4 Simple Tips To Enhance Your Rhythm Guitar Lessons

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Here are four simple tips on how to support what you have learned from your rhythm guitar tutorials. These are meant to hasten your guitar playing abilities and shorten your journey to being a guitar god.

Learning guitar in a group is a great way of developing your guitar playing skill, plus you can share what you have learned from your rhythm guitar lessons online. Learning guitar alone can sometimes be difficult for a beginner, and having someone to show you how to do something the right way is a big plus. You are also able to have a small circle of guitar enthusiasts for jam sessions, with group participants learning, exchanging ideas, and enjoying the music.

Learning rhythm guitar will take time, and how fast you learn also depends on how much time you devote to practice, and how much patience you have since you may end up doing the same riff over and over again to really master it. Once you get used to it, let the creative side of you take over and try creating variations to the original riff, and master it until you can do it beautifully even with eyes closed.

Take Group Lessons

Keep Learning New Riffs

Practice and Improvise

You have to keep learning new riffs. You can start out by simply finding these on the internet and practicing them at home, or from guitar magazines who offer riffs for popular songs.

There are many rhythm guitar lessons available today and many music schools offer a rhythm guitar course. But if you don’t have time to go to your nearest music school for guitar lessons, you can find a rhythm guitar lesson online or sign up for a rhythm guitar lesson on the internet. It is easy to find websites that offer guitar tutorials; and if in the old days guitarists learned by ear or from tab, today’s guitarists will learn faster on video.

But how does an aspiring guitarist really put into action what has learned about playing rhythm guitar? How can he further develop his guitar playing abilities?

If you are just starting to learn how to play rhythm guitar, remember that your fingers will ache and your fingertips will get calloused. However once you master rhythm guitar playing, it won’t be long until you take it to the next level, of lead guitar playing.

Rhythm guitar lessons are just as important as learning how to solo or play lead. In fact, many noteworthy guitar players agree that learning to play solid rhythm guitar is an ideal foundation for an aspiring lead guitar player who wishes to bust out screaming hot licks and nasty pinch harmonics.

4 Simple Tips To Enhance Your Rhythm Guitar Lessons

One of the best ways to develop your rhythm guitar playing ability is to learn rhythm guitar parts of your favorite songs and jam along with the song as if you were part of band. This not only develops your ability to play by ear, but also teaches you how to learn songs by ear, and easily catch chord progressions. Learning as many rhythm guitar parts possible also teaches you different rhythm guitar riffs that you can put to use in your own songs, or to simply show off to your guitar learning buddies.

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Guitar Tones – 3 Ways To Get A Better Guitar Sound

One thing many of us guitar players forget is that the most important factor in determining your sound is your fingers. What you PLAY is what counts. Try using a cleaner signal path with as few digital boxes as possible, and let your amp do the talking.

Guitar Tones – 3 Ways To Get A Better Guitar Sound

If you’re using a multi effects unit, for example a Line 6 or a Boss GT-8 or similar, you’ll know just how amazing these boxes can sound. There are so many great amp simulations available, the possibilities are virtually endless. However there are so many variables, you could go mad with option anxiety before you finally find your dream guitar tone!

I think the trick here is to ignore the factory presets and design your own tones from scratch. It helps to listen to your favourite albums and try to emulate the same guitar tones you hear. The factory preset tones are usually designed to wow you in the store to make you buy it, however they’re not really suitable for live use or recording. Take the time to read the manual and really understand and get to grips with the operation of the unit, and you’ll be more confident in shaping your own unique guitar sound.

1. Less Is More

The truth is that we all love to buy the latest gadgets and toys for our guitar rigs. Whether it’s a new wah pedal, distortion box or multi-effects unit, it’s a lot of fun to explore and experiment with the different sonic textures these add (or subtract!) from your guitar tone. The trouble is, you might find that the more pedals and signal processors you put between your guitar and your amplifier, the weaker your guitar signal gets…

Using excessive amounts of gain on your amplifier can have disastrous results that not only annoy your fellow band members, but also (and most importantly), your audience. Lots of gain can mean your guitar produces a horrific feedback squeal during the the gaps in your playing, which can cause hearing damage, as well as audience members leaving the gig early.

Excessive gain means your signal becomes distorted, which is great for musical styles such as rock and metal. But take the example of Angus and Malcolm Young of AC/DC… Those guys use minimal amounts of gain and let the sheer volume of their amps do the distorting. This means their sound cuts through in the mix very clear, as their sound is more solid and less broken up by distortion. Of course, you have have to work a little harder to sustain your notes (by using vibrato), but the difference in clarity to your sound is the reward.

3. Learn to really use your multieffects unit

2. Less Gain, Less Pain

I’ve been playing guitar as a hobby for 20 years, and professionally for the past 5 years. In this time I’ve picked up a lot of experience that have helped me to get a guitar tone I’m happy with – it’s taken many years, but by bearing the following tips in mind, I’m almost completely happy with my sound(us guitarists are rarely entirely happy!) – and I hope there’s some useful info in here for you too.

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Modal Theory for Guitar Players – Part 1

We are playing C Ionian.

G up a whole tone to A

F Lydian

Note Pair…….Tone distance…………Fret distance

D E F G A B C D

If we take all the notes from C Ionian, and only those notes, and we start on G,

E Phrygian

We are playing G Mixolydian.

Feedback welcome.

Ultimately it’s down to the time you put in and your motivation to go beyond what you find within these pages. But if you’re serious about learning the modes, you knew that already. Anyone promising you a quick fix, whether conscious or subconscious, is at the very least pulling your leg.

1 2 3 4 5 6 7

E up a whole tone to F#

We are playing D Dorian.

G Mixolydian

By now you have probably got a bit of an ache in your head from all this theory. It’s not crucial at this stage that you have got all of this committed to memory and have it all worked out. Give it a little time, and when you have had a chance to get a bit of modal playing done, you can pick the ones that you like, or that fit your style, and then just get your head around those ones.

We are playing F Lydian.

As you are probably aware, the C Major scale consists of the following tones:

If we take all the notes from C Ionian, and only those notes, and we start on F,

F G A B C D E F

The second thing you need to know is that a certain facility and knowledge is assumed. If you find yourself flailing in a sea of non-comprehension it is hopefully only because you’re not ready to move on to this stage of learning, and you need to tuck this back under the bed and give yourself a little more time with the basics. You could ignore the theory section altogether. It’s up to you what you want to do with this now it’s yours, but hopefully, if you do ignore it now, perhaps you will come back to it and then it should make some sense and help you with other aspects of using the modes.

B,…………………B Locrian…….BCDEFGAB……S T T S T T T

C D E F G A B

A to B……….a whole tone (T)……….(i.e., 2 frets)

G A B C D E F G

1…2…#3..4…5…6…7

D…E…F…G…A…B…C

This merely means that D Dorian differs from D Ionian by the third degree of the scale and the seventh degree of the scale being flattened. So, whereas in D Ionian the scale has an F# and a C#, D Dorian has an F and a C. We’ll look at the other modes in the same manner.

Noticing these differences means you have noticed one of the key aspects of the modes. The reason why, for example G Mixolydian does not sound like G Ionian is because the relationship between the notes has changed, the pattern of tones and semi-tones between the notes has changed and as such the tones in the scale are different. These changes in the relationships are what give the modes their characteristic sounds and determine why they can be used in some instances, and not in others. But more of that later.

F,…………………F Lydian……..FGABCDEF……T T T S T T S

G A B C D E F#

B to C……….a semi-tone (S)………..(i.e., 1 fret)

The Modes

Now, we will look at the modes based on C Ionian, and show how each mode differs.

We are playing B Locrian.

Before we get to anything even remotely like playing a scale, we need to have a think about the theory to understand where these modes come from. It is not essential to understand this to learn the modes, you could just learn the patterns, but, knowing some of the theory should help you to know when the modes could be employed, why they sound different etc. There are seven modes, named Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. The reason why there are seven modes is because each mode is built on a different tone of the major scale and there are 7 different tones in the major scale. If we take the scale of C Major as an example, so we don’t have to worry about sharps and flats, this should be clearer.

First off you need to know that this material alone will not have you ripping exotic solos up and down the fret board, smoke and fire on your fingertips. It will take the same process and work that has brought you your level of chops with the pentatonic, major and minor scales, arpeggios and your own licks. What it will do is give you the information you need, and the backing tracks so that you can practice and familiarise yourself with the patterns of the modes, and get used to the sounds.

E…F…G…A…B…C…D

1…2…3…4…5…6…b7

G…A…B…C…D…E…F

If we take all the notes from C Ionian, and only those notes, and we start on B,

Introduction

If we take all the notes from C Ionian, and only those notes, and we start on D,

Now we’ll look at the other modes, remembering that as we are building them on the tones from C Ionian, these are the only tones we can use, i.e., C, D, E, F, G, A, and B.

C,…………………C Ionian……..CDEFGABC……T T S T T T S

1…b2..b3..4…b5..b6..b7

Producing the scale

C D E F G A B C

E F G A B C D E

D up a whole tone to E

G,…………………G Mixolydian….GABCDEFG……T T S T T S T

1…2…b3..4…5…b6..b7

B…C…D…E…F…G…A

A Aeolian

We can check this. You should check this on your guitar neck to convince yourself that it is true, but here we’ll do it on paper. Let’s say we want to construct the G Major scale.

This is end of the main theoretical section. Bits will creep in, or will seem to creep in when we look at chords for each of the modes, but really, as long as you have a basic understanding of music it shouldn’t be any more troublesome than what you’ve been through already. I hope.

A up a whole tone to B

Ok, so we can think of the Ionian (from now on the Major scale will always be referred to as the Ionian, as we are thinking in modes here) as having a particular structure. The next theoretical step we’ll take is to build the other modes on the notes of the Ionian, and then look at their structures in exactly the same way. Taking C Ionian again, and only using the tones of this mode, consider the following.

E,…………………E Phrygian……EFGABCDE……S T T T S T T

We are playing E Phrygian.

One final way we can think of the modes shows very clearly how each mode differs from its own Ionian mode. Again, taking as our basis the C Ionian, we will number each of the notes in the C Ionian scale, as below.

Let’s start with the good news. There are 7 modes built on the major scale and you already know two of them. The major scale is a mode itself, called the Ionian, and the minor scale is another mode, called the Aeolian. So, more than a quarter of the work is done. If you thought that getting to grips with those two scales wasn’t too complicated, then you should get on fine with the other material here. If you are in a state of experience where playing the major and minor scales in 5 positions on the guitar neck, in any key, is not something that you are familiar or comfortable with, back this goes under the bed. Although both of these modes will be covered you really should be worrying about the basics at this point. Any half way decent book about playing the guitar, or song writing, should provide you with the information to get these two modes under your fingers. For the rest of you, let’s go.

A…B…C…D…E…F…G

B up a semi-tone to C

Do this with other major scales just to check that there’s no trickery here. If you didn’t know that the G Major scale has an F# in it, back under the bed this goes and find a theory book!

A,…………………A Aeolian…….ABCDEFGA……T S T T S T T

So, we could say that the structure of any major scale, or Ionian mode, is

F# up a semi-tone to G

F…G…A…B…C…D…E

What the previous list demonstrated is how each of these modes differs from the Ionian mode starting on the same root node. So, for example, A Aeolian differs from A Ionian by the third, sixth, and seventh degree of the Ionian mode being flattened. Once again, you could learn how the individual modes differ from their Ionian modes and alter the way you play the Ionian to take account of this.

Another way to think of this is to consider the way in which this scale is constructed. All major scales are constructed with the same distance between pairs of tones. Again, considering the C Major scale, the distances between the pairs of notes is:

1…b2..b3..4…5…b6..b7

Knowing that all major scales are constructed using the formula T T S T T T S, and starting on G we would get the following:

Modal Theory for Guitar Players – Part 1

E to F……….a semi-tone (S)………..(i.e., 1 fret)

We are playing A Aeolian, also known as the
minor scale, which you know.

The fact that you are holding this in your hands suggests that you have got to the point in your explorations of, and curiosity about the guitar that the next step is the modes. Maybe it’s because you have read somewhere that Steve Vai loves the Lydian mode, or you have listened to music by Frank Gambale and wondered what he was up to. Whatever the reason, the material you have here should set you on the road to opening up new ways to express yourself, to get different sounds into your melodies and harmonies.

B Locrian

B C D E F G A B

G to A……….a whole tone (T)……….(i.e., 2 frets)

If we think of the major scale as a mode, then what we are saying is that if we start on the tone C, and then play all seven tones of the C Major scale, we are playing C Ionian. The same is true for any other major scale. If you start on the tone B and play all 7 tones which make up the B Major scale, you have played B Ionian.

D Dorian

If we take all the notes from C Ionian, and only those notes, and we start on C

Starting Tone…..Mode Name…..Mode Notes…Mode Structure

C to D……….a whole tone (T)………..i.e., 2 frets)

If we take all the notes from C Ionian, and only those notes, and we start on E,

If you know your Ionian modes, then you will have instantly seen that the scales we are producing in this way are not the same as the Ionian modes you know. For example, the G Mixolydian we have built does not have an F#, which the G Ionian does and the F Lydian we have built does not have a Bb in it, which the F Ionian does.

A B C D E F G A

D to E……….a whole tone (T)……….(i.e., 2 frets)

T T S T T T S

F to G……….a whole tone (T)……….(i.e., 2 frets)

C D E F G A B

D,…………………D Dorian……..DEFGABCD……T S T T T S T

1…2…b3..4…5…6…b7

C up a whole tone to D

You could now start comparing some of your modes. For example, you could play a D Ionian, and then play D Dorian and compare the sounds. You’ll probably hear that your Dorian sounds slightly more ‘minor’. Part of the work you need to find time to do is to start to hear these differences, but when we get to the playing part of this package you’ll be doing that anyway, so just hold on one moment. The next thing we will do is look at the structures of each of the modes, again using as our base example C Ionian. Below you will find each of the 7 modes built on C, starting with C Ionian, the others built on the tones which make up the C Ionian mode (C, D, E, F, G, A, B).

As you can probably see, each of the modes has its own, unique structure of tone and semi-tones between notes in the scale. What this means is that if you learn, for example, that the Locrian mode is constructed by spacing notes according to the formula of S T T S T T T, you can play the the Locrian mode in any key by choosing your start note, and then building the scale according to this formula.

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Organizing a Band – Musical Style

Charles Priore
Italian American Baby Boomers Club
IABBC.com

The talent level you have and the type of music you want to play are determining factors in how long it will take to get your act off the ground. Take a look at the venues that hire musicians to play the style you select and see how often they play. If you can keep your band together long enough, you may be able to select a few different styles so you can keep working and get to play your favorites. You may only have Rock and Roll or Blues in your veins and there is nothing wrong with doing the music you enjoy the most.

Organizing a Band – Musical Style

Locally, some styles may be more or less competitive than others. New Rock styles vary in complexity and sound. Expect to pay some heavy dollars for equipment and lights. Oldies and Classic Rock may not have many clubs to play but there are many other “gigs” out there to keep an Oldies band quite busy. Country music is revived and in some areas you can play a lot, especially with a mix of old and new country. Jazz and Classical have limited venues and a select number of musicians generally dominate the local jobs. Original music might be more fun to play and more rewarding than doing cover tunes. Make sure you protect your songs legally and again, make sure the whole band is into the style.

Many of you have played music on different levels and it’s good to talk to other musicians to get ideas and learn from their experience. Some musicians are happy to rehearse together only, some are happy to do cover songs and others write and play original content and go for the big time. No matter what you decide, the planning of your endeavor is a most often ignored and important part of your success.

The audience will pick up on the enthusiasm or indifference you have no matter what level of musicianship you have. You have a “feel” for the music you play and you need to “get it off the stage”. This can only be done if your style fits your talent level and the amount of time you want to dedicate to your music.

Rock, Country, R & B, Classical, Jazz, and other styles of music target certain audiences. You can have a mixture of these styles and you really should determine what it is that you want to play. Do you want to do cover songs, originals, or a mix? Before you can move on to selecting band members or plan rehearsals give it all some careful thought. How much time do you have to devote to your music?

You may already have another job and play music on the side. Don’t make it like work. If you don’t enjoy your music, change your circumstances. Select a style that you can “get into” and enjoy. Your audience will be more responsive if you do.

MUSICAL STYLE

Easily Learn How to Play Acoustic Guitar

Easily Learn How to Play Acoustic Guitar

If you really want to learn play guitar and find yourself checking out the acoustic guitars in all the local music stores or if there’s a forgotten one sitting in your garage or attic, get it out and learn how to play it. You won’t be sorry you did.

Many people may feel apprehensive with an acoustic guitar and treat it is very fragile. This is so much that case that they forget an acoustic guitar is meant to be played. The music is within you and is only heard when you actually play the guitar.

Consider about your family and friends, and the incredible looks on their faces as you get your guitar out, and demonstrate to them your newly acquired skill. As you lay the guitar back in the case, do you ever think how great it would be if you only had time in your schedule to learn to play?

Acoustic guitars may seem magical, but naturally there isn’t really any magic in the guitars themselves. It’s their music that enchants you. It’s similar to when you learned to write during your younger years. After a while you mastered it and finally you could take on all sorts of writing tasks. The pencil was the tool used to express the thoughts, but you were the one who put it to use. It’s like that with an acoustic guitar too. It’s the tool you use to make beautiful music. And you learn to play an acoustic guitar in much the same way you learned to write all those years ago. First you just play around with it, like a kind of doodling, and eventually the feeling for it in your fingers just takes over. Soon the music is flowing right through your fingers and into the guitar.

Is playing an acoustic guitar a talent that you always wanted to learn? You could just look at a guitar and imagine the intricate melody of notes of your strum. You wonder how hard it actually would be to play guitar and how much money it might cost to learn how to play.

Acoustic guitars have a type of magnetic draw to them, but people who have never played guitar before are often surprised by them. It is frequently assumed that there is much more to the guitar than there actually is. The ability to produce music is almost mystical to some people.

How To Sing Higher

Finally, the solution to hitting those powerful high notes you may hear some famous singers hit, is the lesser-known “mixed voice” or “middle voice.” This is the register in between chest and head voice. It is a balance or compromise between the two. Unfortunately, if you are like many other singers, you have spent your life hitting those high notes by pulling up chest voice. Not only is this very painful, but it can be very damaging to your vocals and lead to cysts and nodules on your vocal cords – this is very bad!

As you continue to practice, you will slowly develop a strong mixed voice with all the power of chest voice and all the ease of head voice.

On the higher end, we have “head voice.” so called because these notes are much higher and lighter and resonate within the nasal and head cavities. This is the sound we usually hear when someone sings higher up in opera and classical music.

First, let’s take a moment to distinguish between the three main registers of the human voice.

How To Sing Higher

Another register that actually isn’t a register is called “falsetto.” It contains the root “false” because, though it can be produced at almost any frequency, it is very light and airy, and the vocal cords are not actually coming together fully.

High notes can seem very elusive, and maybe you think they are reserved for those ultra divas we see everywhere. However, everyone is capable of bridging the gap to those high notes with some effort on their part.

So to undo what you have been doing for so long, you need to start practicing going up and down scales without pulling chest. Just relax and let it happen.

Whether you are a singing pro or just a beginner, it is likely that at one point or another, a limited vocal range has put a damper on your confidence to sing certain songs. If you are unfamiliar with the term, “vocal range” refers to the range of notes you can reach with your singing voice. While some struggle with low notes, most people struggle with the high notes.

The first register is the deepest and most comfortable for most people to sing in. It is called “chest voice.” This is typically the vocal register you talk in. The sound resonates deep within the chest cavity and is therefore given the name chest voice.

Guitar Lesson – Help Yourself To Practice

This way of working with my guitar was not a conscious plan to maintain energy and motivation to practice. It just happened to be that way. These moments with my guitar became a part of my personal development.

This is how humans often react. If it is a little effort involved in starting to do something we want to do there is a risk that we will procrastinate the activity until it is too late.

Here are some thoughts and suggestions:

What can you do to make it easy for yourself to practice on your guitar? In order to continue to learn to play guitar and not give up you have to create an atmosphere of joy and fun around this activity. Let’s see what you can do to make it as easy as possible to play guitar.

This made it possible for me to play a lot on my guitar in spite of all other activities. All other things I did was interwoven with my guitar playing and my musical experiences connected with it.

I developed a habit to always have my guitar laying on my bed. Always as I walked into my room my guitar was laying there waiting for me. It was very easy to sit down on my bed starting to play because of two facts:

2. The guitar was easily accessible. The only thing I had to do in order to play the guitar was to grab it and start playing.

Guitar Lesson – Help Yourself To Practice

Enough talk about myself! What can you learn from my experiences?

Let’s apply my experiences to the art of learning to play guitar and see if we can find principles that are applicable to all guitar players.

1. I could see the guitar as I walked into my room which immediately reminded me of how fun it is to play.

As a you boy I had a lot of interests at the same time. Reading, sporting, playing piano, playing chess, a lot of more things and, of course, playing guitar.

To facilitate all things that can be facilitated is one way to accomplish more of the important things in life including playing guitar.

When I sat there playing guitar I also had time to digest life as it proceeded. It way a form of meditation because as I played on my guitar I allowed my mind at times to wander and I remember that some important decisions in life were made as I sat there playing.

1. See to it that you have your guitar as accessible as you dare to. It will be a reminder for you that playing guitar is fun. I have sometimes reminded my guitar students to pull out the guitar from the hard case or gigbag as soon as they come home from the lesson and start to play something connected with their homework. Otherwise there is an imminent risk that they will not open the case until the next lesson is at hand.

Musical Feuds

As Beethoven walked past the cello’s music stand, he snidely grabbed the cello’s sheet music.

There are many famous instances of immortal musicians being insulted by other famous musicians.

Carefully showing the astounded crowd the page of sheet music, Beethoven sat at the piano and then put the music, upside down, onto the piano music stand.

A hush fell over the crowd as Beethoven appeared out of the shadows and walked toward the piano. Everyone was aware of the grudge between Steibelt and Beethoven and the air was thick with apprehension.

At a party the next week, Beethoven heard Steibelt playing one of his own compositions, an insipid Trio for piano, violin and cello. It was the type of horrid, elaborately ornamented fluff that Beethoven reviled, but he watched calmly as Steibelt finished the piece and took his bows.

And it was magnificent, one of those legendary Beethoven improvisations that have gone down in history, a passionate outpouring of ideas and bravura, until at last the piece was over with a furious ending and crash.

As Steibelt and the hushed crowd watched, Beethoven plunked out the notes of the upside down cello part, forcefully jabbing with his pointed and angry index finger, not taking his eyes off Steibelt.

Steibelt, startled by the angry look on the master’s face, stepped away from the piano.

He was once reproved for playing “strange harmonies” during a church service. Bach’s answer was to play even stranger harmonies the next Sunday, and this from the greatest composer of religious music the world has ever seen, the composer of the St. Matthew Passion.

Still steaming, the elders complained again to Bach and added the insult that the music was at some points “too long.”

Johann Sebastian Bach, like most musicians of the day, worked as a church musician. He was anything but docile, and was known to rankle easily.

Then Ludwig began to improvise like a madman on Steibelt’s upside down cello part theme. The crowd was carried away with Beethoven’s angered showmanship.

Musical Feuds

Beethoven also had his feuds, especially in the early years when he was establishing himself as a great pianist.

Curiously, Steibelt was never heard from again.

A worthless popinjay named Steibelt had made it known that he thought Beethoven a terrible pianist, and in essence challenged Beethoven to a musical duel, a common occurrence in those days. Beethoven despised Steibelt, for he was in truth a talentless oaf that foolishly dared to challenge a great master.

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DIY musical gear: just add talent – Engadget
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Marc Antoine Urban Gypsy Jazz Music CD Review

11. Hollywood Viscount

Principally recorded at Sonic Jungle Studios, Los Angeles, California.

2. Quand Le Jazz Hip-Hop

Personnel includes: Marc Antoine (vocals, guitar, keyboards, Moog synthesizer, programming); Sovory (vocals); Harold Todd (flute); Rachel Z (Fender Rhodes piano, keyboards); Jimmy Haslip (bass); Luis Conte (percussion).

Overall Urban Gypsy is an outstanding release. What I call must have music. I give it two thumbs up and is most definitely a worthy addition to any Jazz collection. Truly an outstanding Jazz CD. One of those that is completely void of any wasted time, as each track is simply superb.

3. Sand Castle

1. Latin Quarter

Urban Gypsy Release Notes:

8. Forget-Me-Not

10. Paris Jam

These days it’s a very rare CD on which every single song is good or better than the one before it. This CD is certainly one of those rare CDs.

9. Brazil ‘96

7. Urban Gypsy

While this entire album is really very good the truly standout tunes are track 2 – Quand Le Jazz Hip-Hop, track 10 – Paris Jam, and track 12 – Storytime.

5. El Matador

Unfortunately, it’s not everyday that I get a CD from an artist that I can just pop in and comfortably listen to from beginning to end. There is usually a song or two that I just can’t force myself to get through. Not at all the case with Urban Gypsy. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

4. Steppin’

Marc Antoine originally released Urban Gypsy on January 27, 1998 on the NYC Music label.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – Latin Quarter. This is a great track!

CD Track List Follows:

Marc Antoine Urban Gypsy Jazz Music CD Review

6. First Rain

12. Storytime

Top Hat Marching Orchestra Forums: Musical gear
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PC World – Digital Gear: Musical Jackets and Power Backpacks
The wired traveler has some great options, from a high-capacity key chain drive to a backpack you can plug in to.

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The Secret to Composition

Little did I know that the big secret really isn’t about composing – it’s about being able to trust your own intuition and let it lead you instead of the other way around. It took a long while before I was able to just let go and allow the music to flow out. But once I could do this, the idea of capturing an idea didn’t seem to matter so much. No. It was more important for me to let it all go.

Many people who want to compose their own music have problems because they believe that the musical idea they are working on is holy. They don’t understand that there are literally millions of ideas waiting to be born. If they loosened their grip slightly they would be able to gently notate that idea and see where it would lead them. An entirely different approach and one that allows for so called errors, mistakes, etc.

The Secret to Composition

When I first started out playing piano and trying to compose, I couldn’t figure out how someone could get his or her inspiration down on paper.

It was very frustrating to look at and listen to other artists who seemed to know the “secret” to composition.

For me, the secret to composing is not knowing how to capture a musical idea. It’s being able to open up to the limitless ideas within and allowing them to express naturally through improvisation.

It also occurred to me that the more I tried to “capture” an idea, the harder it was to get down. Another artistic irony that’s proved itself over the years.