Gardner also illustrates the relationship of the chakras to the overtone series. When you produce a pure tone, either vocally or instrumentally, it sets up vibrations that are strong enough to be heard, occurring mathematically on a vibrating string. Going from the root to the octave, the fifth, fourth, third, and so on…

This is one of the most effective, quick warm-ups for a flutist, and a tip I give every student: Play a low C, then focus the airstream slightly to sound the octave, the fifth, through the overtones, ascending as far as possible and still maintain some tone quality, then descending, one breath. Don’t force, feel your way up and down until you can seamlessly adjust your embouchure in that especially challenging third octave. It will limber up your chops in less than 5 minutes.

Same thing with voice. Start as low as comfortable and hum into your nose as high as you can, smoothly turn around and come back down to the “fry,” or when your voice rumbles in your chest, like a monster talking. Same quick results as above.

Post from: The Good Musician

Dowd questions the validity of a 1993 UC Irvine research project completed by psychologist Gordon Shaw that gave rise to the belief that listening to Mozart improves IQ. An enterprising musician jumped on the idea and trademarked the term Mozart Effect in 1996.

The data was never reproduced, and troubling information began to come out of the original study. A subsequent German study found that music training did contribute to higher scores, concluding that it was the actual act of playing music that stimulated the brain, rather than passively listening to it. Not only that, positive effects were positive only because the participant was predisposed to enjoy that genre of music.

This is a cracking good read, illustrating how a flawed study can generate a copyrighted product, a popular myth fueled by the media, and a blind belief that is next to impossible to eradicate from the collective consciousness.

I prefer to listen to Mozart well away from men in white coats.

Post from: The Good Musician

Image details: Mendelssohn served by picapp.com

Neighboring Georgetown is building a nationally recognized mega-festival of the arts. The Georgetown Festival of the Arts is an exemplar of community involvement producing a highly educational, thoroughly interactive, fun place to be for all ages. Kids can explore an instrumental petting zoo, learn the history of the dulcimer, and play along during a performance. Art in the Park ran May 31-June 1, and featured two days of fine arts shows and sales in the lovely San Gabriel Park. Georgetown even has it’s own Festival Pyrotechnician.

This coming weekend, June 5-8 is all about Mendelssohn in Georgetown. Four jam-packed days with lectures, concerts, symposia and the gorgeous sounds of the gifted brother and sister composers during early nineteenth century Romantic. It is to die for. Handel, Haydn, and Schubert were featured in earlier festivals, and word is they were equally stunning.

Fortunately for all you Good Musicians, Southwestern University, one of the sponsoring organizations, and the primary Mendelssohn in Georgetown venue, added a world-renowned Mendelssohn scholar to their already stellar music faculty. Dr. J. Michael Cooper’s source-critical editions of works by Felix Mendelssohn Bartholdy and his sister Fanny Mendelssohn Hensel are examined, discussed, and performed in non-stop action this weekend.

Ellsworth Peterson is the powerhouse impresario, along with The Georgetown Symphony Society dynamos–Penny Plueckhahn, Florence Gould, Nancy Bryan, and Bob Horick. These folks have contributed to the quality and success of the annual event.

Austin Vocal Arts Ensemble, directed by Dr. Kenneth Shepard, sings Cooper edition motets and an anthem for a Cathedral Evensong Friday, June 6 at 8:30 p.m. in the Lois Perkins Chapel, located right in the middle of Southwestern University. On Sunday, June 8 at 4:00 p.m. in the Klett Center for the Performing Arts at Georgetown High School, Dr. Shephard will conduct the Mendelssohn Festival Orchestra, Chorus Austin, and the San Gabriel Chorale in the Cooper edition of St. Paul.

Along with an astounding line-up of performances–the Miro Quartet AND the Shanghai Quartet, together, guys–this is the festival to attend for musicology of the highest caliber, grab a chance to make music in workshops with the pros, and get to hang with the VIPs. Visit The Georgetown Festival of the Arts site, or contact them at 512-639-0433 or www.GtownFestival.org.

Image details: German Pianist And Composer Fanny Hensel served by picapp.com

Post from: The Good Musician

I happen to adore Bollywood, it reminds me of the sumptuous saturated colors of 1950’s musicals of my childhood. Operetta under the stars on a Dallas summer evening was a treat for the family, following a dinner at the original El Fenix downtown.

Back to The Kite Runner. I always check out the music credits, and saw the composer was Spanish. Interesting. Then I remembered that there is an Arabic musical tradition in Spain from the time of the Moorish occupation, and it made perfect sense.

None of the three movies are in any sense musicals from the American version of the 50’s. The Battle of Algiers was filmed in documentary style, with the sounds of real life. Water was as well, with the sounds of life in an Indian nunnery for widows…of all ages. In TKR, contemporary popular music contrasts with classical Mideastern forms and instruments.

TKR introduced me to Islamic pop, Sami Yusuf, and a gorgeous palette of original music by Alberto Iglesias. Iglesias also wrote the soundtrack for Volver, The Constant Gardner, The Dancer Upstairs, Talk to Her, and Bad Education. The best Spanish flicks of the decade.

Check ‘em out.

Post from: The Good Musician

the cellist was one of my longest-standing, dearest friends
it’s an excellent example of a jazz-classical-pop ’60’s mashup
that’s my black cat, Saturn, in the window
shows our corner of Topanga Canyon
great example of John Martin’s classical guitar
great example of Wilson Fisher’s writing/singing for 12-string guitar
that was my life

Listen to all the Green cuts, accompanied by photo-montages of the band and what the life of a musician was like in the ’60’s

Post from: The Good Musician

1. Show up. This should go without saying, but you’d be surprised at how ditching just one lesson can mean the difference between a so-so musician and a good musician. Even if you can’t play or sing, you can talk through the music with your teacher.

2. Be prepared to play or sing on the dot. Arrive early enough to soak your reed, warm up your instrument, or vocalize–whatever you need to do to be prepared to get right to the music. Make the most of your time with your teacher–focus, listen, respond–if you want to chat, do it before or after the lesson, not during.

3. Complete your assignment for the lesson. If your teacher asked you to run a particularly tricky passage until it’s fluid, make sure you have practiced enough during the week so the phrase lays naturally in your fingers or voice and you can move on to new material.

4. Remember that your teacher wants you to improve musically. Don’t take criticism personally–it’s all about growing as a musician. Mark your music so you will know what to work on for the next lesson, and make sure you understand your next assignment.

5. Impress your teacher with supporting information you’ve found during the week on other pieces by the composer you’re studying, some tidbit about the life of that composer, or similar works by other composers. It adds depth to your musical knowledge and understanding, and you just might surprise your teacher with some juicy dish!

Keep in mind that practice makes possible–don’t worry about the perfect. If musicians were perfect, there would be no room for learning and growth. It would get pretty boring with no challenge to improve. I’m sure you’ve heard musicians who are technically proficient, but have no emotional connection with the music or their audience. Do your best every time you pick up your instrument or open your mouth–it’s all about building on good habits and communicating with your peeps.

Post from: The Good Musician

Post from: The Good Musician

The sampling is compelling, and the music is gorgeous, no matter the politics. Nothing wrong with socially-conscious music. Hip-hop is the new folk-protest music. In the 50’s and 60’s we got the Weavers, Peter, Paul and Mary, and now we have Cornell and Talib.

Post from: The Good Musician

Post from: The Good Musician

You can also find old radio show archives, such as Fibber McGee and Molly, the Whistler, and the Bob and Ray show. I remember hearing all these on long car trips when I was a child. Bob Elliott is comedian Chris Elliott’s father.

Post from: The Good Musician