Must See British Music Festivals

Music festivals have been a staple of the UK music scene since the late 1960s and began to flourish in the 1970s. Today the festival experience is a big part of summer in the UK for fans of music of all types to gather and enjoy entertainment from diverse artists. Jack Nicholson and Morgan Freeman starred in a movie called "The Bucket List." It was about making a list of things to do before you die. In the same vain, here is a list of five music festivals you should go to before you die.
1. Wireless Festival - This festival takes place at Hyde Park in London, usually in June. Live Nation runs this festival that attracts big names each year. Some of these include The Strokes, David Gray, James Blunt, Pink and Jay Z. The Black Eyed Peas and the Chemical Brothers are among acts confirmed for 2011.
2. V Festival - This festival is held on the next to the last weekend of August simultaneously at Hylands Park in Chelmsford, Essex and Weston Park in Staffordshire. The same artists play both locations, playing once on Saturday and again at the other site on Sunday. Jarvis Cocker, lead singer of the band Pulp, came up with the idea in 1996 when he thought it would be fun to play two outdoor events in one weekend.
3. Reading and Leeds Festivals - This is a pair of music festivals taking place in Reading and Leeds in the United Kingdom. Events take place simultaneously from Friday through Sunday during the bank holiday in August. Campsites are available at each location, but there are also day tickets for those who do not want the camping experience. Many festivals include camping, it is something festival-goers should enjoy at least once. Generally most festival crowds are friendly. More than 150,000 people come to each location annually.
4. The Big Chill - This festival has been held since 1994 and takes place at historic Eastnor Castle in Ledbury, Herefordshire, England. The festival got its start as a series of parties before officially being organized into a festival. The festival attracts many of Europe's top DJs and live acts including M.I.A., Lol Hammond and the Parrish. The castle grounds are an ideal setting offering an amazing view and plenty of space to enjoy the energetic live performances.
5. Isle of Wight Festival - The Foulk brothers created the original incarnation of this festival in 1968. It was revived in 2002 and has taken place at Seaclose Park in Isle of Wight, UK every year since. Bob Dylan made a famous appearance at this festival in 1969, choosing to play here rather than at the Woodstock festival going on at the same time in the United States. This festival continues attract big names, including Jay Z, Paul McCartney, Blondie and the Foo Fighters. This festival has been given the honor of "Best Major Music Festival in the UK" and one not to be missed for any fan of music.

Ideal Ways To Find the Beat in Salsa Music

For the learner who is keen to master the art of salsa dancing, there are several basic elements that ought to be mastered to become a top exponent in this field. One such prime feature that attracts the attention of beginners happens to come in the form of the beat related to the salsa music. The ardent learner has to be sure to find the beat pertaining to this music before he ventures to execute the dance steps. Without knowing the essence of this music, the novice will find it difficult to grasp the finer elements of this dance form.
Do It Yourself
While the beginner takes efforts to learn the basics of salsa dancing, he is sure to make a good progress with regards to his learning process. While the enthusiastic learner gets necessitated to master the beat related to this music, he should try to count the steps on his own and try to master the beats related to this music with his own efforts, instead of waiting for the instructor to do the counting on the part of the learner.
Listen to Salsa Music
Yet another measure that ought to be put in place by the learners who long to master the beat pertaining to the music is to listen to salsa music day in and day out. This is done to make sure that the novice gets the real feel of the music, and with it finds it easy to master the beat related to the salsa music.
Hear to Specific Instruments
The enthusiastic learner also should make it a point to provide his focal attention to hear to specific instruments. In case of the learner who is taken through the dance moves pertaining to On1, the cowbell can be heard for the first and the third beat. Likewise, the learner has to take efforts to listen to other specific instruments which sharpen the skills of the enthusiastic individual, as the learner can also start finding the beat related to this music.
Listen and Dance
When the enthusiastic learner makes use of a salsa DVD, he does well to listen and dance. While this mode gets used, the music tends to sink in, and the learner can also master the beat related to the music.
Salsa CDs
There is also option related to the salsa CD that helps an enthusiast to know about the instruments that get used in a salsa orchestra, as the learner is also taken to through the beats that are unique to the instruments. This is one of the ideal ways to master the beat pertaining to this music.
If you are keen to find the beat related to salsa music, these are some effective measures that help an enthusiast to master the beat related to this music.

What Is Yngwie Malmsteen's Best Album? Rising Force Of Coarse!

Rising Force is the first solo album by Swedish guitarist Yngwie Malmsteen, released in 1984 through Polydor Records. After it's release Yngwie used the name for his band on subsequent albums. Guitar World Magazine ranked this debut as first in the all-time list of shred albums. I rank this as Yngwie Malmsteen's Best Album.
There are many guitarists who fall into the Neo-Classical style, but few do it as well as Yngwie. Heavily influenced by Ritchie Blackmore and Jimi Hendrix, Malmsteen combines classical music with hard rock/metal. Most of the songs are instrumental and they showcase Malmsteen's incredible chops. The album also includes the keyboard work of Jens Johannsen, the drums of Barrie Barlow from Jethro Tull and Jeff Scott Soto singing on two tracks. Yngwie handled the bass guitar for the album.
Here's my take on each song:
TRACK BY TRACK:
1. BLACK STAR: He opens the tune up with a nice classical guitar piece followed by grooving drums and bass. A little bit of spacey guitar work before the main melody starts and then bam! You get your first introduction to Yngwie's signature style and sound.
2. FAR BEYOND THE SUN: This is probably my all time favorite Yngwie song. Great pace and nice melodies mixed in with intricate guitar work. Can almost hear a Symphony playing this song!
3. NOW YOUR SHIPS ARE BURNED: One of two songs with vocals. The lyrics are a bit silly, could be that something was lost in translation since he is Swedish after all! Fortunately the vocals don't last in this song and Yngwie proceeds to tear things up on the guitar once again. Of note is the starting riff which really stands out in this song.
4. EVIL EYE: He starts this tune out on the classical guitar again, this time with a kind of Bach/Baroque feel to it. Then kicks in with the rest of the band but still has a very classical feel. It has a nice sounding acoustic guitar playing along underneath for most of the song. Toward the end of the song Yngwie has a nice duel with the Keyboardist.
5. ICARUS DREAM SUITE: Another song that I could easily hear performed by a symphony and probably my second fave on the album. It has some cool atmospheric sounds going on and very nice melodies coming from Yngwie's guitar. I especially like how he switches between Acoustic and Electric guitar on this one.
6. AS ABOVE, SO BELOW: This is the other track with vocals off the album and the keyboardist gets to start the song off with a spooky organ sound. Again, the lyrics leave a little to be desired, but who listens to these songs for the singing anyways? After the vocals finish the first half of the tune the arpeggio melody that Yngwie plays here is awesome!
7. LITTLE SAVAGE: Drums get this tune started with a nice roll then the heavy riffing begins. This is probably the heaviest and progressive sounding song on the album and a nice change of pace from the Neo Classical style the rest of the album has.
8. FAREWELL: This is the classical guitar from the intro to Black Star revisited and Modified. He used this as an outro track.
This is one of the best albums I own of this genre and I have a high respect for him as a guitarist. Flawless playing and beautiful melodies. That's why Yngwie Malmsteen's best album is Rising Force!

Don't Change Writer Credits to McCartney/Lennon - An Appeal To Sir Paul McCartney

I am writing this article primarily to ask Mr. McCartney to abandon the thought of changing the credits to the songs that he wrote during the 'Beatles' era from Lennon/McCartney to McCartney/Lennon. This may be a dead issue now, but from time to time it seems to come up. Although it may not be my place to make such a suggestion, I felt compelled to write a brief note to let him know how this idea comes across to me and I think most of us on this side of the pond, those of us here in the U.S.A.
Paul McCartney, undoubtedly, sees the Beatles songs that we all have come to love differently than the majority of us. He lived through the creating of these songs, some to be sure have deep personal meaning to him. I imagine that to change the credit to reflect more of who actually wrote any given Beatles song could be important, since this is his personal history. What he may not realize is that each of these songs also does and will have deep personal meaning to millions of others, those of us who can remember where we were the first time we heard one of these Beatles tunes. And there will be millions more that will have fond memories of certain Beatles tunes, songs that will become a permanent part of their lives. I still have young children come into my store (I sell Karaoke tracks) and ask for many Beatles songs, belting them out at the top of their little lungs. Shouldn't these kids know who was primarily responsible for the writing of any given Beatles song? I think certainly, but not by changing the credits.
A song by Lennon/McCartney has come to be known as something near sacred. There are certain pairs of names that really shouldn't be changed. They have become part of our lives in the order they fall. Abbott & Costello, Laurel & Hardy, Jack & Jill, and Sonny & Cher, just to name a few. And that last couple I mentioned - Sonny & Cher. That Sonny Bono really wasn't an accomplished singer; without Cher's lead vocals it is very unlikely that they would have received any sort of success. So Cher could argue that the couple really should be known as Cher & Sonny from this point forward but that would be opening up a whole big can of worms. Maybe Cher always wanted first billing, maybe Sonny promised her that her name would come first on the 'next' album, maybe the record companies changed their original agreement and made Cher, the solo artist into Sonny & Cher, the duo. And then there's the fact that Sonny Bono is dead. (Cher, it appears is going to live forever) To try to change the name Sonny & Cher to Cher & Sonny is like trying to change history. Likewise to try to change Lennon/McCartney to McCartney/Lennon, even if it's only on the songs that McCartney was the principal writer is like trying to change history. Most of us do not consider the second person in any of the previously listed couples of any less importance to the first person. Then there is the fact that John Lennon is dead.
When someone dies, he or she often reaches a sort of sainthood. All the imperfections, shortcomings, idiosyncrasies, and bad personality traits are quickly forgotten. Look at Michael Jackson. If he were alive today the tabloids would be slamming him for his latest cosmetic surgery, sleeping in a hyperbolic tube, his pet chimpanzee, his walking around in pajamas, or who knows what. Now that he's dead his personal life doesn't matter anymore; he's viewed as a musical genius, a superb dancer, and a great entertainer. We have undoubtedly seen the same thing happen with Paul Mac's friend and partner John Lennon. Many see him as the great peace activist, great songwriter, great musical artist that he was. Some may even see him as the principal leader of the Beatles. That probably may gnaw at Paul McCartney but look what he gave up to reach this status - his life. His life was taken away over 30 years ago; can you believe it's been over 30 years? McCartney is still here among the living. He was sainted by the Queen, for pete's sakes. He has his life, complete with children, stardom, success, and yes, recognition.
If he feels that he hasn't received the recognition that he deserves, then it's time to write an autobiography. That would be the best way to receive the credit that you feel might be lacking for the songs that you had the major hand in writing. To change the writing credits would be like trying to change history. I hear that Paul is an occasional painter and I am an occasional artist also, When I complete a painting and sign it, that's it. Although I see where I can improve my piece of artwork later, maybe by adding a shadow here or some texture there, I leave it alone. My suggestion is to leave your musical artwork alone also. It may be oversimplifying this but I believe I'm speaking words of wisdom when I say Let It Be.

I was born in 1960, so I cannot remember Beatlemania as it happened. The first recollections that I have of hearing the Beatles music was when my older brother brought home the Abbey Road album in the early 1970's. I hated it. I was used to my mother's music; Petula Clark, Herb Alpert & the Tijuana Brass, Andy Williams, and Perry Como. It wasn't until later that I could appreciate the music my brother already came to love - music by not only the Beatles but Creedence Clearwater Revival, Sly and the Family Stone, and the Doors. Now music plays a large part of my life. I sell renditions of these songs and thousands of others, music without the vocal track; I sell Karaoke.

How to Keep Your Passion for Music

In my experience, when people stop learning their instrument, the majority retain, no matter how small, a fondness/casual liking of what they learned. They may on the odd occasion return to their instrument, if only to play for pleasure or 'mess around'. However the reasons they stopped learning (which are vast) generally mean they don't tend to return to their instrument soon after quitting. It can therefore be many years before their interest is rekindled. My feeling is that while it might be understandable to stop lessons, quitting learning the instrument altogether (or even playing for pleasure) is drastic. Unless you had absolutely no ability and made little progress, it would be a mistake to abandon your instrument altogether because of:
- the time and money spent towards lessons
- the experience and knowledge gained from learning and playing various pieces
- the satisfaction in being able to entertain others
- your own personal happiness in being able to play for pleasure
It is understandable if as a child you had 'pushy' parents and they drove you hard to pass your music exams. The hard work and preparation can be draining and too much for some, totally putting them off their instrument once the exams are over. However in months and years to come, you should recognise how well you did in working hard towards your exams because in doing so, you raised your level of playing. So even if you never have another lesson again, your standard would have been raised to such a level that you now benefit by being able to learn other pieces for pleasure that would have been far harder before your exams.
I have also met people who had ideas for songs which they could play part of on the piano. The great shame is that these people tell me they lost all that because they stopped playing completely. And to think that some possible gems might have occurred from their ideas if only they had stayed with their instrument in some form. If you're in a similar position where you have stopped lessons but were creative with tunes for songs, don't go down that route! Find an outlet for your creativity. When I speak with adults (especially the parents of those learning an instrument) I am always delighted to hear they kept music a part of their lives. Often, this has led to some even doing extra curricular music activities such as:
- Help out at a their school/ church/singing class/play/dramatic production
- Play in a band or other group
- Fulfil a lifelong ambition learning pieces they didn't have the patience to learn when they were younger.
My suggestions for what to do once you've ended lessons are:
- Give your instrument a break rather than turn away from it completely. Anything from a month to 3 months (bear in mind the longer you leave your instrument, the rustier you become)
- Listen to music you really enjoy and see if there are easy versions of that for your instrument. You might be surprised what's out there.
- Go to concerts and live gigs. These will help maintain your enthusiasm for music at some level.
There is a saying that "one is not old until regrets take the place of dreams". Don't be a living example of that.

Music Producing Software - Getting the Best Bang For Your Buck

Is it really possible to use free online music producing software to produce music? The answer is quite emphatically, no.
There are several reasons why this is so:
1. They use MP3 Tracks
As the software is based online, and you are connecting via your internet connection, you are very much limited on size of sound files. For electronic music production in particular, but really any music production, you need 44.1 stereo wav files.
MP3s are created by taking proper 44.1 stereo wav files, and stripping out the higher and lower frequencies. These are typically frequencies humans can't hear. While it may seem logical that you don't require frequencies you can't hear, think again! You may not hear them, but you can feel them. They vibrate the air, and completely change the feel of a track when you are producing music. Any music producing software that uses MP3s should be avoided.
If you are still doubtful. Try playing a track you have downloaded in MP3 format. Next, try listening to an LP12 version of the same track. You will never be able to use MP3 again for electronic music production, I guarantee you.
2. They are limited by the speed of your internet.
Again, due to bandwidth limitations, you are a slave of your internet connection when using online music producing software. Music production requires fairly powerful software. While most modern day computers have sufficient power, modern computers limited by their bandwidth do not.
You might be able to make novelty songs for your friends, but nothing broadcast quality. If you are reading this article, I'm going to assume you have more ambition for your music production.
3. They only have 8 Track Synthesizers.
If you are serious about electronic music production, then you need 16 tracks. 8 do not have the required depth to really produce amazing, broadcast quality music.
4. No training
Free online software will not come with videos on how to actually use the software to produce music. Music production takes hours of practice. Wouldn't you rather be using that time creating music, rather than wasting time trying to figure out how to use the music producing software?
5. Massively library of existing instruments and synths.
This is probably the biggest limitation of most online software. To create your own music, you need to be able to select from a library of thousands of instruments and synths. Otherwise, again, you will only be producing novelty music for your friends.
Check out what is on offer, and seriously think about getting software you can download to your computer, has 44.1 stereo quality sound files, comes with video training, has 16 track synthesizers, and has a library of existing instruments and synths for you to use. Then, and only then can you become serious in music production with professional music producing software.

The Best Joe Walsh Songs

Joe Walsh has produced outstanding music for over four decades, working as a member of "The James Gang" and "The Eagles." And, also a a highly successful solo artist. Narrowing Walsh's many compositions into a group of the finest Joe Walsh songs, won't be easy or definitive. But, it will be fun!
I'll let emotions take sway here and give you the first seven Joe Walsh songs that pop into my head. Because, as I learned many moons ago, taking test after test in school, your first answer is almost always invariably right.
Holding the lucky seven spot is, "Walk Away." This is the song that got it all going for "The James Gang" and Joe Walsh. The powerful opening guitar chords were a precursor of many great riffs to come.
At number six, "Tend My Garden." This song was atypical of the music of the time and showed that Joe Walsh had more depth, diversity and potential as a musician and composer. It's not uncommon to see this compelling composition on top of many fan's lists.
"Meadows," from the album, "The Smoker You Get, the Player You Drink." The lead-in guitar hook reminds me of the earlier Richie Blackmore lick in "My Woman From Tokyo" by "Deep Purple." Initially this turned me off to the song. However, I couldn't stay away from it. And, whatever happened to "Deep Purple" anyway.
Coming in at number four, "Welcome to the Club," from the album, "So What." This is some of Joe's best guitar chord work coupled with some of his better lyrics. Great drum work dominates on this track as well.
Sitting at number three, "County Fair'" also from the album, "So What." This song subtly glides the listener along a sonically enchanted journey, highlighted by Joe's reverse recorded guitar solo. That must have been tough to get down on tape in the studio.
"Rocky Mountain Way," from the album, "The Smoker You Get, the Player You Drink" comes in at number two. Now I'm sure this is number one on most lists, and you can make a good case for it. I love it too. But, for my money, the next song is just a little bit better.
And (drum roll please) in numero uno slot, "Turn to Stone," from the album, "So What." This was also on the "Barnstorm" album, but the "So What" version is better. How come "Turn to Stone" beats out "Rocky Mountain Way?" Maybe it's because it hasn't suffered from as much over composure. But frankly, "Turn to Stone" has a harder, darker feel that I find more engaging and appealing.

The Djembe - These African Drums Are the Original Social Media

The djembe, a type of West African drum, is becoming a popular item for drum enthusiasts. In fact, there are a large number of drum circles in the United States that meet regularly to play together and share their mutual enjoyment of this unique drum. In these days of computer-generated social interaction, the personal contacts made through such social groups are a great diversion.
Thousands of people have purchased a djembe to use in these gatherings. As the popularity continues to increase, the prospective djembe owner should be aware of some of the background on this African drum to help them make the right buying decision.
Making a traditionally crafted djembe is often a tough undertaking. The construction is rife with religious meaning, as well as the materials used in the process have significant influences on the tones and sounds produced by the drum.
Djembes have a traditional form that must be maintained. The look has been likened to a mortar bowl or goblet, with its depth being very important. African drums are expected to have a deeper tone in the lower ranges, and simultaneously, produce an echo with the hand slaps. The basic measurements of the regular size djembe are 1 foot in diameter and two feet tall.
The master carver will start with a single piece of African hardwood to generate the djembe drum. There are a variety of hardwoods, such as djmba, lenge, acajou, and hare that are widely used. In the carving process, a spiral shaped ridge is left on the inside of the drum deliberately. This enhances the sounds from the drum. Needless to say, remaining splinters and tough places shouldn't be present on the drum, since that decreases the tonal quality and diminishes the product value.
Be cautioned that we now have drums made in Africa that are not true hard wood, but rather are made from soft woods. Because these drums require heavier walls in the shell, their tone is duller and less unique than a hardwood design. These can be created quickly and are often sold through the larger chain stores and discount shops for under$ 100.
The European buying public saw this some years ago. Being closer to the origin or source, djembes were available in Europe much earlier than in America. With time, Europeans found that the more costly hard wood drums gave a better player experience than the cheaper soft wood drums. Therefore, these drums, even though they were initially more expensive, were actually worth the extra money spent.
It should not be a surprise that modern-day drum manufacturers have caught on to the popularity of djembes in the US, and have followed with producing items out of synthetic materials such as plastic and resin. The drum heads are made of plastic material, and along with a plastic body, the tuning on these synthetic drums is performed via a mechanical device instead of the rope system of the traditional drums. There is some trade off in the quality in comparison with a true hard wood djembe; but, the greater durability and lesser weight is usually a suitable compromise, particularly when the drum is going to be used outside a great deal.
Authentic African drums use actual goatskin for the drum heads if possible. There are some other skins utilized, but goat is the prevalent material. On a side note, many djembe drummers will swear how the African goatskin is a better playing surface compared to American goatskin. American goatskin has a reputation for being less sturdy and subject to failure when compared to African goatskin. This is attributed to the tougher existence goats have in Africa.
The pitch of the djembe comes from both depth of the drum, and also from the width of the drum head. Larger drum heads have deeper tones. The tuning of the drum head or tightening up and loosening the tension for the head, will cause the drum to have a higher or lower tone.
Drums are tuned by either a key tuning (mechanical) device, or using the classic rope tuning system. Using the mechanical key gadget, the drum head tension is modified up or down. If there is a rope system on the drum, a rope puller is needed to tighten the ropes. This is turn tightens the drum head. Rope tuning techniques are the original approach to djembe tuning, dating back hundreds of years.
A majority of djembe enthusiasts are actually biased toward the traditions of the djembe drum such as the hard wood body, the goatskin head, and the rope tuning system. Of course, as younger players and even school music programs are adopting djembes into the mainstream, the divisions between the traditionalists and the new-age drumming public are becoming blurred. That said, most traditionalists still abhor the modern changes that have been thrust on the consumer from modern mass manufacturers.
A prospective purchaser of a djembe should expect to pay in the range of $100 - $150 for a decent hand-made African djembe. Starting off with a quality, hard wood djembe made by a master craftsman can assure the new owner of an enjoyable start to what can be a lifelong hobby. And most importantly, the new drummer should seek out a local group or drum circle to learn more and socialize with fellow enthusiasts.

The Importance of Consistency in Music Study

"Use It Or Lose It!"
You have made a substantial investment in your child's education.
Music is kind of like exercising; if you exercise your body regularly, there has to be a benefit in great health. But, just because you exercised for 10 months straight, doesn't mean you can stop exercising for 2 months and keep your health exactly where it was the last day you worked out!
No, of course not.
What REALLY actually happens is, your health begins to deteriorate slowly. Do that for a number of months, and all of your hard work is reversed.
The same thing happens in MUSIC. Your child (and you!) have worked hard on their instrument/voice all school year, and if they take the summer off from lessons they will LOSE IT because they didn't USE IT all summer long.
Imagine what would happen to your waistline if you didn't exercise and ate whatever you wanted for 2 months! (If you are one of those people who can eat cheeseburgers and french fries all the time and never gain a pound, please don't tell me!)
So, USE IT (your music lessons, that is) and keep the momentum going all summer long so you don't LOSE IT! Learn new things in a more relaxed setting, when your child has more time on their hands to practice without juggling homework.
Why When you don't "Use" it, you "Lose" money:
Many parents figure they will "save money" by stopping music lessons for the summer. This is actually quite a big short-sighted decision - because it is not taking into account the "attrition" of skills and techniques, and having to re-learn these things come Fall "Back to School" time. If you have to learn something TWICE you have wasted your money.
Here's how you "Lose" when you don't "Use":
January 2011: Pay $100, learn middle c position, play various songs in middle c position, learn notes and rests
February 2011: Pay $100, continue middle c position, play hands together and apart, learn a contrary motion c scale, reviewing music terminology from 2010.
March 2011: Pay $100 tuition, learn C Major Position, C Major scale, using chord progressions
April 2011: Pay $100 tuition, continue C Major Position, learn F Major Position and scales
May 2011: Pay $100 tuition, continue above, learn transposition in C and F; learn rests values
June 2011 (only 3 weeks): Pay $75 tuition, prepare for recital; continue above
Total: $575
July 2011: OFF (no tuition, no learning)
August 2011: Off (no tuition, no learning)
September 2011: Pay $100 tuition, struggle through songs from June 2011, re-learn C Major position, do hand exercises from 2010 because fingers have lost some dexterity and independence, student is frustrated and losing morale
October 2011: Pay $100 tuition, re-learn F Major position, continue C Major position, practice scales from 2010 and 2011 to get finger strength back to where they were in June 2011. Still frustrated, student wants to quit. Parents are now frustrated, too.
November 2011: Pay $100 tuition, getting ready for Winter Recital, but have to pick a song learned from May 2011 because the student has not been able to learn any new material -- they've been stuck re-learning material from March-June, 2011.
December 2011 (only 3 weeks): Pay $75 tuition, perform in Winter Recital. Student feeling better about their playing, now back in a consistent practice routine. Play a Winter Recital song that is on the level of where the student was at as of June, 2011. Teacher can now plan to learn new material after winter break, in January 2012.
Total: $375.
However - if you review the above, you'll see that this is the SAME $375 that was ALREADY PAID between March and June. Nothing new was learned, it was all re-learned. So, this was a waste of $375.
TOTAL PAID FOR 2011: $950
However, $375 was a waste - parents paid TWICE for the same learned material!
Plus: Motivation waned; parents had difficulties and stress at home between lessons; student misses the opportunity to do the Studio CD for the holidays, students' overall satisfaction is down.
What would have happened if the student took lessons in July and August?
January - June 2011, same as above: $575 total
July, 2011: Pay $75 (took vacation); learned G Major position, scales in G Major. Since the student doesn't have homework and therefore more disposable time, the student is assigned duets with another student, and some fun, popular pieces which encourages him/her to practice more. Technique soars, motivation increases!
August 2011: Pay $75 (took a week off): Learning transposition in CMajor, FMajor, and GMajor; scales are fluent, finger dexterity and independence have increased, the practice routine has been consistent throughout the whole year, and the student is loving playing duets.
Summer Total: $150
September, 2011: Pay $100; Student is adjusting to the new school year, so the teacher cleverly assigns challenging but fun pieces, gives student finger technique exercises, has student write a song in either C, F, or G as a relaxing project.
October, 2011: Pay $100; Student is already thinking about the Winter Recital, so teacher starts assigning Holiday pieces to work on; since the student's technique and practice has been consistent, teacher also assigns a Christmas Duet with another consistent, trustworthy student. Start to learn hand over hand techniques, including arpeggios, in C, F, and G.
November, 2011: Pay $100: Continue working on duets and Holiday songs; refining expression marks such as legato, staccato, marcato, sforzando, and dynamics such as crescendos and decrescendos.
December, 2011: Pay $75 (only 3 weeks): Getting ready for Holiday Recitals, work on stage etiquette and audience etiquette, do a fun "recording project" with GarageBand in the teacher's studio; take part in the "Holiday Studio Make a CD Project" with the other students who are ready -- give out the cds as presents to family members.

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