Learning how to change a guitar string is a complicated task that can intimidate most people, if you want to play guitar this is something you must master. At concerts there is usually someone dedicated to changing strings between songs. This seems like an amazing feat, but if they can do it, you can also learn how to change a guitar string quickly.

As with any other aspect of playing a musical instrument, being able to change guitar strings, has its rules. Firstly, make sure you do one at a time, and when loosening the pegs, do so carefully. Knowing how to change a guitar string, doesn?t mean just cutting the string, or yanking it, as this will most certainly lead to the injury of yourself or a damaged guitar. You should then loosen the end pegs, which may seem stubborn, but do not try to ply them out in agitation, you will damage them, and then you?re stuck. Be gentle to your guitar, and then the process of how to change a guitar string will be a breeze. After the long process of being careful and making certain of things and you have the string out, you are now ready to move on to the next one. As said before do not be in any sort of rush, this is not a procedure that can be hurried. It?s like a doctor working on his patient. Your guitar was hurt (the strings were damaged) and you are the doctor needing to give it new life. If you are not careful you might end up shortening the life of your guitar. And always remember never to use furniture polish.

So, when all old, damaged strings are out, you can start unwrapping the new ones. For easy stringing be sure to buy the strings that come with the color coded knobs on the end, as this lets you know which notes each string plays. If you are still unsure, there are plenty stores that sell a how to change a guitar string manual, though, it will most likely be a maintenance manual.

Now that you?ve figured out how to change a guitar string and which string goes into which hole, you can start threading them through one at a time. Start with putting the knob end of the string into the peg hole and reinserting the peg. Please remember, to save yourself some time, after inserting the string and the peg into the hole; keep the string taut at all times. After you have done this with one, you are ready to insert the other end of the string into the tuning peg. Remember that you want to tighten the tuning peg, always, to the right. Once you are happy with the first one, you can move on to the second and then the third, then the fourth and so on, until your guitar is ready for another jamming session. All the while, always keep in mind that the best and easiest way to change a guitar string lies in a very cool head. Keep your cool and like, with everything in life you will do it with professional ease. Learning how to change a guitar string is an art on its own, so a professional musician is a person who is good at all sorts of art forms. Can you call yourself a pro?

Gen Mason is a guitar player from Florida. Discover free how to improve your guitar skills at Jamorama

I?ll always remember my dad saying that he loved listening to birdsong early in the morning. The singing centered him in a way that I didn?t understand at the time.

Now I know why he felt so refreshed.

Birdsong is a high frequency sound ? around 5,000 hertz. Any sound between 5,000 and 8,000 hertz has been found to recharge our brain?s batteries.

You know what else is amazing?

5,000 hertz is also the frequency that energizes plants. In fact plants showed a 700 percent increase in efficiency of absorbing nutrients when exposed to high frequency classical music. This frequency actually helps the little pores on the plant’s leaves called stomata to open up.

And who says nature doesn’t have a plan. That?s why you’ll find that in areas that don’t have a lot of birds singing, there’s not a lot of plant growth either.

Lots of birds equals lots of plants. Few birdsongs means not a whole lot of greenery. Now I know why we moved from Los Angeles to Asheville, North Carolina ? we wanted birds and trees in our life.

Have you ever entered a room that has a weird or uncomfortable feeling about it? You might just be getting uncomfortable because of low frequency sound waves.

The lowest of those are called infrasound. They?re produced by machines such as vehicles, household equipment and heating and cooling systems. It?s been known for some time that these low frequency waves can cause symptoms such as nausea, headaches, fatigue, insomnia, vibration of internal organs and a feeling of oppression.

On the other hand, certain high frequency sounds literally energize your mind. Scientists have found that sounds from 5,000 to 8,000 hertz recharge your brain?s batteries.

If your CD collection includes music by Mozart, Baroque Music or even Tibetan Chants, keep listening. In numerous studies, these sounds have been found to charge the cortex of the brain and stimulate health and wellness.

At 120-125 hertz you begin to hear the kick drums and bass guitar common to rock music. These lower frequencies produce the opposite effect – they drain us.

Why is this?

Because they have wave-lengths longer than we are tall, which is why lower frequencies are FELT as well as heard. You can feel this low frequency full-body sensation at dance clubs and rock concerts. Or from listening to most FM radio stations.

Since we are mostly exposed to low frequency sounds in the media, I strongly suggest you balance your brain and body by listening to high frequency classical music at least once a day. It?s easy and effortless ? and great for you.

Here?s to your sound health.

Copyright 2006 Tania French

Composer Tania Gabrielle French has enjoyed performances and radio broadcasts of her music worldwide by Grammy Award winning artists. Her popular newsletter tells all about the secret effect of music on your mind and body. Subscribe now at http://www.artabundance.com ? 2006 Tania Gabrielle French. All Rights Reserved.

Karaoke Machines

One invention that has really taken off in the music world is the karaoke machine. Unlike other pieces of musical equipment, the karaoke machine appeals to folks of all ages, all genders and all types of voices ? good or bad!

Here?s a quick guide to karaoke machines, and how they?ve progressed over the years.

A Brief History of Karaoke Machines

The earliest karaoke machine was invented in Japan during the 1970s when a singer named Daisuke Inoue developed a tape recorder that could play a song for a 100-yen coin. He had been asked frequently by attendees of his performance to provide his song on a tape recorder so they could sing along during a company vacation.

Daisuke felt it was a great idea, not for his song only, but for many others. Inoue leased his karaoke machines to stores instead of selling them directly.

The machines were placed in restaurants and hotel rooms. In 2004, Inoue won the tongue-in-cheek Ig Nobel Peace prize for his invention.

Karaoke Hits the USA

Karaoke machines came to the United States during the 1990s when karaoke bars, also called KTV boxes, began having competitions or fun karaoke nights for amateurs.

Advancement of Karaoke Machines

The early karaoke machines worked with cassette tapes, but later became more advanced using CDs, laserdiscs, VCDs and today?s DVDs.

The machine has audio input, audio output, and a way to alter the pitch of the music.

The most popular machines are audio mixers that include a microphone input that?s built in with a Laser Disc, Video CD, CD G or DVD player. Karaoke machines that are capable of producing a video lyrics display are called KTV in many countries.

Another unique feature of many karaoke machines is the ability to change the pitch of the music, or key, to fit the vocal range of the singer. With this feature, songs that are too high for the singer can be played in a lower key.

From Karaoke Machines to Computers

Karaoke songs are now being played over computers everywhere via music files such as MIDI, MP3 and many others.

The karaoke machine is not needed with these files, but a downloadable karaoke player instead. Both the players and song files can be downloaded on the Internet.

More Advances in Karaoke Machines are Coming

Karaoke machines are being modernized in many other ways as well. From auto karaoke to mobile phone karaoke, people are going to be able to ?sing along? from just about anywhere before long!

Karaoke Machines Still Going

Even with all the modern devices and methods in karaoke, the karaoke machines will still be around for a while.

The karaoke machines are convenient for restaurants, bars, gatherings and other public karaoke events because they can be moved easily, use a screen and sound everyone can see and hear when a big crowd is present, and they provide affordable entertainment.

Got your karaoke machine yet?

Bob Pardue is owner of Karaoke Singing and is a retired karaoke DJ. You can view his other music articles by going to http://www.karaoke-singing.com

Canada’s Interior Provincial Exhibition in British Columbia is renowned for its prize-winning pigs, 10-gallon hats and cowboys being flung from the backs of snorting bulls.

Did I mention classical violin music?

In 2001 the IPE hosted the Festival of the Arts, an all classical, jazz and theatre venue in the heart of the fairgrounds. I’d honestly never been out to the fair before but was hired to emcee and play violin in the new event.

From the moment I pulled into the dusty parking lot full of pickups and horse trailers I knew I was in for an interesting five days. Dressed in a formal satin gown I entered Armstrong’s Centennial Hall as farmers and cowboys watched with curiosity and suspicion. Imagine a decked-out diva playing Mozart in the “Tumbleweed Saloon” and you get the picture. Though the carnies teased me that I’d "gotten lost on the way to the opera house" I smiled coyly: I had an ace up my sleeve.

In the past I’d gotten myself into all sorts of embarrassing gigs where the music did not suit the venue. As a relatively shy and inexperienced performer I was hired to play classical violin at the formal (and final) Royal Canadian Mounted Police Regimental Ball in Trail, BC in 1997. The evening consisted of over 100 less-than-sober Mounties and dignitaries who incessantly requested “Achy Breakie Heart,” a song I was certainly not prepared to play that night.

I was obligated by my contract to play all classical repetoire and it was with much effort I was able to sustain it to the end of my set. Just before packing up I surrendered to play a few fiddle tunes. The crowd went wild and I was thrown from background music to front and center entertainer, a place I was far to shy to want to be.

I left the party just as some resourceful officers at the nearest table discovered their wide-brim hats could also function as frisbees. I couldn’t have felt more out of place!

To keep everyone feeling comfortable in the concert hall each style of music has developed a distinct set of audience protocols.

For example, Jazz modus operandi requires we clap after the solos, whereas proper classical etiquette insists the audience hold applause until all the movements are completed. Folk and country music’s tradition has us clapping with the beat.

By stark contrast there was no clapping permitted in Baroque concerts held in churches during the 1600’s. Always looking for a way around the formality, Antonio Vivaldi’s inventive fans adapted a way of showing their appreciation for the music by shuffling their feet, coughing and blowing their noses loudly.

If stuffy clergy could bring themselves to blow their schnozzes in appreciation, I could modify my performance to make my classical music suit the audience. Along came a considerable challenge: I was invited to play British Columbia’s wacky “Streetfest” alongside fire-swallowers, stilt-walkers and sultry female impersonators.

I couldn’t be shy at this gig so I carefully developed a “circle show” that helped me fit into the zany antics while still doing what came naturally to me. Clad in an extravagant red sequined gown and combat boots I played the overstated role of “Virtuoso Violinist,” a direct poke at classical music’s stuffiness.

Keeping it simple I performed the same set of music I always played, but this time on my 5-string Zeta electric violin, and amused the audience with hilarious true stories about classical composers.

The result was an entertaining educational show that made classical music and it’s history accessible to people of all ages and music preferences. Analogous to protein-rich chocolate-coated ants, it was a sneaky way of making classical music more palatable! Disasters such as the infamous “Mountie Incident” would hopefully never happen again.

Though they squirmed in their seats at first, the farmers and cowboys at the IPE were pleasantly surprised to discover a hidden appreciation for classical music in each of my and other groups’ performances. One such ensemble, the “Stoney String Quartet,” earned the audiences’ admiration and respect for their musicality and familiar backround.

The group of siblings played superb classical music in addition to working on their parents’ farm building barns, haying and processing poultry. It was amusing to imagine the nimble fingers that plucked out delightful melodies under the bright lights of the stage also plucked chickens back on the family farm.

Thanks to receptive audiences the IPE had a Jazz and Classical festival that year where showing appreciation for a great saxophone solo, a magnificent Shakespeare sonnet or a Mozart masterpiece meant yelling “YEE HA” at the top of your lungs!

It sure beat blowing your nose for five days.

**Rhiannon Schmitt (nee Nachbaur) is a professional violinist and music teacher who has enjoyed creative writing for years.

She currently writes columns for two Canadian publications and has been featured in Australia’s Music Teacher Magazine. Writing allows her to teach people that the world of music is as fun as you spin it to be!

Rhiannon’s business, Fiddleheads Violin School & Shop, has won several distinguished young entrepreneur business awards for her commitment to excellence. Her shop offers beginner to professional level instruments, accessories and supplies for very reasonable prices: Visit http://www.fiddleheads.ca

Rhiannon is also Founding President of the Shuswap Violin Society which promotes violin & fiddle music and helps young musicians in need: http://www.violinsociety.ca

Origin:

Mambo originated in Havana, Cuba in the 40s. The Mambo was originally played as a Rumba with an emphasis on 2 or 4. Once introduced, it fast led to other variations. Although Mambo did not last long and is only danced by advanced dancers today, it led to other styles that became popular such as Salsa and Cha-cha.

Music:

Mambo is an up-tempo dance rythm, usually around 200 bpm. Mambo, like Salsa is played in 4/4 with all 4 beats being evenly accented. Like a lot of Latin American rythms, percussion forms a very important part of the music.

Dance:

Mambo is probably one of the toughest dances to learn, especially is you are already used to dancing one of the other Latin styles like Salsa. Although the music is 4/4, the stepping is quite different. The steps are taken on the second beat as opposed to the first beat, which is one of the main differences that throw most dancers off. The other difference is that the weight change takes place three times in every four beats whereas only two steps are taken!

Latinos NZ Popularity Scale: 1/10

Mambo is rarely danced in Latin clubs in New Zealand, and is rarely taught in training institutes.

Article taken from Latinos.co.nz (http://www.latinos.co.nz)

July 6, 1973 Birmingham England

Steven:
Has it been difficult for you putting together a new band? There would seem to be an extraordinary amount of pressure on you to come up with a group of musicians that could compete with the Beatles.

Paul:
It was a bit touch and go at the beginning because it was a bit difficult for me to just suddenly develop a new band. Because let?s face it, the Beatles played Hamburg for like a year solid, playing eight hours a day before we ever were anything. Then we still came back to Liverpool and played for years at these little places, Litherland Town Hall and the Aintree Institute. So it took a long time but that was the idea. We felt, ?Well, we can?t take quite as long with this band but we?re gonna kinda duck out of the press thing and do little anonymous gigs.? We did our university tour and we did a Europe tour which was a bit more kind of press but we thought we?ve got to swallow our pride and go right ahead.

Steven:
Were those considered breaking-in tours?

Paul:
Definitely, for us. It was to get the band used to playing. Because if you get any five people, it?s pretty hard to get a band out of it unless you?ve been going a year or so. It takes that long for five people to begin to understand each other.

Steven:
After playing with the same three musicians for such a long time, was it difficult to find new players? When you chose the people in Wings, were they your first choices?

Paul:
Yeah, they were all first choices. I didn?t do it like thinking, ?OK, who are the best musicians in the world?? and get it together like that. It was all done very kind of random, really; there was like a great element of randomness in it. I went to New York and we auditioned drummers which everyone said later was about the uncoolest thing you can do because these drummers are like the world?s top. And there?s me, I just got them all down in a basement and said, ?Alright, lads ?? And they?re sitting there and there?s no band, each drummer is just sitting there. But Denny (Seiwell) was the one who kind of appealed to me; I thought he looks good, he sings, and he can drum great. And he?s picking up a lot of compliments now from musicians who think he?s a red hot drummer. Brinsley really digs him, Brinsley?s drummer goes crazy over Denny. That?s Billy (Rankin).

Steven:
Was that your idea to bring Brinsley Schwarz on the tour?

Paul:
We did that special, that TV special, and that was kind of the end of our breaking-in period. We really hadn?t played very well, I don?t think any of us thought we played very well as a band up until the end of that special. And the last night, we did a concert for the special which we didn?t dig too much, it just didn?t get enough on for us. It was a bit of a dead audience.

Linda McCartney:
And the audience was just sitting there all hot.

Paul:
And they were all lit (with lights) and it was very. But we did a gig at the Hard Rock Caf? in London which is a real tiny, little thing for kind of charity. And Brinsley Schwarz were on before us and they kind of warmed it all up and they got a standup. Once you?ve heard a band rock a bit you can?t go on and not rock, you?ve got to play better. So we thought,?Great,? and we went on after Brinsley and that was the first night we thought we played at all well. We were all double made up with that night. We rocked a bit that night.

Steven:
What are you going to do for a second encore? You?ll have to have one now.

Paul:
There are a lot of features with the act that are still a bit raw. Our opening is still possibly a bit raw, and the end we could go on a bit longer, but this is all fine tuning. The thing for us, the way we?ve done it is the idea of having places to go still. This is only our third thing really ? university tour, European tour and this.

The aim was just to have a band, pure and simple. Have a good band. As to where we play, we?re easy. We?ll play down a pub if it?s cool, if we feel like it and they like it. But that?s the thing for us, we won?t naturally just play 50,000-seaters. That?s? the interesting thing, we got Denny from New York, we auditioned some drummers there, and I knew Denny (Laine) was a good guitarist and good singer and stuff. So I just rang Denny up. And Henry was a kind of friend of Denny?s and Ian?s and he turned up one day at a rehearsal we were doing.

Henry McCullough:
Drunk!

Paul:
Drunk again. We didn?t really know, we were just thinking about it and stuff and he turned up and he played good stuff and that?s the kind of thing I meant about the element of random. It wasn?t like, ?OK, now let?s audition another fifty guitarists and let?s see who?s who and what?s what.? We just thought, ?Great, let?s see how it goes? and we had a band together then. It worked out good.

Henry McCullough:
Everybody got to know each other; you know me, I know you, and we took each other for what it is. We were a little bit scared of each other. It started off we were a little bit apprehensive and it was ?Who?s this we?ve got in the group?? but we managed to cool out.

Steven:
Did you have plans from the beginning to include Linda?

Paul:
Yeah, Linda was a kind of first inclusion because we?d done Ram together. I worked her so hard in New York because it was all very well having Linda on harmonies but I?m not having her do bum harmonies. So I only worked her like mad. I mean she had never done it before, she?d never done a thing before. If you listen to Ram, all those harmonies on there are just me and Linda. Pretty good, some of them. It was quite hard work as I said. I worked her hard on that album. There was a bit of (mimics Linda), ?What do you mean I?m singing flat?? But in the end it was OK and we did it.

Steven:
You must have noticed tonight that the more rock tunes you did created a bigger response. Will you emphasize those more and more?

Paul:
That?s what we?re thinking, that?s the way we?re going to include a few more of those kinds of numbers. The main thing in performance, an average audience always go for numbers they know. Witness tonight when we did ?C Moon;? as soon as we hit ?C Moon,? which was a hit in Britain but not in the States, how the audience reacted.

Linda McCartney:
On the university tour, we did some numbers twice.

Paul:
But rather than go back, we?d like to do new numbers in the same vein. And on the next album we?ll have another bunch of numbers from which to choose. And by the time that album is done the whole act will be there.

Steven:
How did it feel getting back on stage?

Paul:
It?s now beginning to feel really good. It feels good to have a gig. If you?re just recording it?s very nice but you get a bit sterile. It?s a bit testtube, a bit like being in the laboratory. And if you go out and play, it?s the difference between sex and artificial insemination. Do you get what I mean? That?s what I think ? audiences. It?s true enough, isn?t it?

Steven:
Being on stage, then, must be a natural place for you.

Paul:
You see I?ve always been, I suppose, a bit shy about getting up on stage. I remember the first time I ever got up on stage, I hauled my brother up with me. He had his arm in a cast, he?d broken his arm at scout camp, and I brought him up there with me. I brought my guitar with me and guess what I sang? ?Long Tall Sally.? I was eleven and still doing it.

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

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