Let It Out The Guy Who Didn T Like Musicals Les Miserables Film Review

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Les Miserables Film Review

“Change is inevitable in life.” Everything around is changing with time. Everyone has a chance to make a difference in their life. Some people prefer to spend their lives doing the same thing and avoid change. But others are not afraid to try new things. They believe that change is a good thing. Well, in Les Misérables, you’ll meet a man who spends nineteen years in prison for stealing a loaf of bread, then turns around for good and decides to make things right again. This character is none other than Jean Valjean. This review will focus on it. A changed person – from a morally confused person to a person who learns to love and share more morally and respectfully than others. This event took place in France, a country known for its sophistication. It takes place during the French Revolution in the 1800s. Watch how this ex-convict transforms from a miserable criminal to a heroic, brave and peaceful man as the story unfolds.

The story begins when the convict Jean Valjean is released from a French prison after nineteen years of imprisonment for stealing a loaf of bread, and then tries to escape from the prison. When Valjean arrives in Digne, no one wants to give him shelter because he is an ex-convict. Desperate, Valjean knocks on the door of Monsieur Miriel, the kind-hearted priest of Digne. Miriel is kind to Valjean, and Valjean repays her by stealing the bishop’s silverware. When the police arrest Valjean, Miriel defends him by saying that he gave her the silverware. The authorities release Valjean, and Miriel promises him that she will be a fair man. Eager to fulfill his promise, Valjean disguised himself and entered Montreil-sur-Mer. Under the alias Madeleine, Valjean invents an intelligent manufacturing process that brings prosperity to the city. Eventually, he becomes mayor. Unexpectedly, he meets a young girl named Fantine, who has an illegitimate daughter named Cossette. He promised the girl that he would adopt the child and treat it like his own. As time passed, Cossette and Jean Valjean found a new and peaceful life in the convent, but eventually they both left the convent and returned to live in Paris. Cossette falls in love with a young man named Marius. The political situation in Paris worsens and a violent uprising breaks out in the city. Marius joined the battle in desperation. Jean Valjean joins the fight to see Marius, and a part of him wants Marius out of Cossette’s life forever. Valjean saves Marius’ life, but Marius doesn’t know who is saving him. After his recovery, Marius pursues Cossette for remarriage. Marius then discovers that it was Valjean who saved him. The newlyweds rush to Valjean’s side for a final reconciliation. Happy to be reunited with his adopted daughter, Valjean dies peacefully.

Symbolism is something deeply woven into Les Misérables; It holds a stolen silver candle that leads to healing and a yellow travel permit that indicates social immorality. About candles, they are not so recent. They symbolize a deeper meaning. An exception is the priest of Dean, who takes in Jean Valjean after his release from prison and treats him like a human. Unfortunately, in order to make up for lost time in his old ways and follow his malicious plan to stay alive, Valjean takes the money the priest used at dinner. Money represents the Bishop’s intention to approach Valjean with respect; Later, when the policeman finds Valjean with a lot of money in his backpack and returns it to the priest, the priest replies that he gave Valjean the money as a blessing, and advises him to buy a candle. They cost about two hundred francs. He also advises Valjean to forget that he “was guaranteed to use this money to transform himself into a legal person.” Not only this, but the Priest: Jean Valjean, my brother, you will never again have a harmful but great place. Your spirit I buy from you; I remove it from the dark thoughts and destructive spirits and offer it to God. As for the yellow ticket, when Jan finally leaves Valjean’s prison, he gives it to him. At first it looked like a flex ticket, but it’s not. It’s more like a ticket to more misery. This is based on the fact that the yellow ticket is an outcast image of society. Jean Valjean needs to be constantly passed around to let people know that he is a former convict, otherwise he will ignore parole and prison. The problem is that this ticket gets individuals fired no matter where they are. Valjean tells the priest Miriel, “This is my ticket of leave. It’s yellow, as you can see. That’s why everyone dismisses me.”

A very unreasonable discussion. Whatever he did, he got a piece of bread to support his starving family, for which he was thrown behind bars for a long time. Now that he had taken his chance and got out, he could rest and eat in prison anyway, so the so-called free world was more regrettable than being in prison. Because of that yellow ticket, Valjean unfortunately discovers that “the importance of freedom is tied to the yellow ticket,” which is not freedom of the imagination at all. A yellow ticket symbolizes untouchability in society. It just goes to show that “opportunity” doesn’t mean messy if you’re hungry and letting it bite the dust.

As someone who doesn’t like to watch musicals or theater plays, The Councils opened up to me that these types of movies are must-sees. The flow of the story is very organized and well written. The movie was made in 2012 and the cinematography and effects were amazingly good as the way the characters portrayed their characters was amazing. The dialogues are beautifully delivered with the right expressions, emotions and feelings of the characters, so that the audience can feel the excitement and enthusiasm in every scene. Although some of the characters had limited screen time, their characters made a big impact on the audience. As for the character of Jean Valjean, it is very well done. The actor is very suitable for this role. It’s a little disappointing, because in the end, Jean Valjean dies. But the whole movie was perfect. It gave the audience a clear idea of ​​how the French Revolution began and ended. To wrap it up, kudos to the people behind this excellent film. They all deserve a round of applause.

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How To Delete A Lot Of Music On Apple Music How to Make a Music Studio With Metal Buildings

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How to Make a Music Studio With Metal Buildings

Are you one of those bands or bands looking for a great place to practice your music from your family or community? Maybe you have expanded your parents’ garage and need something wider or soundproofed? Steel buildings may be the perfect solution for you at the time.

Metal buildings are great as a music studio because they are economical and easy to build with many options for sound protection. Steel buildings can be added to our existing structures located at a distance from your home or other buildings such as a neighbor’s house or commercial office. They come in many different plans and budgets so you are sure to find one that will work for you. Metal towers are perfect for use as a music studio because they have a lot of interior space and they can control the temperature for safe storage of equipment. They also allow room for musicians to broadcast, and they are great for acoustics for recording or live performance purposes.

If you are considering building a metal building for your band or organization, here are some ways you can design your look to be the perfect music studio and avoid potential pitfalls in the process.

Decide where you should place the steel building

If you live in a medium to large city, you will need to check with your local council to determine if you can build within the city limits for a music studio. You may need to stay away from densely populated areas to reduce noise. If you have an existing structure that you want to add, be sure to get the proper permits before building your new steel building music studio.

Purpose of the building

If you just add space to your home to be a small recording studio, you will definitely not need the big metal building you want if you plan to hold a concert there. You also want to think about how you will access the building, what safety requirements you may have, and what components you will need to ensure that it is climate-controlled and soundproofed. How much air conditioning or heating you may need can affect the size of the building you should build based on price. Also, do you need accommodation for the general public and if so, what are the safety issues or accommodation needs, let alone a possible disability?

Additional features of the music studio

Music studios will need plenty of recording and air space for the best sound quality when using it. You will want to find out about wall coverings or sound barriers that will work in the structure of a steel building. Remember that the walls of a metal building are thin enough that sound will bounce from the inside, but it will also pass through if you do not protect it enough. There are many options when it comes to sound protection options, so be sure to determine what will work best for you.

If you plan ahead and consider the features that Steel Tower can provide you with your plans as a musician, you will find that Steel Tower is the perfect solution for an affordable music studio.

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Let It Go Piano Sheet Music Easy Free Full Song Seven Suggestions For Getting Creative With Guitar

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Seven Suggestions For Getting Creative With Guitar

So you play guitar and want to be creative? Tired of doing weight training until your fingers feel like they’re glued to your hands? Do you want songs that no one else wrote or your own songs to appear?

It’s not hard to come up with new licks, new melodies, new song ideas. Some guitarists have little trouble perfecting the second intro to “Crazy Train” or “Villa Lobos” but can’t come up with an original song idea that saves their fingers, while others can come up with new ideas just by tapping their fingertips. curtain panel. To get this key change right, you might be afraid to beat something as trite as Spanish romance for the tenth time.

As someone closely related to the latter, I’m here to give you the basics of how I come up with new song ideas every time I start recording.

1. Chord. Play the chords you know. Turn them over. Play them in different voices and transpose that Bb Maj7 to Am7. Learn new chord types. Do you know all your major and minor inversions? Good. Now learn the major seven and minor seven inversions. Don’t ignore those delicious diminished, diminished sevenths, augmented, augmented sevenths, etc. The more chords you know, the more colors you’ll have in your palette.

For those who are easily discouraged by simply playing songs written by others, this will help you improve your chord skills and learn to find harmonies by ear and hand by changing chords. Sometimes you go from a major sixth to a diminished seventh, and it sounds so right. Then try to find the next chord that sounds perfect after you’ve diminished. You’ll likely find tones that represent the open strings, especially E and B, on the upper strings. With a variety of voicings, you can develop great-sounding chord tones.

2. Scales. Learn new metrics. Learn the key ingredients. Learn the notes. Scales aren’t just for solos. Scales can be an effective way to create new licks as well as full-scale melodies. Of course, the main measurements you want to know are your Ionic and Aeolian scales, which are simply your major and natural minor scales. You’ll learn harmonic and melodic minors, Dorian and Phrygian modes, blues scales, and more. You’ll find yourself with a bit of a lead when you’re just playing with scaled formations. Don’t throw them away. Remember them and record them.

http://www.looknohands.com/chordhouse is a site that has a lot of information on both basic and exotic scales, which I have found immensely useful. In addition to learning scales, we hope you’ll have fun doing it and find that scales are easy to learn and generally easy to use when playing.

3. Play single notes. Sometimes you expect to know whether you’re playing in a major or minor key, and in which key you’re playing, but you play a simple single note on the fretboard without thinking about the regular scale. However, as a keyboard player, I find it easier to come up with melodic lines on the guitar than on other instruments. Playing single notes is a great opportunity to train your ears and hands to coordinate. It also allows for work on slips, slips, and wire bending. But as mentioned earlier, a single note can be the resource to create a beautiful melody.

If you don’t know how to play the keyboard to match the melody, you can create a chord melody by running a chord melody to carry both the melody and the harmony. If full chords become too much of a problem, you can simply play two notes at a time, one for the melody and one for the bass line or harmony. Hear how different harmonic notes change the tone of the melody. The results of this process can be quite beneficial.

4. Be sad and play. For some reason, the voice seems to understand the melody better than our fingers or mind. Maybe that’s why I was always told to sing and play. Play what you sing. What do you play? Tones through this process should be easier for those who struggle with the above method. The melodies created through this process sound more fresh than just looking for notes. Your voice will take some work, especially when challenging the vocal range, but it will show the potential for harmony with vocals and instruments, which is especially valuable on guitar.

5. Improvise on chords. Some computer programs, such as Band In The Box, allow users to create chords for the program to play. They can then play solo with the accompaniment. There are MP3 and MIDI files on the Internet that are simply harmonies. If you know chord progressions or just keys, or know how to find keys, you can make up your own melodies and licks. Even lead and production songs, you can improvise a solo if you at least know the key. If your ears are not used to finding the right note for a song, there is a way to train your ear to do this at will. However, the main thing is that it is a good way to practice improvisation and train the ear, as well as come up with song ideas.

6. Play around to the tune of your favorite song. There are probably some songs that you like to play. You like a melody or something and you know how to play a song, or you can read the notes on a tablet or sheet music. Play these songs, gradually moving away from the actual melody and into a similar-sounding but original melody. I’ve done this not only on guitar but also on piano, and recently I’ve developed a full vocal and chord progression by playing the first two or three notes of a song and then creating my own melody that keeps the emotion intact. from the original. Many great composers have created their own works directly inspired by previous composers. Music, like visual art, is about creating possibilities by arranging and changing basic elements. It’s not plagiarism, which is the same as creating an idea that is completely unrelated to a phrase, quote, or thematic element of a work of fiction or television show. Taking inspiration from the work of others and using that inspiration to produce tangible results is more of a compliment to the artist than anything else, and is how art trends evolve over decades and centuries. Art is unique but interconnected. Don’t forget that. After all, you can be someone’s inspiration for years to come.

7. Be passionate and have fun. Enjoy what you do. I often hear that if you do what you love, others will follow, whether it’s money, success, fame, whatever. Life is too short to lose the riches of experimentation and exploration and sell your dreams in search of security. But whatever you do with your tool has to make sense to you. Doing what you have to do and doing what you have to do gets results faster. Music takes discipline and hard work, but don’t be afraid to step away from your instrument for a day or two when you feel stuck in the middle of nowhere. Always keep your creative juices flowing, but most importantly, love it and have fun.

If you prefer, I encourage you to write down what you think is a good idea by recording chord progressions on a recording device or in the positions listed below each chord. You can write your ideas in a table or standard notation. If you don’t have marking software, blank employee sheets can be found online for free. Print some and keep some to copy where there is a photocopier. Keep your ideas dated. You never know if your idea could become a hit song. If that happens, it would be a shame if someone got away with taking credit because you couldn’t prove that you originated the song in the first place.

I believe that music means different things to different people. I can say that I’m not a musician with a fine line, but when I do what I think is right, people feel that there is a lot of talent there. Don’t question the sophists who tell you what you’re doing is wrong because you don’t follow their narrow view of how music should be played. By denying yourself your own talent by limiting yourself with this mindset, you’ll end up becoming increasingly frustrated with the tool instead of getting rich. There is always room for improvement, but it must be done on the basis of creativity and honesty.

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How To Deal With A Neighbor Who Plays Loud Music Why I Love Playing the Drums

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Why I Love Playing the Drums

For some people, drums may just be something you beat with a stick, but for some of us it is more than that. For example, no band is complete without someone beating the drums. Sometimes the drummer seems to be just the background man in the scene, but if you really listen to the music closely, you will immediately realize that without the drums, the music is not good. It does not have the same life.

Drums are the heart of music! Have you ever heard the beat of a drum? Powerful drums allow people to lift their legs and shake them according to the rhythmic force of the drum.

Little boys and girls around the world are usually fascinated by drums. Children often ask parents to buy drums for them to play with and if they do not have them, they will beat the drums on their hands. That’s because drums are an uncomplicated delight; They not only make music, but they talk about fun, it’s as much a toy as a musical instrument.

People who show their creativity by playing drums are more likely to get complaints from roommates and neighbors. They say the drums are too noisy. Yes, maybe they are noisy, but that is part of what makes them amazing. Hitting the drum in front of you can make you feel free and unrestrained. It does not matter if you are good at playing drums, it does not matter.

Hard to get bored when you have drums to play. On a dull day with no list or when there is nothing to do, it is fun to play with the track. Music on the radio or even freestyle for a while. It helps to have a soundproof room though!

Drumming is a way to express your feelings. It can be hard to explain, but sometimes playing the drums can be the only way to express your true feelings. For example, if there are times when you feel very angry and you can hit someone, playing the drums is an effective way to release water vapor without causing any problems. Or if you are feeling very stressed or sad, sometimes it can help you to play the drums until the beating relieves all the problems and stress, leaving all the worries and anxieties.

There is another reason for liking drums besides the fact that playing drums is not only an expression but also a creative one. The drum is, to put it simply, cool. Drums have been a powerful force and have been an integral part of music, art and cultural events around the world since ancient times. When you play the drums, you can feel connected to the spirit of music that has awakened the souls of men and women long ago, the same spirit that gets people on the dance floor to play the drums. These are compelling reasons to love playing the drums, but everyone’s reasons are their own, since each person associates with the music in their own way.

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Let It Go No Music Just Vocals And Realistic Sounds Room Acoustics Basics

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Room Acoustics Basics

Why Does the Room Matter?

Ever been watching TV and no matter how loud you made the volume, it was still hard to hear? Ever walk down a long, narrow hall and clap your hands to hear a strange twang echo? Well, those are just some of the effects that rooms have on sounds and yes, they play a role in your recordings. So, it is important to first consider the acoustic quality of a room before you start recording your awesome, will-change-the-world songs. Once the tracks are recorded, it is very difficult or near impossible to undo the effects of the room in the mixing and mastering stages. So, deal with this before you start recording.

There are volumes and volumes of information written on the subject of acoustics and most of us don’t have time or energy to absorb that. The focus here is to give you enough information to understand what makes a bad room for recording and how to identify problems before the record button gets pressed. Ways to fix room acoustic problems without spending a fortune are covered in another lens, “Finding and Fixing Room Acoustic Problems,” but first, a handle on room acoustics will be a valuable tool in getting high-quality recordings. Plus, knowing a little about room acoustics will help you pick a room that is already a good choice or needs little adjustment for recording. You just have to know what to listen for in a room.

There are essentially three acoustic properties that dominate the quality of a room, 1) room modes, 2) reverberation and absorption levels, and 3) reflection, combing and diffusion properties. There are certainly other acoustic properties but you’re not going to earn your PhD in acoustics here. Let’s just try to keep it simple so we can do what we really want to do, get a quality recording of some great music.

I. Room Modes and Resonance

Ever play a particular note on your instrument and something in the room vibrated as a result? Well, that note hit the “resonance” of that object. What does resonance mean? If you take a piece of string and tie one end to something and then shake the string until you get the string to vibrate with a single arc, you are at the point where the least amount of energy is required to shake the string. This is why when you pluck an instrument string, it vibrates at a specific rate or frequency (i.e. the tuned note). The energy easily transfers back and forth from the bridge to the nut at this rate. Everything faster or slower just dies out quicker. Take the tie piece of string and try to change the rate at which you shake it and see how erratic it becomes. Well, rooms also have resonances and just like the energy in the guitar string that transfers back and forth from the bridge to the nut, sound in a room bounces back and forth from wall to wall. So at the resonant frequency, the sound will take much longer to die out compared to other sounds not at the wall-to-wall resonant frequency. There are other types of resonances created from more than just two walls (known as mode types), but the wall-to-wall modes almost always dominant the room.

Why should you care about room resonance? Well, say you are recording a song that is predominantly in the Key of A and the room resonates at a frequency that is near E-flat. After a recording of the song in the room, there is now this strange flat sound in the recording you just can’t put your finger on and so, the room has ruined the recording. Typically, if you can’t hear people talking on TV no matter how loud you make the volume, it’s because of the room resonance is covering the sound. The same thing will happen to your recordings if the room has heavy resonances.

The way to tell how many modes are in a room is based on the number of parallel surfaces. For example, in a rectangular room there are three modes: front wall to back wall, left side wall to right side wall, and ceiling to floor. Again, there are other modes but these are typically much less of a nuisance compared to the wall-to-wall type.

The frequency at which they resonate at can be determined by the distance (D) between each wall using the formula,

F = 565/D (resonant frequency of wall-to-wall room mode)

Depending on where you place a microphone, a room resonant can make a played pitch (or component of the pitch) louder OR softer. In any case, it “colors” the sound and distorts the intended recording.

Remember the example with the E-flat resonance? A room that has two walls about 14 ½ feet apart will produce a resonate frequency of about 39 Hz, which is a very low pitch E-flat.

Are there any good distances from wall to wall? No. Your enemy is parallel surfaces and in particular, rooms that are square or cubical. What if I just put a lot of stuff in the room? Won’t that help? Not necessarily; particularly if you just randomly do this. Rugs, drapes and furniture do not provide much mode damping (they do affect reverb and imaging, but not modes). There are ways to dampen mode frequencies (e.g. bass traps, wall wedges) but this will be covered in a separate article, “Finding and Fixing Room Acoustic Problems.”

Here is the Take-Away for this section:

  • Avoid recording in rooms with lots of parallel walls (especially square and cubical)
  • Irregular room shapes will provide much better recording quality
  • If you can’t avoid parallel walls (like the ceiling to floor), then at least know what the approximate resonant frequencies are so you can use that information to fix or avoid these modes

Just because you found a room that doesn’t have many parallel walls, doesn’t mean the room is recording-friendly. There are still two other factors to consider, reverberation and diffusion.

II. Reverberation and Absorption

What is reverberation? Sound bounces off of all surfaces whether it is a full reflection or a partial one. However, unlike direct echoes or resonances, these reflections hit other surfaces and still other surfaces until the sound dies out. This is known as reverberation and summation of the reflections result in a different coloring of the sound based on the size and shape of the room. This is why the reverberation in a church sounds different than in a concert hall. In fact a room with no reverberation at all is not real pleasing to listen to music in, but a room with excessive reverberation will make the music sound blurry and lack real clarity. So, the goal is to find the right balance of reverberation. However, if there were a situation where you had to choose a room with too much reverb versus a room with very little reverb, choose the room with very little reverb (i.e. a very “dry” room). Why? Thanks to the development of software technology and process power, artificial reverb can be added to tracks after recording. This is particularly appealing since different types and levels of reverb can be auditioned for the same track. Beats packing up the equipment and moving to another room just to see if you like the reverb better. However, sometimes we find a room that has such a nice reverb quality to it and you want to capture it with your recording. If not, the goal will be to make the room a dry as possible and ideas for getting a room dry are covered in the article, “Finding and Fixing Room Acoustic Problems.”

So how do you know a room has too much reverb for recording? Good reverb to the ear typically does not translate the same for multi-track recording; always go for a little less, particularly if the music is a faster tempo and more rhythmic. Nevertheless, the first thing to consider is the overall spatial volume of the room. Based on typical professional recording studio rooms and other sources, rooms no smaller than 3,000 cu-ft should be used for recording. This is mostly because any smaller, the resonant modes become too difficult to reduce using absorption and other methods. Not to mention, it’s going to be pretty cramped (e.g. 3,000 cu-ft = 8-ft ceiling x 20-ft front-to-back x 18-ft,9-in side-to-side). For recording, a maximum of 30,000 cu-ft should be the limit; this would be a typical basement with a 10-ft ceiling, 75-ft long by 40-ft wide. Any bigger and it will get more difficult to reduce the reverberation without professional grade treatments. Once you have a room that is a good size for recording, you have to figure out if the reverb is too much for a clear, professional sounding recording.

There are two answers to the question, “How much reverb is too much for a room that you will record music?” The first answer is the more professional approach that requires you to set up a microphone and a speaker for recording a “white noise” that you turn off to have a recording of the decay of this sound. The time it takes for the reverb to drop 60 dB (decibels) is known as the RT60 time of the room. If you go to some of the musical instrument and audio equipment websites, they sell audio analyzers that measure the RT60 of a room. However, they are not cheap and there is a quick and dirty way to do it if you have recording software that displays tracks in a dB scale (covered in Section IV). So, good reverb RT60 levels for recording music should be in the range of 0.5 seconds to 0.75 seconds. The second answer is the less sophisticated approach and that is to just make the room as dry as you can. Then once the tracks are recorded you can add reverb digitally in the mixing. Making a room dry requires a little understanding of absorption and damping.

As much as some materials reflect sound, there are other materials that absorb sound. The problem is that most absorptive materials do not absorb sound the same at different frequencies. For example, curtains might absorb mid-range sounds (200 Hz to 1000 Hz) well but do not impact the lower range much. So, although you reduced the reverb in the mid-range the room now sounds boomier. The bottom line is that thick is better. Fluffy pillows and drapes with a lot of folds will provide better sound absorption in the lower ranges. Carpets are good for mid to high frequency ranges (1 kHz and up). Room modes are a different animal and things like bass traps and wall wedges will be needed but the same idea of thicker-is-better still applies. Overall, try to have a balance of materials for all the frequency ranges. A little adjustment of how many items and where they are in the room will make a big difference in how dry the room will get. If the room starts to sound like you’re in a tin can, the high range needs more absorption and if the room gets too boomy, you need thicker, fluffy items to reduce the lower range. More on this will be covered in the article, “Finding and Fixing Room Acoustic Problems.”

The last topic I want to mention related to room reverberation is the sense of spatial placement. If a listener is standing in one spot in the room and the instrument is played at several different locations, the location change is audible to listener and NOT just because of the volume different between each ear of the listener. The reverberation build up will be different based on where the instrument is placed. One of the key aspects of this is the arrival gap. This gap between the direct sound of the instrument and when the reverb arrives creates a sense of space. Thus, sounds that have different arrival gaps and reverbs give the listener a better sense of spatial placement of the instruments in the room. So, when recording in the room (particularly rooms that are not very dry), record the different instruments as far apart from each other as possible to give them better separation in the mix-down of the tracks. Even though in a live performance the instruments are closer, placement of them further apart when recording will make the total mixed down recording feel much bigger and more live. For much drier rooms, this is not as important but this same effect can be achieved with digital reverberation if you know how to manage the settings to emulate the feeling of spatial placement.

Here is the Take-Away for this section:

  • Rooms with less reverb are better for recording than ones with more, even if the reverb has a good sound to it.
  • Rooms between 3,000 cu-ft (e.g. larger living room) and 30,000 cu-ft (e.g. large unfinished basement) are the most suitable sizes for recording.
  • Thicker and fluffier materials for lower frequency absorption and carpets, rugs and flat curtains for higher frequency absorption.
  • Record each instrument at different locations to achieve a better sense of separation on the mixed down track (further apart the better).

So, at this point you know that irregular shape room with some materials to absorb sound are the best candidates for recording. However, there is one more consideration that is related to echoes know as imaging that can ruin a recording even in a mode-free, low-reverb room.

III. Reflections, Combing and Diffusion

Although reverberations can be considered a kind of sound reflection it is really a full blend of many, many reflections in a decaying pattern. A direct reflection is a single reproduction of the direct sound and in cases where the reflection is coming from a far enough away location, it is called an echo. In very close scenarios, the effect is not audibly heard as a second copy of the original sound. One result is a blurring of the source and second is a flanging or combing of the sound. It’s that twangy sound you get when you clap your hands in a narrow, hard-wall hallway. In recording, this can happen if your instrument is too close to a hard flat surface that sends a reflected image of your instrument to the same microphone you are recording. This can also happen when you record two tracks at the same time and each track has the same instrument recorded but with a slight delay between them. After mixing them down together, the flanging will occur.

The solution to preventing combing to occur in your recordings is the THREE-TO-ONE rule. If your instrument is 1 foot away from the microphone you are recording, then every other microphone and flat, reflective surface must be at least 3 feet or more away to prevent the combing filtering effect. For example, if you are in a room with an 8-foot dry-wall ceiling and you have a vocal microphone that is 5 feet above the floor, the furthest distance your singer can be away from the mic is 1 foot before the potential for flanging will occur in the recording. Another example is overhead mics for drums. Say you had two microphones for hanging over the kit for recording and the distance from the left crash cymbal to the mic directly over that is 1 foot. Then the other mic over the right crash cymbal has to be more than 3 feet away from the left crash cymbal. Plus, a flat dry-wall ceiling has to be more than a foot above the microphone. The drawing at the beginning of the section illustrates this. I’m not going to lie to you, drums are very hard to record. So it may take you a little while to find just the right placement and number of the mics and location of the kit in a room. However, sometimes placement and separation of the mics are not enough or the room constraints limit your options.

Any flat surface (even ones with a lot of absorption) can generate a reflection and therefore a potential for combing (or flanging). So, one way to reduce the amount of reflections that could create problems like combing, is to diffuse the reflected sound by changing the surface from flat to something that would better scatter the sound. Something as simple as a piece of wood or stiff cardboard bowed outward from the wall would provide good diffusion of the sound. Diffusion also helps improve the quality of the reverberation as well. Another idea is to have things on or against flat surfaces with random angles and shapes to force reflected sound to disperse in every direction instead of the same direction as a flat surface would. If caves had more absorption to them, they would make great locations to record since the cave walls are so filled with random shapes, sizes and curves.

Here is the Take-Away for this section:

  • The THREE-TO-ONE Rule: for every 1 foot your instrument is way from the recording microphone, all other microphones and flat surfaces should be at lest three feet away from that microphone.
  • Rid the room of as many large flat surfaces as possible by adding things against them to scatter the sound in random directions or even just an outward-bowed piece of wood or cardboard will make a big difference.

By applying these simple ideas to selecting and setting up a room for recording, you will notice a tremendous difference in the quality of your recordings. The more professional sounding your recordings are the more listeners will view you as a serious musician. You don’t want somebody saying, “This sounds like you recorded it in your garage.” A great song deserves a great recording and it all starts will the right room.

If you want to know a little more about the room you want to record in, the next section covers some simple ideas for taking acoustic measurements to evaluate the room and how well you did in treating it to sound better.

IV. Quick, Cheap and Dirty Acoustic Measurements

This section is a little more advanced in terms of being able to take advantage of the digital recording software to do your own acoustic measurements. If you have software packages like Cakewalk SONAR, Steinberg Cubase, DigiDesign ProTools, or other package that you can record and mix audio tracks, then you have the ability to do some basic acoustic measurements and analysis. Everyday, I’m seeing more and more plug-ins (e.g. VST, DXi) for these types of room measurements. I have even seen a number of “free” spectrum analyzers as plug-in modules for most recording software programs. The point is that more and more people are beginning to realize the value in making sure the room you record in gives you the best results and a little understanding of room acoustics will help you get the most out of these emerging tools. Nevertheless, with just your recording software you can make a few simple checks about the room before you start recording.

Find Those Modes

The first types of measurement that we will try to get with a quick and dirty technique are the room mode resonances. To do this you, you will need:

  1. A “white noise” wave file (>5 seconds long) to play on your audio player.
  2. A good microphone that has a low-frequency response (e.g. big condenser type used for vocals or bass drums).
  3. An audio spectrum analyzer plug-in for your recording software. Particularly one that lets you change the frequency range so you can set it below 1,000 Hz.

This measurement procedure is more for before-and-after testing to see if you were able to reduce the room modes. However, in the least you should be able to locate the modes in the frequency spectrum. In case you are not sure what a “frequency spectrum” is, this is a plot of all the frequencies that are being picked up by the recording microphone. If you record a single note, you will find that it is not just that pitch but many other tones and frequencies that appear in the plot. If you record a single snare drum hit, you will see a very wide spread of frequencies in the plot. White noise shows up on the frequency plot as a complete flat horizontal line of frequencies. So, any effects of the room such as the modes will show up as peaks in this horizontal line, which is why we use white noise to find the room modes.

First Step: you need to estimate where the biggest room modes are in the frequency spectrum by finding the largest parallel surfaces in the room. If the room was rectangular, it would be the ceiling-to-floor, front wall-to-back wall, and left side wall-to-right side wall distances (in feet). Using these measured distances, apply the formula:

Frequency = 565/Distance

for each measured distance between large parallel surfaces.

Second Step: Place a larger speaker (e.g. woofer-type) connected to your sound system in the middle of the room and a large condenser-type microphone (e.g. vocal or kick drum mic) about three feet away from one of the corners in the room (modes are strongest in the corners). Play the white noise sound file through the larger speaker and record this using the large condenser-type microphone you placed in the corner. Make sure you note the exact positions of the speaker and microphone for later reference.

Third Step: Feed the recorded sound file into your frequency analyzer and zoom in on where you calculated the room mode frequencies. Note: some frequency analyzer programs (or plug-ins) don’t let you change the range to compute the spectrum of frequencies and this may make it difficult to see the mode frequency bumps in the plot (i.e. the low-resolution at low frequency has “smoothed” out the modes in it’s calculation of the plot). Thus, find a frequency analyzer program (or plug-in) that lets you set the range so you can get better resolution down at the lower frequencies (10’s of hertz) where the modes are likely to be. FYI: a drop in the peaks of only 3 dB means the volume has been cut in half and a drop of 6 dB means the volume is now only 1/4th the original.

Fourth Step: Add bass traps, corner fills and other mode reducing materials to cut the modes and repeat the measurements in the previous step. Compare the before and after spectrum to see how much reduction you have been able to achieve.

Good Reverberations

Let me just reiterate that the drier the room (i.e. less reverb) the better for recording and this is mostly due to the advances in computer technology and digital emulation that makes it easier to create very realistic sounding artificial reverberation. This assumes the user of the reverb application knows what they are doing (see the Mixing lens in this series). However, you may still want to see how dry the room is before you start setting up your gear and bringing everybody in for the recording. So, this section shows you a quick little trick for getting a rough estimate on the reverb level of the room. I also want to again point out that there is a growing number of programs and plug-in for this and it might be of some value to you to do a quick internet search for your own benefit.

To do the quick and dirty reverb level check, you’ll need set of drum sticks or some balloons (yes, I did say balloons) and a microphone. Given the option of balloons or stick, pick the balloons. Set the microphone up somewhere near the center of the room and start recording when the room is very quiet. As you are recording, pop a balloon with a pin or bang the sticks together once. Do this every 5 seconds to have a series of pops/bangs to look at in your recording software.

In your recording software, there should be a way to set the scale in the wave view window to be in decibels (dB). Once you have the scale set, zoom in on one of the pops in the wave view window.

In the dB view, the pop (or stick snap) will not completely drop out to zero; the remaining wave data is the background noise of the room and electronics (i.e. the noise floor). The RT60 is the time it takes for the pop to decay 60 dB, but in most practical situations the decay disappears into the noise floor before it decays the full 60 dB. So, you need to draw two horizontal lines, one from the start of the pop waveform and a second 60 dB below that that line (e.g. if the first was at -10 dB then the second would be at -70 dB). Using a straight edge, try to line it up with the peaks of the drop off and the intersection of the second horizontal line with the straight edge will approximately indicate the RT60 time. In the picture above, the RT60 time is about 0.33 seconds; this is a dry room and good to record in. Keep in mind, you are just trying to get a rough idea of the RT60 time; there are more accurate methods but we’re trying to keep it simple and cheap.

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How To Cut Music In The Middle Of A Song Music Then and Now – A Brief History of Music and Woodwind Instruments

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Music Then and Now – A Brief History of Music and Woodwind Instruments

Music is all around us. It is the core of our society and is in the soul of our people. Even in the womb, it is said that the baby responds to the music the mother plays or sings. Music can be found in any environment around us: quiet or enjoyable music in restaurants, grocery stores, doctor / dentist offices, department stores, elevators, schools or weddings. Great music at fireworks shows or parades; Or even quiet music at funerals. It can be heard in almost every TV commercial and in the subject of each TV show. Some people want to play music like drugs and can not live without it, play in the car and even sing in Even the shower.

Everyone has the ability to make music, whether by sound or by instrument. We all may not have the right pronunciation or pronunciation, or we may not make great voices because of the differences in the way we process audiovisual information, as Simon Cowell made clear about “American Idol.” But we have the ability to produce music. With some coaching or mentoring, like many cast members of the TV show “Glee”, as reported by Emile Menasche, we can make a powerful impact.

Over time, music developed into a wide variety of genres and sub-classes. These can include classical, jazz, blues, swing, symphony, opera, rock, rap / hip-hop, country, folk, pop, R n B, theater, heavy metal, Latin, techno, tango, children, electronic Native American, Inspirational, Parade, Gospel, Romantic, Romantic, or Spiritual. Most of these types of music have come as part of the changing structure and function of our culture.

Music also serves to be very healing. In my personal experience as a therapist, music works to help people with different disabilities improve function, whether it be for communication or movement purposes. For example, in working with people who have had a stroke and have difficulty expressing themselves (can understand language but cannot form words to express it verbally), singing allows them to say what they say. Wanted since it involves different parts of the brain. In working with children with autism spectrum disorder, I have found that music helps develop coordinated movements and motor planning because it provides time and rhythm that these children cannot access in their brains. Any musical instrument can be healed, whether it is a wind instrument, a brass instrument or a stringed instrument, or just dancing to music.

But where and when does wood wind turbines come from? If we look back at history, we can see what the first wooden wind instruments were. However, as the late Curt Sachs cleverly pointed out, music originated back to pre-instrumental music and primitive men. He said, “All the beasts of the earth show their deeds by movement.” Throw your feet on the ground, clap or clap. These audible actions are the cause of our first wooden wind instruments, and most likely people are not even aware of sound, which is a separate concept.

Archaeological findings show that the first real musical instrument in history was a ringtone. Nuts, teeth, or bones are attached to ropes or bundles and hung from one part of the body (ankles, knees, waist, or neck) as a means of adding sound to body movements or dances. However, this is a delayed sound after physical movement. Later, the sound became clearer, but not as clear as the sound of pebbles filled with pebbles or small solid objects shaking in Tribal dance. From there, other live speakers were developed that used feet or hands to make sounds, e.g. Stamper (use a stick or a sounding device on a board or bark to cover a hole in the ground) Sliding drum (seal on a hollow log shaft on a pit) Drum (use a hand or back stick to hit a membrane that extends over a hole opening Body of any shape), friction device (using a turtle shell or a round piece of hardwood with four notches cut into it and rubbing it on the palm of the hand to make a humming or screaming sound), cow roarers (quickly whirling a thin strip attached to one. The umbilical cord makes a roaring sound) and scraps (scraping sticks, bark, or gourds with a hard object).

The reed was the first simple musical instrument to be played with the mouth like a wooden wind instrument. This is just the grass removed from the reeds that stretches between the two adjacent thumbs and blown into the cracks, the sword will vibrate with a loud shout (Who has not done this? ) More developed civilizations rolled large grass leaves in a circle to form a bivalve tube with a thin end of Leaves cut at the top. Eventually a flute was created that played like any other wooden wind instrument: by blowing into the air column of a vibrating tube was created and made a certain sound. Flutes and other reed wind instruments were played from the Middle Ages (476-1400) and the Renaissance period (1400-1600) as they underwent many changes in design. The orchestra has a newer origin.

The Baroque period (1600-1750) was noted for the radical revolution in music with the need for novelty in the style of composition. There is an emphasis on strong emotions (“What lust can not music enhances and soothes” sung by Dryden) that requires Lots of voices to express passion and sudden change from happy to sad. Like the Middle Ages, the monodic singular style of the singular part is emphasized back to music, as opposed to the polynomial style of the Renaissance, in which equal weight was given to all brass strings or wooden wind instruments played in Concert. To achieve this, the wood wind instrument underwent various refinements and modifications. Instead of being made of one piece of wood or other material, they are now made of two or more pieces tightly joined together to be able to control the pitch by adjusting the length. The reed wind instrument changed the reed cut and the baffle was changed for a smoother sound. The oboe-like instrument was discarded, and only the small oboe bass and flute formed the wind instrument of an orchestra.

Romance (1750-1900) created an additional variation for the wooden wind instrument, although the musical style is remembered in the 16th century. Emotional music has brought about a significant increase in the amount of timbres and woodwind instruments have been changed to be able to modify from timbre to timbre with greater ease through various technical enhancements. Woodwind instruments are required to sound louder and louder in line with the social transition from aristocracy to democratic culture. . In short, art has evolved from aristocratic reserves to uncontrolled passions. To drive the wooden wind instrument to meet the changing music style, technical changes have been made for improving the flexibility of the music, the fluency of the pitch, the accuracy of the pitch and the more free modules. Adding the key, the position of the socket, the placement of the key mechanism, the key pad and the size of the socket are changed. This created a more efficient wooden wind instrument that was easier to play with and move along the line. The wooden wind instrument section of an orchestra now includes not only the oboe and bass, but also the saxophone and clarinet. A family of wooden wind instruments has also been developed, e.g. soprano, alto, tenor, baritone to enhance melody and harmony and create a complete sound.

The 20th century brought about many radical changes in music styles such as jazz, swing, pop and rock. However, apart from the introduction of electrical instruments (e.g., organic pianos, stringed instruments), the number of wind instrument changes is not large. Woodwind tools in the 20th century today still retain the prototype of the nineteenth century, but can be made of different metals, their mouths are made of different lengths / widths and sizes of reeds, and some people prefer Different colors for their wooden wind instruments.

The Woodwind instrument really took a significant step in its evolution as the culture and demands of society determined. Fortunately, preferences for specific sounds have also evolved. The music emitted from these wooden wind instruments has become enjoyable with the ability to affect our well-being deep into our hearts and souls compared to the roar and roar of some traditional instruments. Let us all enjoy the deep music in ourselves, free to sing, dance to the music or play the wind instrument! If you want to pursue your musical passion or desire, you will find a highly crafted wooden wind instrument at a great price. Most suitable at http://www.djmusicstore.co.

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Learn How To Read Sheet Music For Piano Online Free Song Writing: To Find Yourself In The Music You Compose

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Song Writing: To Find Yourself In The Music You Compose

What is songwriting? What are you making? When you write songs, do you actually compose or just copy?

When songwriters make a living from their writing, it puts a lot of pressure on them. Some songwriters listen to popular stuff all the time and try to imitate the hook.

As a songwriter, I see two ways to go:

1. Listen to many hit songs and try to compose similar songs. By listening to songs and reading a lot about what’s going on, you can try to get a feel for what kind of music will be popular in the near future.

2. Try to be yourself and work hard to create songs that you like in the hope that others will feel the same way.

The last method is the most useful method for me in terms of personal growth. As a songwriter, I feel good and happy when I’m creative, and that the process is about getting to know myself better.

In the long run, it might also produce top hits. The song Yesterday is an example of another hit song.

Songwriting can be a very rewarding activity, and the level of uniqueness depends on how you write your music. You can help activate the creative parts of your brain, or use the more computational parts, or a combination of both.

May I share some tips from my songwriting experience:

1. Hold your guitar or sit at the piano and sing and sing without expecting to create something amazing. When you step away from the computational parts of your brain and allow yourself to wander into the exciting forest of imagination and creativity, amazing things happen.

2. Limitations help your creativity. For example, use a chord progression like G Em Am D7 to limit yourself. Many songs use this progression, but there will be more. You can of course use something more odd like ECC#m G#m.

3. Record yourself singing on your guitar or piano. Hearing what you come up with after a few days can help you find interesting melodies or hooks to use in your songs.

Sometimes you can’t write songs like your favorite songwriters, but they feel like you can’t write songs yourself. A comforting thought, isn’t it!

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Last Night We Listened To Music And Danced In Spanish What’s Authentic Bavarian and Austrian Alpine Folk Musik (Echte Alpenlaendische Volksmusik)?

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What’s Authentic Bavarian and Austrian Alpine Folk Musik (Echte Alpenlaendische Volksmusik)?

When Americans think about German music, they associate it with the Polka-band sounds they hear at the various Oktoberfests held around the country. What most of them don’t know, however, is that the music I have just described is only one among the many kinds of German folk sounds. I don’t know if anyone ever tried to classify all of them, and I definitely won’t attempt it here. However, I want to introduce and explain one particular kind of Volksmusik, which I consider to be the most authentic in the regions between Bavaria, Austria and Northern Italy.

The main kinds of Volksmusik

In general terms, we could say that there are three main kinds of Volksmusik. From most to least commercial (and I use the word with no negative connotations whatsoever), these are:

1 – Volkstuemliche Musik. Volkstuemliche Musik is the most similar to what Americans are used to hear. Cheerful themes, cheerful rhythms (mostly Polkas), some modern instruments like drums, electric bass, electronic keyboards and a repertoire mainly detached from a historical tradition. At its highest level, volkstuemliche Musik brings huge crowds and the musicians are true local pop-stars.

2 – Oberkrainer Musik. Oberkrainer Musik stems originally from Slovenia. The typical ensemble has one or two accordions, a clarinet and trumpet playing in harmony, a bass and/or tuba (or other bass brass instrument) and a semi-acoustic guitar. Oberkrainer pieces are generally also cheerful and the themes are happy, although there is more variety in the dance-rhythms used. There is a heavy emphasis on instrumental virtuosity and, there is often copious borrowing of repertoire from echte Volksmusik.

3 – Authentic Alpine Volksmusik (echte Alpenlaendische Volksmusik). This music is played mostly in Bavaria, Austria and Sudtirol (Italy), and its roots extend back to the late 18th century. The greatest majority of the repertoire is also historical–mainly pieces that have been passed down unwritten through generations, and that are therefore subject to regional variations in both music and lyrics. Echte Volksmusik instruments include the steirische Harmonika (buttonbox accordion), the Zither, the Classical guitar, the harp, the double bass; plus clarinets, trumpets, violins and other, less-used instruments like the Ocarina, the Jew’s Harp and a sort of Mountain xylophone called Hoelzernes Glachter. Rhythms are varied, while themes range from the upbeat to the melancholic.

The anatomy of authentic Volksmusik

Authentic (echte) Volksmusik comes in many different guises, such as Stubenmusi (mountain lounge music), Saitenmusi (string-band music), duets, trios, quartets, etc. of different makeups ranging from the purely instrumental to the a cappella.

If I had to describe the typical Volksmusik piece, I would do so in the following manner, bearing in mind that this is a generalization and that there are many exceptions.

A large part of this music is based on dance-rhythms typical of the area. Although Americans usually associate German music with Polkas, perhaps the most prevalent dances in authentic Volksmusik are the Landler and the Boarischer. The Polka and the Walzer (waltz) have of course a place of honor, albeit more as “accent pieces” than as main fare.

Most phrases are eight or sixteen bars long, and the greatest majority of pieces can be danced to–with (generally) the exception of the Yodlers and some songs.

The Boarischer

The Boarischer is one of the bounciest dances in the Alpine tradition, and one of the absolute favorites among locals. With its name being dialect for Bayrischer (Bavarian), it is a leisurely, more hopping variation of the Polka, i.e. a dance in 2/4 time, not coincidentally also called Bayrisch Polka. In Austria it is also known as Bauernpolka, or Farmer’s Polka.

Dating from the mid-19th century, the Boarischer is danced in several ways, including the Offener Boarischer (open Boarischer) and the Figuren Boarischer (figure Boarischer).

The Landler

The Landler or Ländler is a 3/4 time dance originating in the final decades of the 18th century. It can be as quick as a Classical waltz or as slow as a sweet lullaby, which gives it incredible versatility. Together with the Boarischer, it is one of the most widespread dances for authentic Alpine music.

The Landler is also the type of dance often used by Schuhplattlers, who take advantage of its slightly slower tempo to showcase the intricacies of their arm- and footwork. Similarly, quicker Landlers are often used by musicians to showcase technical prowess, since they normally feature more note-intensive passages than their Classical cousin, the Waltz.

The Polka

The Polka became standardized in the first half of the 1800s–its name meaning “Polish” and originating, not coincidentally, in Eastern Europe. It is a quick dance in 2/4 time, and for many, it has become synonymous with German music–particularly Oktoberfest music.

In authentic Volksmusik, the Polka is heard less often than its other 2/4-time cousin, the Boarischer.

The Waltz

The Waltz is a dance in 3/4 time, originating from the Minuet and the Deutscher Tanz of the 18th century. It has a strong flowing swing that makes it a favorite among dancers, and it was of course the battle-horse of the great Viennese composer Johann Strauss.

With Alpine music, however, the Waltz often takes second place to the Landler, although the two can be danced similarly.

The Marsch

The Marsch (march) is recognizable by its military-like rhythm of 2/4 or 4/4. It is often used as the entry piece for dancers in traditional Alpine music, or even in Schuhplattling. Although they are dance-pieces, many marches also have lyrics in one or more of their sections–oftentimes some of the most joyful and anthem-like within the tradition.

Vocal music

Vocal music in this tradition is mainly divided between songs and Yodlers. The majority of the songs are accompanied by instruments, follow one of the dance-rhythms mentioned above, and may or may not contain a section sung yodel-style. Themes vary from the nostalgic to the downright bawdy, from the love or work-ethic to the “wink-wink” double meaning.

On the other hand, most Yodlers are slow, flowing wordless harmonies sung a cappella, and their sounds are reminiscent of pure Alpine echoes.

The Instruments of Traditional Alpine Volksmusik

Traditional Alpine Volksmusik uses a very well-defined set of instruments. The tradition is unique and dates back well over a hundred years, so the instruments associated with it are also quite distinctive and time-honored. The instruments most Volksmusik bands play are squarely in the Alpine tradition and are matched to make groups sound rich and complete.

Furthermore, the instruments are played following a clearly-established traditional technique, which even today is cultivated in music-schools and conservatories in the Alpine regions. In other words, what you play isn’t the only thing to matter: how you play it is just as important.

Here is a list of some of the most commonly heard Alpine Volksmusik instruments, along of a brief description of their characteristics.

Zither

The Zither is a table-top instrument belonging to the plucked-string family, and it achieved worldwide fame by the soundtrack of the movie The Third Man. It consists of a fretboard with five strings whose pitch is controlled by the left hand, plus a number of unfretted strings tuned in the circle of fifths. The right hand picks the fretboard strings with a thumb-ring while striking the bass and accompaniment with the ring, middle and index fingers.

The main difficulty in playing the Zither is coordination. The right thumb has to be completely independent from the other fingers to play the melody with feeling and expressiveness, while the other three fingers have to strike the rhythm in tempo and with a good bounce.

There are two main tunings for the Zither: the Bavarian and the Viennese.

Steirische Harmonika

A quintessential Alpine instrument, the Steirisches Accordion gets its name from Steiermark (Styria), a region of Austria that has produced countless excellent Volksmusikanten. It has three or more rows of buttons played by the right hand, each producing the notes of a key’s major triad upon pushing on the bellows and dominant seventh (plus a few other notes) upon pulling; and a corresponding number of basses played by the left hand.

The Steirische can only play in the keys corresponding to the rows of buttons it has. For instance, a Steirische that only has three rows (e.g. G, C, F), can only play in G, C and F. It has a distinctively brassy bass called Helikon, which is reminiscent of a tuba or Posaune, and that makes the Steirische’s sound unmistakable.

Classical Guitar

The Classical guitar is one of the main accompaniment instruments in authentic Alpine folk music. It is played mostly with the fingers of the right hand (without a pick), with the thumb playing bass notes and bass-runs, and the other fingers performing the chords.

Although physically similar to the Classical Spanish guitar known virtually everywhere, the Alpine Classical guitar calls for a special playing technique and a consummate feel for this type of music. A very characteristic accompaniment type is an “oom-pah” pattern in which the bass is kept very short by stopping it almost immediately with the palm or back of the thumb, while the chord is left ringing more freely. There are a number of interesting bass-runs that are characteristic of Alpine music, and that add bounce and zest to any piece.

The guitar is also used as a melody instrument, primarily with other guitars and/or harps, zithers and similar stringed instruments.

The Hackbrett

The Hackbrett is a sort of hammered dulcimer. Its use is either melodic-harmonic, i.e. playing along with other instruments in harmony; or rhythmic, i.e. playing eight-notes while the other instruments play longer values. It is very common in the Stubenmusi and Saitenmusi varieties of Alpine Volksmusik and it lends itself wonderfully for indoor, unmiked venues.

Schrammel Guitar

The Schrammel guitar consists of a regular Classical guitar with a second unfretted neck on which are stretched nine additional bass strings generally tuned chromatically from the Eb just below the guitar’s 6th string down to the G below–although alternative tunings are permitted.

This type of guitar was made popular in the turn of the last century by Viennese “Schrammelmusik” groups, where this guitar accompanied instruments like violins and clarinets. The thumb of the right hand plays the bass strings as well as the bass range of the guitar’s regular strings, while the other fingers play the higher notes fingered by the left hand on the guitar’s fretboard.

Naturally, the Schrammel guitar can also be played as a regular Classical guitar when called for.

The Harp, Double Bass and Other Instruments

Few know that the modern pedal harp owes at least some of its roots to Tyrol, the region of Austria bordering Italy. In Volksmusik, the harp is used in a very eclectic manner–either as a solo instrument or as accompaniment to other instruments.

The double bass is almost ubiquitous in larger groups, where its deep notes form the harmonic basis as well as the main rhythmic scansion. It can be played either plucked or with a bow, but either way, in dances it is played mostrly in short, staccato notes. It is the “oom” of the “oom-pah” rhythm, mostly playing alternating root and fifth of the chord currently being played by the other instruments. A common variation (or addition to) the double bass is a bass brass instrument like the tuba.

Other commonly-heard instruments include the clarinet, trumpet and the violin, while among the sounds occasionally heard are that of the Ocarina, the Jew’s Harp, the Mountain Xylophone (Hoelzernes Glachter) and the funny-named and funny-looking Teufelsgeige, or Devil’s fiddle, a rhythmic percussion instrument.

Alpine Volksmusik in the USA

Alpine Volksmusik is not easy to find in the USA–at least, as played by competent musicians knowledgeable of the tradition. There are a few individuals and/or groups scattered around the country, who will be delighted to share their passion for this wonderful music form with those interested. Players of this music, echte Volksmusikanten, approach their music and their instruments almost with Classical meticulosity, although at gig time you will see all the joie-de-vivre and the zest that is, itself, a great part of this tradition.

The best way to hear what authentic Volksmusik sounds like is to visit YouTube and to search for “echte Volksmusik” or for names like Franz Posch.

I hope that with this short article, you will be more inclined to get to know and appreciate the wonderful sounds of Alpine Volksmusik–which is a breath of fresh mountain air that will make everyone smile every time that it is played.

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How To Create A New Itunes Account Without Losing Music How to Avoid Being Hacked – Two-Factor Authentication

You are searching about How To Create A New Itunes Account Without Losing Music, today we will share with you article about How To Create A New Itunes Account Without Losing Music was compiled and edited by our team from many sources on the internet. Hope this article on the topic How To Create A New Itunes Account Without Losing Music is useful to you.

How to Avoid Being Hacked – Two-Factor Authentication

Multi-factor authentication (MFA) makes it more difficult for hackers to access your online objects, and the most common form of customer MFA is two-factor authentication (2FA). The most common form of 2FA is debit card. One factor is the card itself, which contains magnetic identification information (now a chip) and the PIN code you provide when you close an item in an ATM. It’s simple and good to keep others out of cash accessing your ATM. 2FA is important for your online accounts, such as your email and iCloud accounts.

While I recognize that it can be a bit painful to do something extra to access your account, it is less painful than stealing your identity, losing access to your email, or replying. Hold on to your friends who wonder why you said the crazy thing about them (unless you really said the crazy thing). Those!). Or Heaven Defends someone when you log in to one of your game accounts.

Here’s how 2FA or 2-Step Verification works for some different types of online accounts. (Note: These services change things from time to time, so it is a good idea to keep such changes.)

Installing Google 2-Step Verification

First, you sign in with your username and password (we will choose a smart password in the third section) to your Gmail account. There should be an icon in a circle near the upper left corner of the window. Maybe it was your photo. Click on it and you will see “My Account”. (Incidentally, it changes every few years) In the new window that opens, click on “Sign-in & security”. Click on “2-Step Verification” then on “Start”. It’s time to re-enter your username and password. Enter a phone number and click on whether you want to receive text messages or calls. You can then receive an SMS or call using a 6-digit verification code. Type it and select the option to enable 2-step verification. It’s very easy. Okay, there are many steps, but it is not difficult.

Maybe you want to integrate your Gmail with other apps like Outlook, rather than using a browser to access the Gmail page for your mail. If so, it may be that once you have enabled 2-Step Verification, your Outlook (or other application) continues to tell you that you have the wrong password, even though you know it is correct. This happened to me. You may need Google to provide you with a specific application password that Google will generate for you. You will need to access the application password page, which at the time of writing is here.

Select the application you want (if Outlook then you will select “Mail”) then the device you are using (Google shows a great list of devices you use with their service). Then select “Create”. It will show you a 16-digit number in the yellow bar for you to use as your new password for that application (Outlook, e.g.) on that device (do not enter spaces). You can save that password in your app and you may need it again in the future.

Yahoo!

Yahoo! Is similar: Log in to your account, go to the Account Security page, click on “2-Step Verification” and toggle the button there to enable it. Choose an option to receive text or phone calls for verification. Enter the code that came to you via text message or phone call. At this point you can create an app password similar to the Google process above for your other apps like Outlook or Apple (iOS) Mail.

iCloud

Now let’s set up 2FA on your iCloud account. First you need to have a password on your iPhone or iPad.

Click on Settings app. If your device is running iOS 10.3.3, click on your username (or the account name you used to log in) then click on “Passwords & Security”. Did I mention it will change when Apple keeps us on our toes? Change everything when we are comfortable with the previous version? In the latest version you will have clicked on Settings, then on iCloud, then your name, then Password & Security. But I’m jealous …

Now click on “Enable 2-factor authentication.” Get ready to answer some security questions – which we will discuss in a future article – and then enter the phone number you want to receive the code for 2FA and, as before, choose whether you want to call or text.

Tossing machine

For Mac, open System Preferences and select iCloud and then “Account Details”. You may need to sign in with your Apple ID. As above, answer your security question, if asked, enter the phone number you want to receive a call or send a message for verification. Again, the magic robot sends the code to you immediately and you have to enter it into the field waiting for your answer.

Once it is enabled, you will receive a message requesting approval if the device is unknown or your account signing location. Please note that on a Mac, that notification may sometimes be in a window hidden behind another, so look for it if you find you have trouble getting a consent request.

Speaking of issues, it may seem like a lot of work to have two-factor authentication, but once it is installed it does not hurt too much and it adds a lot of security to your account as well as many barriers to hackers. Can occur. So do it!

Next time we will discuss passwords, passwords and why you should not fill out the fun quiz that all your friends send you.

Next in Section 3: Choosing a smart password and secret question (abbreviated as providing form).

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My Personal Hobbies Are Reading Listening To Music And Silence Trouble Having a Discussion? How to Improve Your Conversation Skills

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Trouble Having a Discussion? How to Improve Your Conversation Skills

If you’re having trouble starting or continuing a conversation, don’t worry, you’re not alone. Many people fall into this awkward silence and stop saying anything. Here are some tips to get you started:

  • Find topics of common interest. The subject should be appropriate for the situation, but don’t overdo it with this rule. Just avoid discussing things that might upset or upset the person. Some suitable topics include business, books, movies, plays, musicals, travel, restaurants, pets, hobbies, music, art galleries, museums, educational courses, sports, social clubs, and charities. You don’t have to experience these things first hand. For example, you don’t need to have traveled or read a book before you mention it.
  • Learn to break the ice. Start with something neutral for both men and women, like geography. Many people these days ask, “Where are you from?” starts the conversation by asking. This short but effective question can lead to many other topics. The person may have moved from another city or returned from a vacation in Europe. According to this information, questions such as “Did you enjoy your trip?”, “I heard it’s really cold there, how did you manage?” There are many opportunities to answer questions like or ‘Which part of Italy was your favourite?’
  • Make the conversation enjoyable. The goal is to start a pleasant conversation in the beginning. So if you do ask questions, make sure they are non-threatening and non-judgmental.
  • Join the discussion. People love compliments. You can use these to get the conversation going, or if you haven’t already contributed to the conversation, you can become part of the discussion by adding something like “that’s interesting, I had no idea…”. That person will be happy that they find you interesting, will allow them to join you, and give them the confidence to continue the conversation (they may also feel shy).
  • Don’t get defensive about personal or embarrassing questions. Some people are very open-minded and may not consider it rude to ask about your age, finances, or even marital status. If someone asks you a question you don’t want to answer, ask, “why do you want to know?” Most of the time, people take advice and leave the problem alone.
  • Ask open-ended questions. The best way to keep the chat going is to avoid closed-ended questions (only “yes” or “no” answers). “What made you want to study business?” ask things like rather than ‘so you studied business?’. The first question requires more openness than the second direct question.
  • Listening. Any communication guru will tell you that listening to the other person is a big part of communication. It requires you to take what others are saying at face value so that you can respond to their stories and beliefs either directly or later in the conversation. This means letting the other person finish what they are saying. Interrupting the person may end the conversation prematurely, as it will give the impression that you are not interested in what they have to say.

Discussion can be a daunting task at times, but a few tips can go a long way. Whatever you do, don’t stop communicating. As with any form of communication, practice makes perfect.

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