Is it really possible to conquer the guitar fretboard? Do you find the notes you want to find? Is tabulature cheating? Let me invite you to the guitar fretboard!

I suggest that you right now start to take command over your guitar. Usually when you are playing your first guitar sheet music melodies you will have to learn the notes in the first position on the guitar. To have a good grasp of these notes on the guitar I suggest that you learn them slowly and with concentration.

I usually begin by teaching the notes on the first string like E on open string, F on fret 1 and G on fret 3. On string two you?ll find B on open string, C on fret 1 and D on fret 3. With these notes you can play the song Mary Had A Little Lamb.

Using the previous notes the melody can be played as follows:

E D C D E E E D D D E G G E D C D E E E E D D E D C

I hope you recognized the melody. This kind of music notation doesn?t give any hints as to how the rhythm is to be played but you already know the melody, right!

Is using tablature cheating? My father taught me some interesting things about learning to read guitar sheet music.

My dad was the only guitar tutor in the town where I lived and he taught mostly classical guitar pieces. His young students, I was one of them, learned those first guitar pieces very rapidly because he used a system similar to tablature showing the frets and strings to play, along with the sheet music. Tablature wasn?t common back then. I remember somebody remarking that his system prevented the children from learning to sight read sheet music.

His reply was that if somebody really wants to learn the notes they will anyway!

I agree with that and I have found that if a pupil is not motivated learning guitar sheet music they will not advance in this area whether they play with or without tablature.

Do you think your fingers has anything to do with guitar playing? I guess you’ll answer yes!

A more important question is if the fingers you choose to use can have a bearing upon your guitar playing. Left hand fingering means which finger you use when playing a specific note.

Usually when playing the first pieces on the guitar on the first frets one plays the notes on the first fret with the index finger, notes on the second fret with the middle finger, notes on the third fret with the ring finger and notes on the fourth fret with your little finger.

Why mess up everything with this fingering stuff? Isn’t it possible to play every melody with your left index finger and forget about fingerings?

Well, of course you can play melodies with your index finger but your progress will be very limited beyond just playing easy melodies.

Besides you?ll have to move your hand all the time as you change frets and, most importantly when reading sheet music, you?ll have to look at the guitar fretboard all the time instead of looking at the sheet music.

The important thing when learning to play the notes on the guitar is to make a conscious effort to learn the notes and not to work on too many notes at the same time.

Peter Edvinsson is a musician, composer and music teacher. Visit his site Capotasto Music and download your free sheet music and learn to play resources at http://www.capotastomusic.com.

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)

Imagine being able to sit down at the piano and create your own unique music without years of study. Now imagine being able to do it within 1 hour! It’s possible when you learn how to play the open position piano chord!

The OPC is a special way of forming chords at the piano. You use both hands right away to create a modern sounding chord that’s perfect for today’s contemporary styles. It’s called open position because of the way the notes of the chord are spread out.

The left hand plays the root, fifth, and seventh notes of the chord while the right hand takes the third and seventh again. The sound is amazing but this isn’t the biggest benefit of this particular chord structure. The biggest benefit is what you can do with it!

For example, in the piano lesson Reflections in Water, you start by playing a C Major 7 OPC. Now that you have the chord what are you going to do to make music? You are going to improvise a melody with the right hand using the tones from the C Major scale. You see, all you really need to know in order to make your own music is chords and the scale the chords came from.

You need to know the notes of the scale so you can use them to improvise a melody. Now the beauty of the open position chord is that you don’t have to move your hands around too much in order to create a melody with. In fact, you can pretty much stay within this chord structure and create a beautiful piece of music.

Reflections in Water uses 4 chords to create a few minutes of music with. A beginner can learn to use this chord structure within 1 hour and create music with it. It really is that easy!

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!

Some could argue that the downfall of John Lennon came when he met Yoko Ono. After the releases of ?Two Virgins? and ?Life With Lions,? the somewhat controversial and humour enticing albums, (both within a year of each other), the future career of Lennon seemed lacking in all the speciality of The Beatles. Even Lennon was seen to be doubtful in his departure from the band. He married Yoko on the 20th of March 1969 which was then followed by the infamous 8 day peace protest in bed as their honeymoon. The Plastic Ono Band album was released almost immediately after The Beatles split officially in May 1970, yet the final ?Let It Be,? The Beatles swansong wasn?t released until after this date.

Moving to New York in September 1971, he released the album, ?Imagine? only a month later after his departure from England. It wasn?t long until immigration almost successfully got him packing his bags and heading home. Splitting from Yoko for about a year later, he went out on several heavy drinking sessions with old friend and known alcoholic, Harry Nilsoon. Together they recorded the album, ?Pussy Cats?, sadly I can?t find a listing for this anywhere as a chart entry here or over there. Eventually allowed his green card after Sean was born, he retreated from the music industry to be alone with his new family. Putting the lid down on his piano and closing the guitar case, he seemed to have found his perfect home. On the brink of a come back with the signing of a music contract, the future seemed bright for the Lennon family until the fatal meeting with Mark Chapman where he shot Lennon out side his home on the 8th of December 1980.

We take a look at one of the compilations that has graced our record shops since his death. It would appear that on every anniversary of birth or death, an album has followed featuring his best known music from his solo career. This is one of them?

?Imagine there?s no Heaven, its easy if you try..? First released in November 1975, it went straight to number one. Again issued in December 1988 and then again in December 1999, in total, it sold over a million copies, but still, the simplicity of this track was always destined to be one of the great anthems in human history whether he was still with us or not. The hands make very little movement across the keys and with a video piece in just the same vein, they are as uniquely powerful as each other. The essentialism is within the opening piano chords. Lennon was not the greatest singer, in fact, straining his poor voice in early Beatle recordings was not unusual. (The song, ?Twist And Shout,? always had to be left until the end of a show due to the anxiety it would have on his vocal chords.) He was primarily a poet, a collector or words, creating images for the heart and for the soul of his listeners. As Dylan as his constant musical guide in his head, Lennon was, it could be said, imitating the legendary folk singer, but naturally what shone through and essentially what we connected to was the person who enlightened us from within John. Love or loathe The Beatles, one cane listen to ?Imagine? and feel something. Whether it is thoughts for our own families and children or the world as a whole, this song is very much affective and will remain so for generations to come. The tragedy of this heart dominating piece of humanitarism, is that the song is forever remembered, but the words have long been forgotten?

?Instant Karma? is the second track on this compilation album. It has to be said that one is struck by the extent of the love that John shared with Yoko, not just for each other but for their dedication to the projects that they had together. Flicking through the sleeve, we notice that the simple black and white photography is relaxed and we feel welcomed into their world. The twenty tracks are performed by John but mostly by The Plastic Ono Band which on many occasions incorporated some well respected musicians including Klaus Voorman (the German friend from the days of Hamburg who designed the Revolver album for The Beatles) and Eric Clapton. One is also struck by not just the political strengths of this man but his diversity within his music. We shift from grief stricken soul to folk, pop and rock and roll, Lennon?s first being the latter. It was released February 1970, reaching number 5.

This track, I wonder is probably more autobiographical than a political statement. The extent of this track musically throws out to its audience the same crowd-filling-a -room feeling as ?Give Peace A Chance.? A lot of hand clapping and a cast of thousands fill our ears. These tracks are primitive in their recordings in following the Ono/Lennon theme of musicians jamming a song rather than playing it in a studio situation. A mumbled counting in at the intro gives the full feeling of a song almost made up as they went along. I felt, lyrically, it was a personal dig at his shallowed emotion from being the star of The Beatles. One gets the impression that Lennon, after leaving the band, spent the rest of his life reflecting and analysing his former existence.

?Mother,? is very definitely a self therapy track that was actually spawned by some sessions with a certain Dr Janov. It is crucially a very personal track and once the words have been digested by the listener, it feels as thought we are encroaching on something so intensely intimate that its is like extreme intrusion. The opening line may bring a lump to the throat; ?..mother, you had me, but I never had you? I wanted you but you didn?t want me?? is an incredibly disturbing statement for a child to make to its mother. Another line is???father you left me, but I never left you?? If we knew a small fraction of Lennon?s upbringing, we would know that he was abandoned by his father, whom in twenty years of John?s life, he only saw him twice. Also brought up by his mother?s sister, Mimi, so with this information in hand, it is a painful ballad about one?s parents to bear, even from the voice of a grown man. Released in December 1970, it failed to enter a chart.

Another self analysis mark of Lennon?s life is portrayed in the beautifully gentle, ?Jealous Guy.? Whilst hitting the bottle in a suicidal fashion at the temporary break from Ono, this simply tuned song offers a touching and affectionate plea for his lost one. For a man to open up his inner most feelings surely is a mark of dignity and strength. We see the sensitive side of Lennon, a side not seen whilst a foul mouthed, bad tempered Beatle. In this violin complemented ballad, we can surely be thankful for the presence of Yoko in his life. If not, he would never have penned such poetry. Released in November 1985, but failed to get any higher than number 65..

?Power to The People,? is back to the chanting, peace seeking days of the strong Lennon/Ono union. Again, a marching demonstration song easily shouted from the roof tops in great chorus. Yet with its anti war themes of such poignancy, I can only think of Citizen Smith shouting from outside Tooting tube station?Unlike Smith, Lennon found himself on many occasions being labelled as part of America?s radical left. Released as a single in March 1971, it managed a fairly decent number 7.

?Cold Turkey,? may have had all the signs of a drug addiction track but it was actually directed at the governments from both side of the pond. At the release of this track, it was at the same time as Lennon handing back his M.B.E to the Queen. Naturally, the timing for Lennon was appalling and the single flopped. A fairly mediocre rock track by John?s standards, it does not help with the cries and wails of his voice towards the end. Deeply analytical and self opposed, it denotes a less than happy time in his life. Released in November 1969, it reached a weak number 14, despite its surrounding situations.

?Love,? is again a personal reflection on the love in his life and the love lost from his parents. He describes ?love is wanting o be loved..? I feel with these tracks that it is Lennon?s attempt to quite openly bare his soul. We, the majority, only accept the musical quality of the sturdy piano and ever so soft acoustic guitar. Perhaps it is because we don?t know how to deal with someone else?s instantly personal feelings? Released November 1982, it reached only number 41.

?Mind Games,? is a whining track that may get on one?s nerves after too many listens. I do believe that John took his music too far sometimes in the respect of his introverted perspective view on the world. Being so disillusioned with the leading heads of state from both sides, he became withdrawn in his ideas, far beyond anyone?s comprehension, these were strange, avant garde pieces for his own personal benefit. Lennon totally looses himself in the immensely droning and brain washing theme of this song. I do believe he forgets, that there are people, in the future, out there who will be listening to this?A fairly awful song, it was surprisingly released as a single in November 1973 and got an average number 26.

?Whatever Gets You Through The Night,? is a jolly, happy clappy song that takes on a sudden change of theme from the rest of the album. It says, ?hey, forget everything I just said, its okay, whatever you fancy, gets you going, floats your boat, just do it..? Gone briefly are the overly emotional, 3-in-the-morning analysis of the plight of the world. We are awoken to this disco/party track to jump up and down and forget about life?s troubles?.. I?m all for that? Released in October 1974, only to struggle to number 36.

?#9 Dream? is what the title suggests. A dream state created by the distorted, drifting vocals of Lennon with slight Sgt. Pepper instruments. Floating violins, whispers and taps on tambourines have us swimming down a slow moving stream in the afternoon sun. Again, a track that probably held a deeper meaning for Lennon and Ono rather than the listener, who thought, ?hey, this is cool..? Its tracks like these that were wasted on us public.. Released in February 1975, it managed number 23.

?Stand By Me..? id the only track on this extensive album that is not written by Lennon. A classic track written for Ben. E. King by the ever legendary songwriters, King, Leiber and Stoller; the men who were responsible for some of the greatest rock and roll songs ever recorded. Lennon?s love for rock and roll was widely known. He later blamed Elvis for seducing him into creating his own band.. This was not a well liked cover but it still stands well with Lennon?s own backing track and vocal range. Although not his song, he had the ability to take such a song and create it as his own. Adding a croaky vocal and heavier guitars allowed him to do this.. Released May 1975, it failed to get any higher than number 30.

?(Just Like) Starting Over? was the ironic record which shot to number one a month after his death in 1980. A quivering rock and roll moment and somewhat retro aiming at the Teddy Bear re run moving through the younger set of the day. It?s popularity stemmed from Lennon?s untimely death. The ?starting over? theme personally related to his life re born with Yoko and Sean, their son. It was some what a macabre anthem in the feeling of life after death and the strengths his record selling abilities after his passing.

?Woman,? finds us soothing over with the gentleness and humbly inspiring themes of his obvious relationship with Yoko and some may say, the respect he had for his mother whom he had loved with equal tenderness. It is a sensitive tribute to any woman from a man feeling failed in his adoration for her. An emotional piece with just as much feeling musically as in the lyrics? Released January 1981, shot to number one.

?Beautiful Boy,? has the same tenderness as the previous track but now, more focused on the birth of Sean. Much a piece picked on by the media, they highlighted the pushed-aside Julian who had been almost rejected in his earlier life by his father, Lennon, and had been the subject of ?Hey Jude,? by McCartney. This had been written several years before as an arm around the shoulder comforter to Julian after the break up of Lennon?s first marriage to his mother, Sylvia. ?Beautiful Boy,? features the lyric, ? life is what happens to you while you busy making other plans..? A sweet song completed with the tinkling tune denoting a children?s music box in this swaying nursery lullaby. Never released as a single.

?Watching The Wheels,? follows and the nest four tracks take the tempo up a little. This song is particular lifting musically, but yet, still very middle of the road by today? standards. Even though the subject remains with its element of struggle in life and the man coming to terms with his own complicated mind, his mood seems more optimistic and on an even keel. His mood always was heavily reflected in his music. Like many of us waking up knowing we?re going to have a bad day, I guess Lennon felt much the same thing musically? Released April 1981, reaching number 30.

?Nobody Told Me,? is one of my favourite Lennon tracks from his solo career. Yet again, it is a stab at the human race but somehow tongue n cheek. A song for a day that isn?t going so well, a song that I have in my head most days! There is a great deal of electric guitar playing a looped riff on a melodic theme and percussion that lifts the track to a foot tapping, skipping down the road effect from a happier Lennon. Released January 1984, to a fairly impressive number 6.

?Borrowed Time,? is a little on the new wave, Ziggy theme with its abstract Level 42 riff and its fading in and out lyrics. I wonder if this may have been the way forward for him, if he had still been alive. Its fundamental basis is a calypso style for a summer?s day on a Jamaican beach. Lennon delights us in his won vocal percussion. An unusual turn for the rock and roll head strong artist and a refreshing approach for the listener. It prides us into an understanding that Lennon could lift our spirits with open and future forward thinking themes as well as the gut wrenching ballads that have us reaching for razor blades. Lennon enjoyed all music and could adjust his uniqueness to even such foreign and unravelled paths of sounds such as calypso? I just wish I could roll my ?R?s? like he could? Released March 1984, only to number 32.

?Working Class Hero,? will have us throwing away our bongos and reaching for that bathroom cabinet door. This was the titled that labelled Lennon from his death and beyond. In this track, he reaches out to another hero of his, Bob Dylan. With acoustic guitar and minus a harmonica, he extends his talents to hard minded folk music. He falls to the very depths of personal humanity lyrically and the very struggle faced by millions just to go and earn a crust. A cold, truthful legacy to the working class, which is all of us?It was the B side to ?Imagine? in 1975.

?Happy Xmas (War Is Over,) was admittedly, his greatest anti war, anti government chant which only became famously known after his death. Unfortunately, it took seven shots in his chest to make us sit up and listen. The one disadvantage of this track is that we can hear Yoko singing, of course, she couldn?t sing a note, so for this, it is amusing. The other down side is a personal one and it reminds me of Christmases of years ago with the family. With all the spangle and droopy tinsel of all that is festive, it will always be tinged with the tragedy of Lennon?s death. It is a song that will may the listener feel humble and sorrowful for perhaps not appreciating the man when he was still alive. On any account, I do find this song very depressing. Released in December 1972 to number 2 then again in December 2003 but only reaching number 33.

Our last track is ?Give Peace A Chance? and we have gone full circle in his career within this album. Released as a single in July 1969 and recorded at the famous ?bed in? with all sorts of hangers on, musicians, drop outs, press and intellectuals, one can almost smell the mustiness of the unwashed bedclothes and the sweatiness of the enormous crowd huddled into the small hotel room. Don a bed sheet and a guitar and invite a few hundred of your closest acquaintances round for a chanting session. You?ll find this track enlightening, spirit lifting, soul soaring and it will make you want to sway with arms and legs and sing to the top of your voice. The words are simple and effortless and very much Lennon?s finest moment. In my mind, he could have started and finished his career with the very release of this record and this one only. The rest of the songs could all have been recorded but perhaps left to one side for his own personal therapy and reflection. I believe the real tragedy was not the fatal introduction of Mark Chapman, but his career, his music and his thoughtful words, wasted on the shallow human race?

Violent and troubled in his youth, he found self assurance and peace in age. His power was sometimes immeasurable. During the 8 day bed in, he and Ono had boards erected across the world in 12 cities campaigning against the Vietnam war.

On the 28th of November 1974, he made his final public appearance in concert at Madison Square Garden.

All songs written by John Lennon (except Stand By Me by Leiber/Stoller/King. EMI Records Abbey Road. Bought in HMV for nine pounds.

?michelle duffy 2006. Ciao and dooyoo (sam1942) 2006

Michelle is a freelance writer in the South of England and owner of the websites, http://www.generationsounds.co.uk, http://nevermindthebloggers.bravehost.com and their successful sister, ?Never Mind The Bloggers? at http://paperback-writer29.tripod.com She has been writing over the last year, for five major consumer websites across the world and is one of the only two music category advisors for one website in the U.K. Her websites promote young, amateur and professional bands/artists and their fan clubs whilst also reviewing them for local and world wide promotion. She has also recently launched the blogs; ‘The Ramblings Of An Old Rocker,’ ‘Bohemian Waffle,’ ?The Rhythm Rock And Blues Machine? and ?The Moped?s Musings? and ?Generation Sound Suite.? She is currently working on two shops selling her music styled artwork and now sells on Ebay.

Crunk music is a specific type of hip hop music, based out of the southern states. Crunk (sometimes spelled Krunk) is high-energy, club-oriented hip-hop.

In the hip hop society, crunk rappers have been criticized for having no lyrical content and all southern rappers uses the same beats and styles in there music. While other hip-hop styles contain a more conversational vocal approach. Dirty South is notably different from its northern and western counterparts.

Southern rappers can adapt towards either a soul-based or a more street sound. This done sometimes by sampling, while still being creative. Crunk usually involves hoarse chants and repetitive, simple refrains. Lyrics are based on a rhythmic bounce which is very effective in clubs.

Several crunk songs have been banned in venues due to wild crowds. Crunk has established itself as a major sub-division of hip-hop and will likely enjoy greater success due to the increased number of crunk albums being released.

Crunk is to music what Shakesphere is to literature. I mean you can’t get enough of this music. Instead of going to a club and standing on wall and looking pretty you act a fool to crunk music. Crunk music can help with releasing tension and its a good way to get a work out!

My name is Juanita Clark and I own a relationship blog on the internet. The name of the blog is What A Girl Wants Advice On Understanding Women. On this website there is an open discussions, polls, quizzes and the website is http://www.7daycyle.blogspot.com.

Smash Hits RIP

In 1978 former NME writer Nick Logan birthed Smash Hits on his kitchen table. The first issues cover star was Plastic Bertrand, and Logan so unsure of the magazine he edited it under the pseudonym Chris Hall. He shouldn?t have worried as the Magazine went on to both mirror and shape the pop music of the 1980?s. Its colour posters became wallpaper for teenagers bedrooms. The real revolution was securing the rights to print the lyrics to ?Smash Hit?of the day. These lyrical crib sheets rested between the pages of school textbooks. Scanning the words to Nik Kershaws ?The Riddle? held a greater appeal to me than studying my French verbs.

Smash Hits was my first introduction to the wonderful world of the music press. Interviews and record reviews showed a wonderfully na?ve and witty take on the world of pop. What they may have lacked in terms of critical analysis they more than made up for with humour, pathos and the ability to show no respect for reputation. My distrust of Paul Weller stems from the amount of abuse he suffered at the hands of Smash Hits. He was ridiculed for his angst-ridden approach to music. He came across as Rik from the Young Ones, the people poet with a guitar. Although I admire Jam I don?t love them as I feel maybe I should and Weller?s post Jam music leaves me cold.

Posh, Ginger, Scary, Sporty and Baby owe a great deal of their brand image to Smash Hits. The nicknames came from the pen of a writer at Smash Hits, plain Mel, Mel, Emma, Victoria and Geri doesn?t have the same ring to it does it.

So why has it died on its feet? Well the landscape of pop has been rapidly changing. The rise of the Internet has provided a free source of lyrics. Britpop crossed over into the mainstream media and much of what was special about the music press started to wither. Oasis and Blur where everywhere so there was no need to seek out something like Smash Hits for coverage.

The irreverent style that had won Smash Hits so many fans. Typical question; what colour is Thursday? Is sadly misplaced in this media trained era. Stars can?t stray from the script that the PR people had given them, they parrot out the same answers across a wide range of publications. Why did you need Smash Hits if the same points are made in Heat or The Daily Mail. In stripping bands of any semblance of personality record companies have not only diluted the colour in the charts but murdered the cut and thrust of the pop music press.

In the past Morrissey would drop quotes about Oscar Wilde or colour of his underwear. It was via Smash Hits that I first came across, Jesus and Mary Chain, New Order, The Cure, The Mission and a cast of 1000?s. The publication did have bite. On an assignment to interview New Order, the bands surly reaction and unfriendly nature resulted in a piece that allegedly cost Barney Sumner his marriage. Bizarre Love Triangle made flesh.

It seems odd with Arctic Monkeys defining a tipping point where organic pop seems to be replacing the manufactured variety that Smash Hits has gone now. I guess the NME has stolen the ground that Smash Hits once owned. If they printed song lyrics then the NME would be Smash Hits in indie clothing.

I doubt Smash Hits will be missed as music has been replaced by a general idea of celebrity at the centre of youth culture. The shifting of Top of The Pops to a Sunday is another sign of this. Heat covers this new ground well and should be praised for its stance on weight issues. Not a week goes by without them attacking celeb?s for being too skinny or praising women who are not afraid to be curvy.

It always sad when any form of printed media folds. It means less voices, less opinion and less choice. I hope someone sat at a desk at the NME is dream of a new pop magazine??..

Tony Heywood

Come see my musical musing at

http://highwayfive.blogspot.com/

Nelly Furtado has released her latest CD entitled Loose and it doesn’t exactly sound like some of her past releases, but it’s a very good collection.

What we’re hearing here is the fact that she is of course growing as an artist. Just as it should happen with a serious artist, her music is clearly evolving.

I developed a liking for her voice and have followed her career since the release of her first CD, Whoa Nelly, which had the mega hit Like A Bird on it.

I’m always curios to see if an artist can duplicate early career success and with the release of this her third CD I’m convinced Nelly Furtado is a performer that will be with us for some time to come.

The CD launches with an outstanding track, Afraid, that will definitely be heard on radio stations everywhere, and deservedly so. It’s a really good song.

In fact overall Loose is an outstanding CD release and is definitely must have music for any fan. I give it my two thumbs up. It’s the kind of CD even casual music fans will love.

The standout tunes on Loose are Maneater [track 2, Promiscuous [track 3, and Say It Right [track 8. My SmoothLee Bonus Pick, and the one that got Sore […as in Stuck On REpeat is track 12, All Good Things. Very nice!

Release Notes:

Nelly Furtado originally released Loose on June 20, 2006 on the Geffen Records label.

CD track list follows:

1. Afraid 2. Maneater 3. Promiscuous 4. Glow 5. Showtime 6. No Hay Igual 7. Te Busque 8. Say It Right 9. Do It 10. In God’s Hands 11. Wait For You 12. All Good Things (Come To An End) 13. Te Busque (Spanish Version)

To listen to samples of each song on Loose by Nelly Furtado go to: Nelly Furtado CD – Loose MP3 Samples

Clyde Lee Dennis, a.k.a. SmoothLee is a life long music fanatic. In addition to writing CD Reviews like this one for several music related websites he also hosts an internet radio show, and invites you to join him daily for some of the best soul soothing smooth jazz you’ll ever hear at http://www.SmoothJazz247.com

As you probably know, there are thousands and thousands of different chords in music – everything from basic major chords to minor 7ths to 13ths to suspensions to poly-chords. Someday, you might want to learn all those chords if you don’t already know them.

But meanwhile, there are 3 chords — just 3 — that you absolutely, positively have to know. If you don’t know these three, there’s hardly a song in the whole world that you could play. But by knowing just 3 chords, you can play hundreds, if not thousands of songs!

Really?

Really.

Are you ready? Here they are:

I IV V

Huh? What’s all that about?

Here’s what:

In every key there are 3 chords — just 3 chords — which are known as primary chords — chords that occur way more than other chords. They are like family members of that particular key. They are groups of notes built on the 1st note of the scale, the 4th note of that scale, and the 5th note of that scale. (Those are 3-note chords called triads — in another article we will get into 4 and 5 note chords.)

For example, here is the C scale on the keyboard. It runs from C up to C and octave higher. The I chord is built on the first note of the C scale, and so on:

So if I build a chord on the I — every other scale note up from C, the chord is C, E, and G — known as the C major chord.

If I build a chord on the IV — every other scale note up from F, the chord is F, A, and C — known as the F major chord.

If I build a chord on the V — every other scale note up from G, the chord is G, B, and D — known as the G major chord.

Please notice, if you haven’t already, that those 3 chords contain ALL the notes in the C scale!

So what?

So any melody – tune – in the key of C (as long as it just uses the 8 notes of the scale) can be harmonized just by playing one of those 3 chords!

Think about that — that’s a HUGE insight that most people never get.

So, in any given key you can play in, there are PRIMARY CHORDS — chords that occur way more than other chords. They are like family members of that particular key.

At your house, let’s say you have 3 people in your family — your spouse, your child, and you. On the same block, but down the street a few houses, lives your cousin and her family.

At any given moment, who are the most likely people to be in your house?

The Terminator?

Hillary?

Dubba?

I don’t think so.

It’s possible, of course, but not too likely. If I had to guess, I would say it would be either you, your spouse, or your child. It might be your cousin down the street — there’s a much better chance of that than, say, David Letterman or Prince Charles — but my best odds would be to guess that the family members would be there.

It’s the same way with chords. In any given key, there are 3 family members that are residents of that key — the I chord, the IV chord, and the V chord. They are far and away the most likely chords to occur in any given key.

For example, if I am playing in the Key of C, and the first chord is the C chord and I have to guess what the next chord is, I would guess that it would be either the F chord or the G chord. Why? Because those are the other family members. So we have narrowed the odds a great deal just by knowing who the members of the family are.

Does that mean that there are always just 3 chords in a song? No, but there are literally hundreds of songs that are made of just 3 chords.

The Primary Piano Chords (the fam) Of All the Major Keys

Here are the primary chords (the family chords) of all the major keys (remember that the primary chords are the I chord, the IV chord, and the V chord based on the scale of that particular key):

Key of C: C, F, G

Key of G: G, C, D

Key of D: D, G, A

Key of A: A, D, E

Key of E: E, A, B

Key of B: B, E, F#

Key of F: F, Bb, C

Key of Bb: Bb, Eb, F

Key of Eb: Eb, Ab, Bb

Key of Ab: Ab, Db, Eb

Key of Db: Db, Gb, Ab

Key of Gb: Gb, Cb, Db

Do you have to know all these chords in all these keys?

No.

You can choose to play in just one key, or just a few keys.

But what you MUST know is the 3 chords in whatever key you want to play in! That means that the stark beginner can learn 3 chords in just a few minutes, and be able to play along with thousands of tunes, because most folk songs, hymns, country songs, and many rock songs just use the 3 basic chords. That’s why people who know zilch about music can pick up a guitar, learn 3 chords, and strum along while singing everything from On Top Of Old Smoky to Amazing Grace to My Country ‘Tis Of Thee to Auld Lang Syne to Silent Night to……………………..well, you get the idea. And not only a guitar, but a piano, keyboard, or whatever.

Duane Shinn is the author of over 500 music books and products such as DVD’s, CD’s, musical games for kids, chord charts, musical software, and piano lesson instructional courses for adults. He holds an advanced degree from Southern Oregon University and was the founder of Piano University in Southern Oregon.

He can be reached at http://www.chordpiano.com. He is the author of the popular free 101-week e-mail newsletter titled Amazing Secrets Of Exciting Piano Chords & Sizzling Chord Progressions with over 56,000 current subscribers. Those interested may obtain a free subscription by going to http://www.playpiano.com

My sister told me about this CD and I’m glad she did. It’s a great CD on which all of the songs are done very well both technically and musically.

Alan Jackson does a great job singing the old time favorites like Blessed Assurance, How Great Thou Art, The Old Rugged Cross, and Jackson’s voice is an absolutely perfect fit to these timeless hymns. You can almost picture him standing in the church pew with his family singing the songs.

This is a feel good album done in the deep rich voice of Alan Jackson accompanied by his wife and two daughters and is by far one of Jackson’s best offerings.

This CD is simply a wonderful collection of songs for anyone who enjoys Alan Jackson, or Spiritual Hymns in general. Get it. You won’t be disappointed.

Track List

1. Blessed Assurance
2. Softly And Tenderly
3. I Love To Tell The Story
4. When We All Get To Heaven
5. ‘Tis So Sweet To Trust In Jesus
6. In The Garden
7. Are You Washed In The Blood?
8. I’ll Fly Away
9. What A Friend We Have In Jesus
10. Standing On The Promises
11. Turn Your Eyes Upon Jesus
12. Leaning On The Everlasting Arms
13. Old Rugged Cross, The
14. How Great Thou Art
15. I Want To Stroll Over Heaven With You

Record Label – Arista Records (USA)

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Arrangements are the fuel that will send your songs sky high. A compelling arrangement will make the recording process easier, the mix sound better and the finished product full and satisfying. It will save you time and money, and keep you from endless trial-and-error studio sessions that never quite yield the results you want. How do you create that compelling arrangement?

While a full course on arranging is beyond the scope of these few paragraphs, there are three ideas that will immediately shape your work and dramatically improve the way your songs affect their listeners. These three elements of a compelling arrangement are:

1. Arc of energy.

2. Counterpoint and drama.

3. Constant freshness.

Let’s look at them one by one.

1. Arc of energy.

A good song is a good story. That is my operating principle for arranging and composing. A story keeps the listener interested, thinking about what each event means, wondering what will happen next. You want your listeners to stop and wonder as you take them on a musical journey.

This is not only accomplished by the composition — words and melody — but by the energy of the arrangement. A solo piano has one type of feel, wailing guitars have quite another. If a song has only one energy level and flavor, it gets tired very fast, the story has been killed. The best songs build to a climax, then may drop for an interlude, and build again to the finale. That is interesting, that is dynamic.

Energy arcs can be created in so many ways. You can add or remove instruments in different sections, you can switch from a high-hat to a ride cymbal, you can change the octave of the piano part, you can thicken the vocal harmonies, and so forth. You are limited only by your imagination. Use all of these tools to create a compelling arc of energy for your song.

2. Counterpoint and drama.

An element of storytelling is the meeting of characters and how they interact. They may be lovers, enemies, partners or competitors. Musically, this element of drama can be added by using counterpoint.

Counterpoints are secondary melodies. They have their own internal flow, but complement, support or dialogue with the main melody. Counterpoints can play parallel to the melody, but are used most effectively at the ends of phrases. They then become a sort of answer to what the melody just stated, creating a musical dialogue.

The counterpoints can also be used as the intro to a song, or the basis of a bridge section, or of a coda. They can be played by any of the instruments, or sung by the backup singers. Counterpoints should not be allowed to steal the show, but should make the melody more compelling.

My personal favorite example of use of counterpoint in a song is the ABBA classic, The Winner Takes It All. Listen to that song and see what a counterpoint (and the superbly crafted arc of energy) can do.

3. Constant freshness.

Truth be told, if you’ve done the first two elements well, your song will always remain fresh. Nonetheless, constantly bringing new colors in will move your song up out of the ordinary.

There are lots of great ways to keep each moment and section fresh. It might be as simple as changing one note in the lead melody, or as complicated as using an entirely different rhythm. You should be careful, though, to keep the song together as one unit. Too much of a shift can hurt the unity of the composition and is distracting to the listener.

I like to keep things fresh by textural changes, such as having the backing vocals sing the melody and the lead vocal do some free variations. You can experiment with putting different chords here and there, or adding a break, a fill, a tempo change. That feeling of freshness is most important at the beginning of each new section. If you do it well, you can come back home at the end of the song with the original feel. But that original feel will itself be fresh, just like it feels to come home after an exhilarating journey.

These are the three elements that will take your song to the next level. Experiment, enjoy your creativity. But most of all, give arranging its time and its due, and it will reward you greatly.

Seth Lutnick is an award-winning singer, songwriter, and musical theater performer. Visit his web site, The Music Zone, http://www.music.getitdone.biz, for a full guide to arranging and home recording.