revealed to them through this story. It was a simple matter of showing them their role in the misunderstandings. Through story telling they could see the part they played without making them feel any more alienated than they already were. With this foundation, I could remind them of their responsibility and illuminate possible outcomes. We could either make corrections or continue to disintegrate as the story had shown.

Native Americans use symbolism and allegory in their stories that help the listener discern a deeper meaning from what they hear. The symbolism is often based on teachings and the language of an ancient tool called the Medicine Wheel. The story I used had some of this language in it and I want to show you some of it to help you see beyond the surface meaning of the story.

The story starts off, "One morning.." This is to symbolize that it is a new beginning. Just as the coming of the sun signals the coming of a new day, the "morning" says that tis is a new beginning. You will also see that the story ends with the young man calling a council meeting "that very night". This is the end of a cycle and denotes completion. Morning, mid-day, evening and night are the four phases of the daily cycle. After the characters in this story come full circle in their understanding, it is complete and balance is restored.

To the plains Indian, the great prairie represents "everyday life". So, too, does this story speak to the things that occur in everyday life. To find understanding of the things of the "great prairie", the young man went to the center. He was searching in balance and was centered in his seeking. He sat upon a "huge rock" which is to say that he was on a solid and firm foundation when he began to "look", or still hunt, the world around him.

The creatures used in the story possess certain characteristics. We look to these characteristics to guide us and give us clues to the deeper meaning in the story. The mouse is a creature that sees what is in front of his face. He is a timid and fearful creature. We know that if you have a narrow view, your perception is further clouded by the emotion of fear and that you don't see as clearly as someone who has a broader perspective and is in balance. The mouse, being so fearful, perceived the wolf's behavior as a hostile act. To the mouse everything is dangerous and is a threat.

But what about the wolf? The wolf is not as fearful as the mouse but he is a wary creature who perceived the actions of others as being potentially harmful and something to fear. You'll remember that he heard the elk "sharpening" his antlers. He saw through his window based on fear.

The elk is a creature who doesn't realize the full extent of the strength and power he possesses. This is true of many people and why the elk was used in this story.

The thunder beings speak to the things that are hard to understand through the five senses. They are the subtle forces that move unseen through our lives and yet still impact us. All of these things contribute to our perception, or lack thereof, and influence us whether we know it or not.

Emotions, misunderstandings, lack of experience - all of these things can contribute to an errant perception. They can light the fire of imbalance which can burn out of control until everything is consumed. Or, we can put the fire out. All of the creatures and their characteristics worked to fuel the situation that developed among them. This is true of the situation that was created by the people with whom I shared the story. You may now understand how difficult it would have been to show each person their character flaw and how they were contributing to the situation. Their contributions were based on misunderstanding perpetuated by their faulty perceptions and narrow viewpoints. The story accomplished this from a neutral position that did not threaten anyone's ego or pride. It allowed each person to see and correct his own actions and then work towards a shared solution.

Story telling is an effective tool and speakers are encouraged to add this tool to their repertoire. Become proficient in this age old art and your audience will remember your message long after they have heard you speak. Remember, you can move people from interest to action through the power of story.

In Spirit,

Ralph P. Brown (Tawennihake)