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.

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A Brief History-Renner The inventor of the much-relied-upon Renner piano action was Louis Renner. He began producing piano actions on a very small scale in October of 1882. At that time, action manufacture centered around hand?crafted production. The history of the Renner Company is intertwined with German piano production and increasing specialization in piano making. When the company moved into a new factory building in 1902, Renner employed a Staff of 35. By 1911, the total had risen to 100, and a new wing had to be added to the plant. In addition, since 1906, Renner had also been producing hammers as well as actions. Production became increasingly mechanized. Only the most important production stages required skilled craftsmanship, although careful quality control guaranteed a superior product. The number of employees had risen to 175 by the First World War. Labor-saving methods were developed as new machinery became available. Hundreds of electric? motors drove specialized production lines, and grand pianos actions were being manufactured as well.

All action production was now performed under one roof. Labor-intensive Manufacture The number of employees rose to 400 in the 1920s and 1930s, and the plant covered 5,000 square meters. A resident steam ?turbine power plant produced 410 hp to light the plant and to power about 300 motors running the individual machines. The complexity of action production is particularly apparent when considering that 5,700 sections and small parts, springs and strips must be assembled for one single piano action. It is scarcely possible to enumerate the number of motions and work stages leading to the end product. Renner is a typical example of German precision industry as recognized throughout the industrial world. The most modern machinery ensures the highest possible standard of precision and the reliability of the individual sections. The Renner factory was almost completely destroyed in 1944. However, by 1948, the company was once again producing piano actions, initially for Germany and later internationally, as piano manufacturers abroad relied once again on Renner. Expansion was necessary in 1960 and again in 1974, when a new plant was opened in Odenheim, where the entire processing of raw wood, the hammer glue?works and other pre-assembly sections are now located. The major wood storage yard at Renner holds more than 2,000 cubic meters of wood. In 1991 Renner opened a third plant in Zeitz near Leipzig where their upright action manufacturing plant stands today.

Please don’t hesitate to call us for anything at 800.595.2535 or visit our website at www.pianocenter.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

Here’s one of my favorite methods for quickly blocking out entire sections of music and creating a complete piano composition.

First you need to draw out 8-bars on a piece of paper. I use 8-bars first because it’s a relatively small space to fill up quickly. You don’t have to use notation paper. Any paper will do. In fact, I use a spiral bound notebook with blank pages. I just write out 8-bars and voila, I’ve jotted down what will become a section of music.

Now, here’s the interesting part. Most composers start with the melody line first. Nothing wrong with this. But if you really want to zap out a section quickly, start with the chord changes. Why? Because you can block out bars of music faster. Here’s what I mean.

Say you want to create something in the Key of F Major. Great. Now we know that we have at least 6 chords to work with. By using just 3 chords, we can block out our 8-bars. How? Look? Say we have the F Major 7 chord for the first 4 bars, then comes B flat Major for 2-bars and C 7 for the last 2-bars. We have now created a chord progression and charted it out. You can do this in under a minute. I swear it! It’s that easy. Now all you have to do is decide upon the kind of arrangement you’ll create for these chords.

It might be arpeggios, block chords, open position chords? whatever. The point here is that by using chords, you can map out a harmonic territory. Now you can either create a melody using these chords, or keep it entirely textural. It’s up to you! Try it.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music’s online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at http://www.quiescencemusic.com/pianolessons.html for a FREE piano lesson!

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

For optimum amp tone onstage, plug your amp into your own AC outlet.. – Eric Johnson

DOING GIGS

In my opinion, there are two kinds of performers:

1 – Concert performers — who do well in front of a sit-down audience

2 – Club performers — who do well in a noisy atmosphere

Knowing which kind of performer you tend to be can help you a lot in deciding where to play. For a lot of people, it’s easy to be both types of performers but some people truly prefer playing in one atmosphere over another. If you want to be at your best, it’s smart to be comfortable. So if this is an issue for you, take the time to think about it.

Next you have to consider if you are going to be performing your own material or covers or both. If you decide to do covers, here are some good tips:

1) The song should really move you.

2) Make the song your own, otherwise after awhile you’ll just feel like parrot for someone else’s material (and to me there’s far less creativity in that – just my opinion mind you).

3) Cover Songs are great ice-breakers and shouldn’t be overlooked as great tools for any songwriter to use. Do covers, from artists who lend to your style in one way or another. Opening with a recognizable cover song really helps an audience relate to you and get an idea of where you’re coming from as an artist … and also helps them relate more to your originals, too.

Of course, to play at most venues, you’ve got to be prepared to sell yourself. Here are some tips on this subject:

Get your Bio / Demo ready for the Concert Promoters & Club Owners.

I’ve read a bunch of stuff about preparing demo submissions for venues, with bio’s and clippings and stuff like that – but I’m sure there’s more to it than that?

You don’t need much. No club owner or manager is going to want a twenty-page book on you, nor will he/she be impressed with elaborate artwork and/or printing. Just a single sheet of paper that briefly and concisely states what type of artist you are, what kind of songs you play, how you interact with an audience and where you’ve played or are playing … and a CD with either three or four whole songs, or six to eight songs that each fade after a minute. That, along with a congenial introduction and follow-up calls will be enough.

Performance anxiety can be an issue. Fortunately, most musicians overcome this in a short period of time – I’ve found that going to open mics, just getting up there and doing it has helped immensely. Find a supportive group of people in your genres’ scene.

Here are some more tips to help you…

1 – Know your material and your performances upside down and backwards. You have to be able to play your songs and not mess up under any situation, and the way to do that is to KNOW them well … memorization … playing a song and working out each and every measure of it until you know it blind-folded. Then, if something bizarre happens while you’re in the middle of a performance, muscle-memory and instinct will take over and you won’t be thrown.

2 – Know your strengths … know which songs are yours and which songs aren’t. In effect, build a really strong set list. When someone like Bruce Springsteen cuts a new album, he’ll record 50 songs … 12 of those wind up on the album we hear and the other 38 go to other artists to do.

3 – LOOK unique . Dress yourself in a way that makes a statement. You know from my previous posts that I believe in dressing the way you always dress; to not be pretentious or something you’re not … but that doesn’t mean that you want to look like the guy next door. You want to create an image … just make it an honest one. So you usually wear jeans and a t-shirt? Fine. Just add some accents that make it all yours. A unique pair of glasses (if you wear them), a very special vest, a wardrobe of scarves, purple boots or hand painted sneakers … whatever separates you from the average guy walking down the street and doesn’t make you look like you’re trying to be someone who lacks sincerity or who has lost all sense of reality.

With the above going on, you’re going to FEEL confident, because you ARE … and THAT sells.

Performance and Gigs by Scott Thomas

Scott Thomas

Managing Editor

Guitarz Forever.com

Guitarz Forever.com

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 database for articles

Have you ever wished that you could make your own car? You know, have a little factory set up in the back yard next to the storage shed where you could just create the cars of your dreams? Well, for decades, people have longed to make their own albums, CDs, or whatever format they happen to take at the time. The only problem was, of course, having the equipment necessary to create your own CDs. But now, thanks to dramatic improvements in pricing and technology, people can in fact create and distribute their own CDs, without bothering with the hassles and contracts associated with signing with a record label. Of course, just like CDs made in the big factories, CD labels are an important part of the process – if you hope to fashion a respectable image for yourself and your label.

Oh come on now?no one really cares about the labels and packaging?the music is all that really matters!

Yes, dream that little dream, my child? Packaging is a critical part of the entire business process – whether you are selling beer or peanuts. It is the visual presentation that first draws us to any new product, just as it is physical attraction the first piques our interest in a lover. And yes, the packaging may have nothing at all to do with the actual product – just as looks can be very deceiving. Still, there are thousands of products whose packaging costs more than the item packaged. Without proper packaging and a professional presentation, the best idea, product, or CD on the planet will likely go unnoticed.

But a person is going to look at CD labels for two seconds and then push play?why waste money on the label?

You make a very logical case – but that is precisely the point! People do not buy things because of logic; they buy things to satisfy an emotional need or craving. Plus, music is an expression of emotion, and CD labels should give people a visual idea that represents the content of your music. Plus, if you are like me and a lot of other people, you read the CD labels and love it when they come with little stories, or even just the lyrics printed on them. (I mean, honestly now – how many times have you had to check for CD labels with lyrics, because you heard a great song, but can?t understand a word?)

Well, what exactly do I need to put CD labels on with?

Ding, ding, ding?we have a winner! Great question friend, and I am so glad you asked. What is needed to put CD labels on properly? A CD label applicator is what you are looking for, and there are several different brands on the market today.

You are just teasing me now?tell me more!!

The most logical reason for using a CD label applicator is to make sure that the label is centered on the CD. If it is not, you are going to have some very, very irritated fans out there! When CD labels are not properly centered, they can cause the CD to be unbalanced. The best-case scenario is that your improperly mounted CD labels will cause the CD to become scratched and wear out before its time. Things can really get ugly if those poorly mounted CD labels cause the disc to spin into the digital reader, and damage your player.

Also, most CD label applicator units come with software that will help you design and create your CD booklets, tray cards, and labels. With some patience, and a little imagination, you can be creating CD labels that will rival those produced by the ?Big Boys?. Besides, you don?t want to spend all that time and energy creating a great CD, only to package it as some low-grade product – do you? I didn?t think so. Invest a little time, money, and effort into creating quality CD labels ? you?ll be glad you did.

Albert Medinas has developed and maintains the website CD Labels and More, which answers the most common questions people have about CD Labels. Please visit us at http://www.cdlabelsandmore.com today.

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

You are apparently interested in playing the guitar. Or maybe you are educating yourself before you make a time and money commitment for a child. I believe that being able to play a musical instrument can be very satisfying and enriching, provided the choice of instrument is appropriate and provided that it is voluntary.

This article focuses on the choice of instrument. The guitar certainly has been, and probably always will be, one of the most popular instruments. Why? I imagine it is because a classic guitar can be taken just about anywhere. You can always play a few strings and soon have a circle of people join you in singing. Even young people join in, especially when some of the classic rock songs are being played.

The classic guitar is generally played at a lower volume than the electric guitar. Many young people however are more excited about playing the loud electric guitar, which requires an amplifier and with that an electrical outlet nearby. It also might require some soundproofing, unless you live in a very remote location. Neighbors generally do not appreciate a group of teenagers jamming at full volume at 10 pm or on a Sunday afternoon. And it is amazing what sound effects can be created with guitar and amplifier. It opens up a whole new avenue of creativity. It is important when learning to lay the guitar, that a clean technique is learned from the start. This is especially critical when it comes to body posture. Wrist problems can arise by not properly positioning the hand and having to contort the wrist, in order to reach the strings. Ignoring any pain from the wrist, could result in having to stop playing the guitar.

Learning how to play the guitar requires a good teacher or good learning program (book, video, audio) and commitment on your part to hours of practice. You can find a good teacher in your local area and you can find good programs on the internet. Many of these programs offer a combination of books and videos. Some include free newsletters or free sample lessons. Check the different avenues out so you can determine what works best for you. It might be a combination of learning with a teacher in person, supplemented by a downloadable program.

So before you run out, buy a guitar and sign up for lessons, ask yourself if you will dedicate several hours each week to practicing and playing the guitar. If you do, you will be able to enjoy many hours of enjoyment playing this wonderful instrument.

Christiane Perrin is the mother of 2 teenagers who play guitar and drums. http://www.learnguitareasily.blogspot.com