Purchasing a classical guitar can be a difficult task particularly if you are not yet an accomplished player. Here are some tips and hints on finding a good quality classical guitar whether it is in the hundred dollar range or the thousand dollar range.

If you are have ever gone into a well stocked guitar shop you have no doubt been confused by the selection of guitars. There are literally hundreds of shapes, sizes brands and types of guitars. And the price can range from a hundred dollars to several thousand. .If you are a beginner, judging the sound quality can be difficult to do because your ear is not yet highly trained. Here are some tips to help you make a good choice.

When in a guitar shop and looking at the guitars you should always ask a sales person to help you. This way you can take guitars down and play them. If you cannot play very well you should ask the sales clerk to play for you so you can get a feel for the sound of the different guitars. If the sales clerk doesnt play you should ask if there is someone working in the shop that does play. As a last resort you should even ask other customers in the store. Not listening to the different guitars is like shopping for a car but never test driving any of them. Guitars have very different feels and tones and you should listen to a lot of them to get a sense of what you like. Dont be bashful in this respect. Guitarists are usually a very gregarious bunch and a guitarist will almost always jump at the chance to play for someone else. If you dont yet play well and you cant find somebody to play for you I recommend you not purchase a guitar. You should come back another time when someone is available to play or you can bring a friend who knows how to play.

Check the size and shape of the guitar

Classical Guitars, of course, come in different sizes and shapes and you should sit with a wide variety of them to get a feeling for what is comfortable to you. Your body shape has an effect on this. If you are over six feet tall the smaller guitars might not be comfortable for you and the fret board may be uncomfortable for your hands. So even if you cant play music you should always hold and sit with the guitars to get a sense of how the different ones feel.

Check the mechanics and playability of the guitar

Here are several things you should do when considering the purchase of a classical guitar.

1. Play every note on every string all the way up and down. Listen for frets that dont play properly. They will give a rattling sound and if this occurs on any fret at all you should put the guitar aside and try another one. This is a sign of inferior quality. Every string should play cleanly on every single fret.

2. Check the action of the strings against the frets in terms of how much pressure is needed to play notes and chords. You should play bar chords all the way down the frets to insure good pressure. If it is too hard to press the strings in order to make a clear chord this could be a sign of an inferior guitar.

3. Play harmonics on the strings. This is an excellent test of the quality of the guitar. Playing harmonics is the technique of plucking the note with your right hand and only lightly touching the string with your left hand. Test the harmonics of all the strings on the 5th, 7th, 12th and 19th frets. If you do not know how to play harmonic notes ask the sales clerk to help you.

4. Examine and test the tuning pegs. Do they look clean and sharp? Wind and unwind them while watching and feeling for smooth turning motion.

5. Visually examine the whole guitar. Look it over very carefully from front to back and top to bottom. Are there any small cracks? Are the frets firmly installed into the fret board? Are there any cracks or glue exposed around the bridge?

6. Tap on the front of the guitar (The sound board) in a variety of different spots. Does it have a rich echoing sound or are there spots where it sounds dead and limp? The internal structure of the classical guitar is very important for the sound and important for the longevity of it. Dull thud sounds could be an indicator of an inferior instrument.

7. Examine the details. Look at the purfling around the edge. This is the decorated pattern that goes around the full body where the soundboard or face meets the sides of the guitar. Is it accurately laid in? If this has variations and inconsistencies it is a good sign that the guitar is of inferior quality.

8. Dont hesitate to take a good look inside the guitar sound hole. You will see wooden braces in there. Do they look straight, accurate and well placed? If you see sloppy globs of dried glue around these braces it could be an indicator of inferior craftsmanship.

9. Remember that there are three distinct areas you must consider when purchasing a classical guitar: The Look, The Feel, and the Sound. If you keep all three of these things in mind and carefully examine the guitar in relation to these you will be able to choose an instrument that will bring you a lifetime of trouble free playing enjoyment.

A Classical Guitar is a purchase that can give you a lifetime of enjoyment and you should consider the purchase carefully. Even if you dont plan on playing every day you should buy an instrument that is of good quality so it will maintain its sound quality for a lifetime. And to do this you dont need to spend thousands of dollars you just need to know how to identify a well made guitar.

More articles at articles database

The origin of hip-hop can be traced back as far as the ancient tribes in Africa. Rap has been compared with the chants, drumbeats and foot-stomping African tribes performed before wars, the births of babies, and the deaths of kings and elders. Historians have reached further back than the accepted origins of hip-hop. It was born as we know it today in the Bronx, cradled and nurtured by the youth in the low-income areas of New York City.

Fast-forward from the tribes of Africa to the ghettos of Kingston, Jamaica in the late sixties. The impoverished of Kingston gathered together in groups to form DJ conglomerates. They spun roots and culture records and communicated with the audience over the music. At the time, the DJs comments werent as important as the quality of the sound system and its ability to get the crowd moving. Kool Herc grew up in this community before he moved to the Bronx.

During the late sixties, reggae wasnt popular with New Yorkers. As a DJ, Kool Herc spun rhythm and blues records to please his party crowd. But, he had to add his personal touch. During the breaks, Herc began to speak to his audience as he had learned to do in Jamaica. He called out, the audience responded, and then he pumped the volume back up on the record. This call and response technique was nothing new to this community whod been reared in Baptist and Methodist churches where call and response was a technique used by the speakers to get the congregation involved. Historians compare it to the call and response performed by Jazz musicians and was very much a part of the culture of Jazz music during the renaissance in Harlem.

Hercs DJ style caught on. His partys grew in popularity. He began to buy multiple copies of the same albums. When he performed his duties as a DJ, he extended the breaks by using multiple copies of the same records. He chatted, as it is called in dance hall, with his audience for longer and longer periods.

Others copied Hercs style. Soon a friendly battle ensued between New York DJs. They all learned the technique of using break beats. Herc stepped up the game by giving shout-outs to people who were in attendance at the parties and coming up with his signature call and response. Other DJs responded by rhyming with their words when they spoke to the audience. More and more DJs used two and four line rhymes and anecdotes to get their audiences involved and hyped at these parties.

One day, Herc passed the microphone over to two of his friends. He took care of the turn table and allowed his buddies to keep the crowd hyped with chants, rhymes and anecdotes while he extended the breaks of different songs indefinitely. This was the birth of rap as we know it.

Hip-hop has evolved from the days of the basement showdowns to big business in the music industry. In the seventies and eighties, the pioneers and innovators of the rap record was the DJ. He was the guy who used his turntable to create fresh sounds with old records. Then, he became the guy who mixed these familiar breaks with synthesizers to produce completely new beats. Not much has changed in that aspect of hip-hop. The guy who creates the beat is still the heart of the track. Now, we call him the producer. Even though some DJs work as producers as well as DJs (quite a few start out as DJs before they become producers), todays title DJ doesnt carry the same connotative meaning it did in the eighties. Todays hip-hop producer performs the same tasks as the eightys DJ.

More articles at article database

Rating: 4 stars/ hip hop classic

Release Date is introduced by soft instrumentals and human voices in the background. The atmosphere is loaded with intense emotions. Balalaika sounds and keyboards will intensify the fire Xzibit puts into his songs. With his dark voice, Xzibit points out how long hes been patiently waiting for this day and how much hypocrisy he had to face from people. Xzibit has paid his debts and is ready to punch you right in the face with some offensive lyrics.

Symphony In X Major is a beautiful piece of work. Enjoy the contrast between the classical music background mixed up with a good hip hop style. Enter Xzibits universe; watch him taking over against his enemies. The video that goes with this song is really worth a look. It transports you into an interesting gangsta thriller. No contest hip hop lovers will probably enjoy it very much.

Break Yourself is based on harsh instrumentals. Xzibit conquers his audience in no time with his incredible flow and his incisive lyrics. The gifted artist strangles you lyrically and leaves you no chance of survival.

Heart Of A Man drives you into the heart of Xzibits struggle. Again, the song leads you in a lyrical world that Xzibit masters with an incredible verbal dexterity. Enjoy his self confidence and the energy that the West Coast artist puts into his song.

Harder featuring The Golden State P is built on a very rhythmic background. Good instrumentals and the spirit of a conquistador determined to take over make this track very much enjoyable.

Choke Spank Me Pull My Hair is a track aimed at groupies who are keen on getting tortured. A little pinch of humor, irony and some good instrumentals will make the listener enjoy this mnage trois atmosphere.

Lose Your Mind featuring Snoop Dogg is written in the same offensive style. Like a true soldier Xzibit shows his arsenal. Be ready to get (lyrically) gunned down. Face it: you cant fuck with Xzibit.

Violins and scary vocals introduce BK To LA featuring MOP. Let the lyrical master guide you into his world. Combined with Mops talent, the track is beautifully handled by both OG. If you like raw lyrics, raw instrumentals and an offensive spirit, you will probably like this track.

The song on Xzibits album you should definitely not miss is track Nr 11 My Name featuring Eminem. Organs and keyboards introduce the entertaining and rhythmic melody. Eminem and Xzibit are determined to punch their hip hop rivals right in the face. Better not fuck with both emcees unless you wanna get ripped off.

The Gambler featuring Anthony Hamil has a beautiful soul background. Enjoy the way Xzibit and Anthony Hamil combine blues and hip hop. Trumpets intensify the struggle of both men. I recommend this beautiful track to black music lovers. It is lyrically and instrumentally rich.

Missing U is an emotional track aimed at the mom Xzibit lost very early. Dont miss Right On and Enemies. Both tracks are instrumental jewels.

Globally Xzibits album is a beautiful piece of work that Id qualify as a hip hop classic. The album will draw the fight of an artist against the machine (the music industry). Xzibit is amazing hip hop artist who keeps it real. I recommend this album to anybody who loves good hip hop lyrics and sounds.

Copyright2006 by Isabelle Esling All Rights Reserved

My name is Isabelle Esling. I am an Eminem biographer and a freelance music journalist. I teach English and German at public schools

More articles at www.articles-host.com

Purchasing a classical guitar can be a difficult task particularly if you are not yet an accomplished player. Here are some tips and hints on finding a good quality classical guitar whether it is in the hundred dollar range or the thousand dollar range.

If you are have ever gone into a well stocked guitar shop you have no doubt been confused by the selection of guitars. There are literally hundreds of shapes, sizes brands and types of guitars. And the price can range from a hundred dollars to several thousand. .If you are a beginner, judging the sound quality can be difficult to do because your ear is not yet highly trained. Here are some tips to help you make a good choice.

When in a guitar shop and looking at the guitars you should always ask a sales person to help you. This way you can take guitars down and play them. If you cannot play very well you should ask the sales clerk to play for you so you can get a feel for the sound of the different guitars. If the sales clerk doesnt play you should ask if there is someone working in the shop that does play. As a last resort you should even ask other customers in the store. Not listening to the different guitars is like shopping for a car but never test driving any of them. Guitars have very different feels and tones and you should listen to a lot of them to get a sense of what you like. Dont be bashful in this respect. Guitarists are usually a very gregarious bunch and a guitarist will almost always jump at the chance to play for someone else. If you dont yet play well and you cant find somebody to play for you I recommend you not purchase a guitar. You should come back another time when someone is available to play or you can bring a friend who knows how to play.

Check the size and shape of the guitar

Classical Guitars, of course, come in different sizes and shapes and you should sit with a wide variety of them to get a feeling for what is comfortable to you. Your body shape has an effect on this. If you are over six feet tall the smaller guitars might not be comfortable for you and the fret board may be uncomfortable for your hands. So even if you cant play music you should always hold and sit with the guitars to get a sense of how the different ones feel.

Check the mechanics and playability of the guitar

Here are several things you should do when considering the purchase of a classical guitar.

1. Play every note on every string all the way up and down. Listen for frets that dont play properly. They will give a rattling sound and if this occurs on any fret at all you should put the guitar aside and try another one. This is a sign of inferior quality. Every string should play cleanly on every single fret.

2. Check the action of the strings against the frets in terms of how much pressure is needed to play notes and chords. You should play bar chords all the way down the frets to insure good pressure. If it is too hard to press the strings in order to make a clear chord this could be a sign of an inferior guitar.

3. Play harmonics on the strings. This is an excellent test of the quality of the guitar. Playing harmonics is the technique of plucking the note with your right hand and only lightly touching the string with your left hand. Test the harmonics of all the strings on the 5th, 7th, 12th and 19th frets. If you do not know how to play harmonic notes ask the sales clerk to help you.

4. Examine and test the tuning pegs. Do they look clean and sharp? Wind and unwind them while watching and feeling for smooth turning motion.

5. Visually examine the whole guitar. Look it over very carefully from front to back and top to bottom. Are there any small cracks? Are the frets firmly installed into the fret board? Are there any cracks or glue exposed around the bridge?

6. Tap on the front of the guitar (The sound board) in a variety of different spots. Does it have a rich echoing sound or are there spots where it sounds dead and limp? The internal structure of the classical guitar is very important for the sound and important for the longevity of it. Dull thud sounds could be an indicator of an inferior instrument.

7. Examine the details. Look at the purfling around the edge. This is the decorated pattern that goes around the full body where the soundboard or face meets the sides of the guitar. Is it accurately laid in? If this has variations and inconsistencies it is a good sign that the guitar is of inferior quality.

8. Dont hesitate to take a good look inside the guitar sound hole. You will see wooden braces in there. Do they look straight, accurate and well placed? If you see sloppy globs of dried glue around these braces it could be an indicator of inferior craftsmanship.

9. Remember that there are three distinct areas you must consider when purchasing a classical guitar: The Look, The Feel, and the Sound. If you keep all three of these things in mind and carefully examine the guitar in relation to these you will be able to choose an instrument that will bring you a lifetime of trouble free playing enjoyment.

A Classical Guitar is a purchase that can give you a lifetime of enjoyment and you should consider the purchase carefully. Even if you dont plan on playing every day you should buy an instrument that is of good quality so it will maintain its sound quality for a lifetime. And to do this you dont need to spend thousands of dollars you just need to know how to identify a well made guitar.

More articles at articles database

Al Kooper has been involved in a career that has spanned many decades. Born on February 5, 1944, he joined a group called The Royal Teens which found some success with a couple of hit singles. He then engaged in a series of sessions [as a guitarist and ultimately became a songwriter, co-writing the hit This Diamond Ring for Gary Lewis And The Playboys. He went on to form The Blues Project and then found his first taste of true fame as a founding member of Blood, Sweat & Tears. Though he only lasted through one album, Child Is Father To The Man, this brought him enough visibility to venture out as a solo artist.

Here, in late 1976, the keyboardist/guitarist/composer/producer talked about his current solo album, Act Like Nothing Wrong, and forayed into his past to describe projects from back in the day.

Steven: When did you first start playing?

Al: I first started playing when I was six years old. I sat down at a piano and played The Tennessee Waltz on the black keys because thats the only song I knew. And from that day on I was hooked. We couldnt afford a piano and the only time I could play is when wed visit someone who had a piano. So I would not go with my parents to someones house unless they had a piano. Finally, they bought one when I was about ten and I went through a myriad of teachers because I played by ear; I had trouble playing technically which still exists today.

I played until I was about fourteen and then I played guitar for years. I quit because it wasnt real status to play the piano at that time. Piano was like milk, its the basic food, the basic instrument. You can figure everything else out off of it. All the horn players in Blood, Sweat & Tears cut me on piano, all the horn players played piano better than I did. Eventually the trombone player [Dick Halligan took my place on keyboard when I left the band.

When I was a junior in high school, I took private lessons from a guy on Long Island named Gerald Knighter. That was extremely helpful but it was also a tremendous setback in my playing career as he told me I would never be a good player. He quit teaching me piano. I dont think Ive ever overcome that; I convinced myself that he was right and I quit ever thinking I could ever play. It hurt me immeasurably [even today.

Steven: When did you first start working with Blood, Sweat & Tears?

Al: Right after I left The Blues Project; there was this kind of glimmer in my eye concept. Actually I didnt do much playing in that band because I wrote the horn charts and the horn charts is usually what I would have played on the organ or the keyboard and so it didnt leave me very much to play.

Steven: Was the idea of using brass in a sort of rock band your idea?

Al: Yeah, the brass thing was an idea that I had and I wanted to introduce that to The Blues Project but there was no acceptance for it there. I was just turned down cold. And I was writing all these songs that showed up on the first Blood, Sweat & Tears album that were adaptable for brass and that I heard in my head. I heard them [songs in my head, finished, and they had to have brass, they couldnt make it with just The Blues Project instrumentation. So I had to quit and put together this band and that was my motivation.

Steven: What instrumentation were you using on the first BS&T album?

Al: I bought an organ which I had custom-wired; it was a Hammond and I had little things put on it that I liked. I had the volume pedal removed so it could go anywhere on the floor and I had the stops pre-set to how I wanted them. And I had the thing beefed up so it was louder than a regular one. Of course, this was in 67 before they made those chopped up ones. All of us bought instruments when we got the advance from CBS; its just that mine was the most expensive. Steve [Khan got a guitar, Bobby [Colomby got a set of drums and a couple of the horn players got axes. Nobody really had much money in those days, and so I sort of made a pact with everyone and said, Look, if anyone ever splits the band, they oughta be able to walk with their axe. And of course when I got kicked out, they kept the organ. I thought it was terrible, it really pissed me off.

Steven: Was Super Session the project you went into directly after BS&T?

Al: Yeah, I didnt have anything to do and thats why I did it. Either did Bloomfield; we found out that our careers were amazingly parallel. In that we both played with Dylan, we were both in blues bands, and we both quit them to form horn bands [Bloomfield assembled The Electric Flag. And we were both kicked out of our horn bands. And so it just seemed that we should come together.

It was very casual, thrown together, hastily assembled album. The thing thats important about it is that none of us were trying anything, it was just totally relaxed. We didnt have anything to prove except go in there and play music. And of course it was bigger than anything any of us had out at the time. Before that, I assume we all probably tried too hard.

Steven: Your first album after Super Session was…

Al: I Stand Alone, which is why it was called that. OK, after all this shit, here I am by myself now.

Steven: At this point, did you primarily consider yourself a guitarist, or a keyboardist, a writer, a singer?

Al: Yes, all except the last one. Yeah, singing was always my weakness. The problem was that the music Ive always loved and felt was not the voice that God gave me. I always wanted to have a throat transplant with Buddy Miles or something. I love black gospel music more than anything and I just cant sing it; its very frustrating to me. So I do the best I can but its sort of useless; I get better at it every year but Ill never be the thing that Im imitating.

Primarily, my main instrument is the Hammond B3 organ like they had at Columbia [recording Studios. There were some ridiculous organs at Columbia in those days; some where the tremolo wouldnt turn on. I think on some days when we were recording Child Is Father To The Man album, I had a Hammond organ where you couldnt turn the tremolo on, it just stayed without tremolo. Id have to use the vibrato for any change but thats what it was.

Steven: Did you used to amplify the organs?

Al: I didnt really use any amplification. When I used to play with Dylan, I played a Hohner Pianette, and I used it on the Highway 61[Revisited album. It was the first Hohner electric piano; I remember because they brought it to us to try it out. This girl named Chris White, I think, shed bring Dylan harmonicas and shed bring me all these keyboard things. I used it live and on stuff like Just Like Tom Thumbs Blues. And I used it in the beginning of The Blues Project and on the first album, Live At The Caf Au Go Go.

Then I used a Farfisa organ with The Blues Project because I didnt have a Hammond organ until Blood, Sweat & Tears. I played the Farfisa about of the way through The Blues Project and then they brought a cheap portable Hammond organ, an L111, and I used that until the end of The Blues Project. It was a big update over the Farfisa but there were sounds I couldnt get on it that I could get on the Farfisa. The Farfisa was a cool organ. When I think about it, its best exemplified by Country Joe & The Fish. They really used it, it was their sound. They were funny organs.

Steven: In summing up, what is it about your playing that you think most people recognize?

Al: I use a lot of moving bass lines especially in composing which I got from Dylan; Dylan did that a lot. Like, if you play a C chord, F chord, C chord, F chord, you keep moving your bass up from C, D, E, F, to change what the chord is. You get an almost gospel feeling to it. And I like having chords which do not display the root in them. Probably the two most complicated songs I wrote are on my last album, Missing You and Turn My Head Towards Home. You cant really tell what key theyre in because they modulate so much.

Steven: And youve always seemed to approach your music very tongue-in-cheek; you dont seem to take yourself too seriously.

Al: I dont take anything really super seriously. The book is a great platform to unveil my sense of humor. It’s called Backstage Passes and will be out in February [1977. Its not serious, great to put down next to the toilet and pick up when youre getting down to it. Its just meant to make you laugh, theres a lot of information and pictures in it, and its just not a serious work. All the things that passed before my eyes from 1959 to 1969. I talk about my bar mitzvah at the Hollis Hills Jewish Center on Union Turnpike. Everybody is the same if you cut my hair off, I look just as nerdy as I did then.

Steven Rosen is a Rock Journalist. Since 1973 he has accumulated over 1000 hours of audio content and 700 articles and interviews…all now available for licensing or purchase.

Contact Steven Rosen for more information and review more of Steven’s published interviews at classic rock interviews

Visit Classic Rock legends…for biographies, discographies, audio clips, classic rock articles, top 10 albums and more.

More articles at database for articles

Hip Hop music is popular with today’s youth. The Hip Hop audience ranges in age from the very young to the seasoned at heart. The messages in the music are clear and often depict life in the real world. Most artist use their own life experiences to tell stories that reflect what their world is like. Hip Hop music is a venue that gives the artist an opportunity to tell it like it is. Many of today’s youth find that through the sounds and messages of Hip Hop they are able to see reflections of themselves and the world around them.

Although some of the messages conveyed by Hip Hop are viewed as negative, it must be understood that the lyrics in these songs are someone’s reality. Hip Hop artist sing about what they have seen and many of their personal experiences. Unfortunately, many of their experiences are not so pretty. Other Hip Hop songs carry a positive message and force the listener to think and dream beyond their current situation. Hip Hop music has taken America by a storm and it will continue to influence our youth. We must all these free expression and the growth of Hip Hop music because what we hear is relative to what’s going on in the world today.

GMP Records, Inc. http://www.godmadeitpossible4me.com also check out http://www.cdbaby.com/cd/deepcover

More articles at database for articles

Purchasing a classical guitar can be a difficult task particularly if you are not yet an accomplished player. Here are some tips and hints on finding a good quality classical guitar whether it is in the hundred dollar range or the thousand dollar range.

If you are have ever gone into a well stocked guitar shop you have no doubt been confused by the selection of guitars. There are literally hundreds of shapes, sizes brands and types of guitars. And the price can range from a hundred dollars to several thousand. .If you are a beginner, judging the sound quality can be difficult to do because your ear is not yet highly trained. Here are some tips to help you make a good choice.

When in a guitar shop and looking at the guitars you should always ask a sales person to help you. This way you can take guitars down and play them. If you cannot play very well you should ask the sales clerk to play for you so you can get a feel for the sound of the different guitars. If the sales clerk doesnt play you should ask if there is someone working in the shop that does play. As a last resort you should even ask other customers in the store. Not listening to the different guitars is like shopping for a car but never test driving any of them. Guitars have very different feels and tones and you should listen to a lot of them to get a sense of what you like. Dont be bashful in this respect. Guitarists are usually a very gregarious bunch and a guitarist will almost always jump at the chance to play for someone else. If you dont yet play well and you cant find somebody to play for you I recommend you not purchase a guitar. You should come back another time when someone is available to play or you can bring a friend who knows how to play.

Check the size and shape of the guitar

Classical Guitars, of course, come in different sizes and shapes and you should sit with a wide variety of them to get a feeling for what is comfortable to you. Your body shape has an effect on this. If you are over six feet tall the smaller guitars might not be comfortable for you and the fret board may be uncomfortable for your hands. So even if you cant play music you should always hold and sit with the guitars to get a sense of how the different ones feel.

Check the mechanics and playability of the guitar

Here are several things you should do when considering the purchase of a classical guitar.

1. Play every note on every string all the way up and down. Listen for frets that dont play properly. They will give a rattling sound and if this occurs on any fret at all you should put the guitar aside and try another one. This is a sign of inferior quality. Every string should play cleanly on every single fret.

2. Check the action of the strings against the frets in terms of how much pressure is needed to play notes and chords. You should play bar chords all the way down the frets to insure good pressure. If it is too hard to press the strings in order to make a clear chord this could be a sign of an inferior guitar.

3. Play harmonics on the strings. This is an excellent test of the quality of the guitar. Playing harmonics is the technique of plucking the note with your right hand and only lightly touching the string with your left hand. Test the harmonics of all the strings on the 5th, 7th, 12th and 19th frets. If you do not know how to play harmonic notes ask the sales clerk to help you.

4. Examine and test the tuning pegs. Do they look clean and sharp? Wind and unwind them while watching and feeling for smooth turning motion.

5. Visually examine the whole guitar. Look it over very carefully from front to back and top to bottom. Are there any small cracks? Are the frets firmly installed into the fret board? Are there any cracks or glue exposed around the bridge?

6. Tap on the front of the guitar (The sound board) in a variety of different spots. Does it have a rich echoing sound or are there spots where it sounds dead and limp? The internal structure of the classical guitar is very important for the sound and important for the longevity of it. Dull thud sounds could be an indicator of an inferior instrument.

7. Examine the details. Look at the purfling around the edge. This is the decorated pattern that goes around the full body where the soundboard or face meets the sides of the guitar. Is it accurately laid in? If this has variations and inconsistencies it is a good sign that the guitar is of inferior quality.

8. Dont hesitate to take a good look inside the guitar sound hole. You will see wooden braces in there. Do they look straight, accurate and well placed? If you see sloppy globs of dried glue around these braces it could be an indicator of inferior craftsmanship.

9. Remember that there are three distinct areas you must consider when purchasing a classical guitar: The Look, The Feel, and the Sound. If you keep all three of these things in mind and carefully examine the guitar in relation to these you will be able to choose an instrument that will bring you a lifetime of trouble free playing enjoyment.

A Classical Guitar is a purchase that can give you a lifetime of enjoyment and you should consider the purchase carefully. Even if you dont plan on playing every day you should buy an instrument that is of good quality so it will maintain its sound quality for a lifetime. And to do this you dont need to spend thousands of dollars you just need to know how to identify a well made guitar.

More articles at article database

The origin of hip-hop can be traced back as far as the ancient tribes in Africa. Rap has been compared with the chants, drumbeats and foot-stomping African tribes performed before wars, the births of babies, and the deaths of kings and elders. Historians have reached further back than the accepted origins of hip-hop. It was born as we know it today in the Bronx, cradled and nurtured by the youth in the low-income areas of New York City.

Fast-forward from the tribes of Africa to the ghettos of Kingston, Jamaica in the late sixties. The impoverished of Kingston gathered together in groups to form DJ conglomerates. They spun roots and culture records and communicated with the audience over the music. At the time, the DJs comments werent as important as the quality of the sound system and its ability to get the crowd moving. Kool Herc grew up in this community before he moved to the Bronx.

During the late sixties, reggae wasnt popular with New Yorkers. As a DJ, Kool Herc spun rhythm and blues records to please his party crowd. But, he had to add his personal touch. During the breaks, Herc began to speak to his audience as he had learned to do in Jamaica. He called out, the audience responded, and then he pumped the volume back up on the record. This call and response technique was nothing new to this community whod been reared in Baptist and Methodist churches where call and response was a technique used by the speakers to get the congregation involved. Historians compare it to the call and response performed by Jazz musicians and was very much a part of the culture of Jazz music during the renaissance in Harlem.

Hercs DJ style caught on. His partys grew in popularity. He began to buy multiple copies of the same albums. When he performed his duties as a DJ, he extended the breaks by using multiple copies of the same records. He chatted, as it is called in dance hall, with his audience for longer and longer periods.

Others copied Hercs style. Soon a friendly battle ensued between New York DJs. They all learned the technique of using break beats. Herc stepped up the game by giving shout-outs to people who were in attendance at the parties and coming up with his signature call and response. Other DJs responded by rhyming with their words when they spoke to the audience. More and more DJs used two and four line rhymes and anecdotes to get their audiences involved and hyped at these parties.

One day, Herc passed the microphone over to two of his friends. He took care of the turn table and allowed his buddies to keep the crowd hyped with chants, rhymes and anecdotes while he extended the breaks of different songs indefinitely. This was the birth of rap as we know it.

Hip-hop has evolved from the days of the basement showdowns to big business in the music industry. In the seventies and eighties, the pioneers and innovators of the rap record was the DJ. He was the guy who used his turntable to create fresh sounds with old records. Then, he became the guy who mixed these familiar breaks with synthesizers to produce completely new beats. Not much has changed in that aspect of hip-hop. The guy who creates the beat is still the heart of the track. Now, we call him the producer. Even though some DJs work as producers as well as DJs (quite a few start out as DJs before they become producers), todays title DJ doesnt carry the same connotative meaning it did in the eighties. Todays hip-hop producer performs the same tasks as the eightys DJ.

More articles at article database

The origin of hip-hop can be traced back as far as the ancient tribes in Africa. Rap has been compared with the chants, drumbeats and foot-stomping African tribes performed before wars, the births of babies, and the deaths of kings and elders. Historians have reached further back than the accepted origins of hip-hop. It was born as we know it today in the Bronx, cradled and nurtured by the youth in the low-income areas of New York City.

Fast-forward from the tribes of Africa to the ghettos of Kingston, Jamaica in the late sixties. The impoverished of Kingston gathered together in groups to form DJ conglomerates. They spun roots and culture records and communicated with the audience over the music. At the time, the DJs comments werent as important as the quality of the sound system and its ability to get the crowd moving. Kool Herc grew up in this community before he moved to the Bronx.

During the late sixties, reggae wasnt popular with New Yorkers. As a DJ, Kool Herc spun rhythm and blues records to please his party crowd. But, he had to add his personal touch. During the breaks, Herc began to speak to his audience as he had learned to do in Jamaica. He called out, the audience responded, and then he pumped the volume back up on the record. This call and response technique was nothing new to this community whod been reared in Baptist and Methodist churches where call and response was a technique used by the speakers to get the congregation involved. Historians compare it to the call and response performed by Jazz musicians and was very much a part of the culture of Jazz music during the renaissance in Harlem.

Hercs DJ style caught on. His partys grew in popularity. He began to buy multiple copies of the same albums. When he performed his duties as a DJ, he extended the breaks by using multiple copies of the same records. He chatted, as it is called in dance hall, with his audience for longer and longer periods.

Others copied Hercs style. Soon a friendly battle ensued between New York DJs. They all learned the technique of using break beats. Herc stepped up the game by giving shout-outs to people who were in attendance at the parties and coming up with his signature call and response. Other DJs responded by rhyming with their words when they spoke to the audience. More and more DJs used two and four line rhymes and anecdotes to get their audiences involved and hyped at these parties.

One day, Herc passed the microphone over to two of his friends. He took care of the turn table and allowed his buddies to keep the crowd hyped with chants, rhymes and anecdotes while he extended the breaks of different songs indefinitely. This was the birth of rap as we know it.

Hip-hop has evolved from the days of the basement showdowns to big business in the music industry. In the seventies and eighties, the pioneers and innovators of the rap record was the DJ. He was the guy who used his turntable to create fresh sounds with old records. Then, he became the guy who mixed these familiar breaks with synthesizers to produce completely new beats. Not much has changed in that aspect of hip-hop. The guy who creates the beat is still the heart of the track. Now, we call him the producer. Even though some DJs work as producers as well as DJs (quite a few start out as DJs before they become producers), todays title DJ doesnt carry the same connotative meaning it did in the eighties. Todays hip-hop producer performs the same tasks as the eightys DJ.

More articles at article database

The origin of hip-hop can be traced back as far as the ancient tribes in Africa. Rap has been compared with the chants, drumbeats and foot-stomping African tribes performed before wars, the births of babies, and the deaths of kings and elders. Historians have reached further back than the accepted origins of hip-hop. It was born as we know it today in the Bronx, cradled and nurtured by the youth in the low-income areas of New York City.

Fast-forward from the tribes of Africa to the ghettos of Kingston, Jamaica in the late sixties. The impoverished of Kingston gathered together in groups to form DJ conglomerates. They spun roots and culture records and communicated with the audience over the music. At the time, the DJs comments werent as important as the quality of the sound system and its ability to get the crowd moving. Kool Herc grew up in this community before he moved to the Bronx.

During the late sixties, reggae wasnt popular with New Yorkers. As a DJ, Kool Herc spun rhythm and blues records to please his party crowd. But, he had to add his personal touch. During the breaks, Herc began to speak to his audience as he had learned to do in Jamaica. He called out, the audience responded, and then he pumped the volume back up on the record. This call and response technique was nothing new to this community whod been reared in Baptist and Methodist churches where call and response was a technique used by the speakers to get the congregation involved. Historians compare it to the call and response performed by Jazz musicians and was very much a part of the culture of Jazz music during the renaissance in Harlem.

Hercs DJ style caught on. His partys grew in popularity. He began to buy multiple copies of the same albums. When he performed his duties as a DJ, he extended the breaks by using multiple copies of the same records. He chatted, as it is called in dance hall, with his audience for longer and longer periods.

Others copied Hercs style. Soon a friendly battle ensued between New York DJs. They all learned the technique of using break beats. Herc stepped up the game by giving shout-outs to people who were in attendance at the parties and coming up with his signature call and response. Other DJs responded by rhyming with their words when they spoke to the audience. More and more DJs used two and four line rhymes and anecdotes to get their audiences involved and hyped at these parties.

One day, Herc passed the microphone over to two of his friends. He took care of the turn table and allowed his buddies to keep the crowd hyped with chants, rhymes and anecdotes while he extended the breaks of different songs indefinitely. This was the birth of rap as we know it.

Hip-hop has evolved from the days of the basement showdowns to big business in the music industry. In the seventies and eighties, the pioneers and innovators of the rap record was the DJ. He was the guy who used his turntable to create fresh sounds with old records. Then, he became the guy who mixed these familiar breaks with synthesizers to produce completely new beats. Not much has changed in that aspect of hip-hop. The guy who creates the beat is still the heart of the track. Now, we call him the producer. Even though some DJs work as producers as well as DJs (quite a few start out as DJs before they become producers), todays title DJ doesnt carry the same connotative meaning it did in the eighties. Todays hip-hop producer performs the same tasks as the eightys DJ.

More articles at article database