Perhaps you have sensed that something is wrong with your voice but are unable to identify the problem. You may feel soreness when singing or afterwards. You are able to sing notes some days but unable to sing those same notes other days. You may have lost a portion of your range completely. What is normal and what is not? Let me tell you??

When your throat feels tight or hoarse it is because incorrect vocal cord adjustments occur when moving from one note to the next. Support is lacking, such as breath, to produce sound correctly. Power, fullness and style are attempted by shouting, pushing or forcing the sound into place. Your body is tight when singing causing your throat to become restricted. This produces vocal cord damage. You may grow nodes on your vocal cords; lose a portion of your voice or all of it, permanently.

The main culprit is a lack of balance between the individual components necessary for singing. These include your mental thoughts while singing, correct posture, breath, tone production, vocal cord adjustments, understanding chest and head registers, resonant sound, and creative expression used to create your distinct style.

Many singers focus on scales only. Doing scales that are redundant or isolated from other areas needing focus will result in some areas being over-developed while other areas remain un-developed. Yes, scales are extremely important and need to be practiced on a regular basis. These simple routine exercises will greatly improve the quality of your voice. When first beginning to sing, focus may be on scales in order to develop precision when producing sound and to make the act of singing look and feel effortless. Once mastered, this allows you to get the most results with the least amount of effort. If scales, however, are the only thing you are doing, you are wasting your time. You need to know how to activate and build every aspect of singing and deactivate everything that is not used to produce the desired sound. This may appear to be common sense but with conflicting information available, most find it confusing. You must maintain a balance between each component in order to reach your full singing potential in a safe and healthy manner.

Those who experience damage often rely on improper instruction, copy singing techniques from other singers whose training is not appropriate for them, or worse, are self-teaching themselves through CD?s and books. None of these methods allow you to identify your specific problem areas. They provide general information for all voice types whether they are male or female, sing high or low, soft or loud etc. They use buzz words and terms making their explanations difficult to understand and apply. While CD?s and books can greatly enhance the learning process, the opposite is true if they are not used correctly. If you are relying on these methods, you are playing a dangerous game.

While it may be common for your throat to feel strained while singing in groups, such as choirs, it is not normal. This happens when you cannot hear yourself clearly and attempt to be heard by singing over other voices or instruments. You may adjust your singing style in order to blend with the group. To alleviate this, work on your material individually allowing imbalances that are occurring and unable to be heard by the conductor due to the group environment to be corrected before bad habits form and damage takes place.

So what is normal? When you learn to sing in a way different from what you are used to you will engage muscles that feel unfamiliar. If you currently sing with tension in the throat you could feel the jaw muscles as you learn to redirect the sound. This may happen during class time which is focused and intense. This is normal and safe when monitored by a professional. If, however, the tension continues when practicing on your own you may be causing damage. To help relieve this, practice for shorter periods of time, such as 15 minute intervals. Sing at a softer volume until your voice is conditioned allowing you to sing louder. If you hold tension in your body you will project that tension to new areas as you learn to sing correctly. This is normal but difficult to overcome for those who sing primarily from their intellect. The tension will be elevated once a solid foundation for singing has been achieved. If your throat feels dry it may be due to the constant flow of air passing through the vocal cords and windpipe. Drink lots of water to minimize this. If it persists, see a doctor. At times you may feel you are not progressing or progressing as quickly as you would like. This is normal for most singers. You will hit plateaus where additional work is needed to break through the block. As your technique improves these temporary problems will be eliminated.

As you can see, there is nothing complicated about understanding voice damage. Having a voice that sounds good is different from having a voice that is healthy and that functions correctly. Many singers give up just as they begin to make noticeable progress and fall back into old harmful habits. They hold onto outdated ideas and resist breaking through barriers that will elevate them to a higher level. You can achieve all your singing goals and build a stronger and healthier voice in the process. Don?t give up!

Donna Flynn
Vocal Coach, Toronto
http://www.vocalcoach.ca
416-436-8063

Donna has developed a complete mind / body / spirit / voice method designed to access the power from the body to eliminate any pressure that may prohibit us from singing our best. She combines specific rhythms and music patterns along with exercises designed to building proper breath support while gently working the entire vocal range, top to bottom. The voice has the fullness needed to express a song in any style desired. She no longer worries about pitch, range or power as she was able to relax and let things happen instinctively rather then force them to happen. You will too!

She now passes that knowledge on to others interested in understanding and developing their own distinct sound.

Donna is a member of SOCAN.

My niece loves Indian films and Indian film music. To her, as to most of the world, this exuberant, colorful, romantic and just-plain-fun genre is summed up in one word: Bollywood.

I confess that I’ve become taken with Bollywood as well, though not to the same extent as my niece, who owns a number of Indian movies and regularly rents others. The Bollywood well is so deep that I have to confine myself to watching those few of its productions that bubble up to catch the attention of American movie reviewers. Otherwise I would be lost in Indian ocean of unfamiliar movie titles, actors and actresses.

My niece also collects CDs of Bollywood music. There’s an Asian market near her home that offers a cornucopia of them. But she has the same problem choosing CDs to buy that I do deciding which Bollywood movie may be worth my time. Unless she’s seen the film from which a soundtrack derives, she’s usually in the dark as to whether a particular CD’s songs and artists are ones she will enjoy.

At her request, I set up a way for her to preview a variety of Bollywood songs and even to live with them on her iPod for a while, all for free. This way she can make informed decisions about which CDs she ultimately purchases.

First, I searched for Indian music Web sites, and specifically for those devoted to Bollywood, or at least modern popular music (as opposed, say, to classical Indian ragas). I found several good ones, with names such as Bollywood World and India FM.

Most of the Web sites I found offered song samples, meaning 30-second or 1-minute snippets. Some had full audio streams that allowed the visitor to listen to continuous Bollywood music for as long as she or he might want. It was these latter that provided the first half of our solution.

Normally, streaming audio, such as what you hear over an Internet radio station, cannot be saved or downloaded. New software, though, makes it possible to record the stream to your hard drive for replaying as often as you like.

Even better, some of the newest audio capture software incorporates something called an mp3 splitter. This software is able to break the audio stream into separate mp3 song files. By the way, this is perfectly legal, because you’re simply recording a broadcast, the same as when you record a TV show on your VHS. Voila — we had the second half of our solution.

Between the audio streams and splitter/recording software, we created our own virtual Bollywood mp3 download sites.

Now whenever my niece is in a mood to explore the latest tuneful offerings from Bollywood, she clicks on her favorite Indian-music Internet radio station, then starts the recording software. Pretty soon she has enough Bollywood mp3s to shuffle through for the rest of the week, and she’s almost guaranteed to find two or three that will spur her to make a trip to the CD bin down at the Asian store.

So…just who are you? That is a question that every solo artist, solo musician, and every solo instrumentalist has probably asked themselves down through the years. The ones who can answer that question will find themselves on the road to a very eventful, and interesting musical career.

Who am I?…Who do I want to be?…Who do I sound like?…Who would I want to be like? These are all legitimate questions, and ones that should be asked. Every one has strengths, and weaknesses. We all have our differences. We all have different goals, and the way we want to achieve them.

To find ones self as a person is a great achievement. To find ones self as a person, and a great soloist is a great Blessing. To find ones self as a person…as a great soloist…and to want to share that with the rest of the world is a most honored desire.

It’s not a fact of being proud. No, it’s not a fact of being better than any, and everyone else. It’s not the fact of being able to do more than anyone else, or being in a class of It’s me, and there’s no one else. No…it’s not about any of these things.

Rather, it is knowing that you have something to offer. Knowing that you have something that may help someone. Knowing that it is not only a blessing that you are you, and you know that you are you. But,…knowing that you are blessed so that you may be a blessing to all of the rest of the world.

So…just who are you? how will you perfect your talent? What will you do with your talent? Will you use it to wage war? Or,…will you use it to make peace? Will you think of the fact that any one of your performances just may save a persons life? Or, will you give a darn, and only think you are IT…and there is no reason for you to care?

Finding ones self is not an easy thing. No, it’s not easy at all. It takes a lot of heart, and a lot of grit. It takes a lot of commitment, a lot of patience and endurance. It takes giving ones self completely over to the tools, and ways of perfection. You will have to go through the refining fire. Hours upon hours of epetitiveness, and drudgery. You will need the focus of a microscope. You must have the intense burning desire of a perfectionist.

The mountain in front of you must be just another movable object, and the wide valley just another attainable space. The goal here is to be that great soloist,…that great musician,…that great artist,…that great instrumentalist,…That great vocalist. The goal is to find that person inside of you. The goal is to find, and perfect that talent you have been blessed with. To search your innermost being,…to probe deep in your bowels,…to travel the deep relmes of the mind. To find that spark and turn it into a super nova! To reach beyond the pain,…beyond the wall,… to go beyond perfection. To reach the point where your music is that exact mirror of your soul.

The only lasting way to attain this level that I know of is,…Practice!Practice!Practice!, and Practice some more! If you can see the end result that is possible, if you could just taste the sweetness of what it is like to move the hearts of thousands,…if you could know what it is like to pour music out of your deepest parts until tears uncontrolably flow,…If you could only feel what it must be like to perform for the Creator Himself! To capture the power of the elements,…to hold the secrets of the universe.

I am not kidding, nor am I just writing empty words. I know these things are possible,…I know these things are attainable,…and, I have tasted it.

There are millions of musicians, millions of artists, and millions apon millions of vocalists, and instrumentalists. The fact in todays world is that to many of us no longer have the desire to find out just who we are. Too many of us no longer have the patience to find ourselves. We dont want to spend the time to perfect our talents. And sadly,…We dont give a care about sharing what we are,…who we are,…why we are,…and do not want to help, or give of ourselves to help our fellow man. Yes, there are some who do care, and give of themselves, and give their talent freely from their hearts,…but not enough. Not enough of us.

Too many people have that desire for what I call Quaker Oats Music. Too many people want to do everything Quick,…Fast,…and IN A Hurry! Well, fast is not always better, and, haste does make waste.

My desire for this article is to encourage those who want to find themselves. To touch those who do want to spend the time. To thank those who are giving of themselves until there is almost nothing left,…then they replenish themselves, and give some more. To encourage the young ones who are just starting out. It takes time Bro Dont give up,…just keep going until you reach what ever goal you have set for yourself, and then go the seven miles further. There is absolutely nothing wrong with practicing,…nothing at all. It is an utmost necessity. No,…you dont need drugs to attain this perfection. The energy is within you,…all you need do is tap the source. That source is deep within your innermost being. Look for it,…Yearn for it,…Desire it!

In closing: If I could do only one thing right, let it be music that inspires people to do the right things.

Patrick is a blind, jazz saxophonist, his intense, improvive style of playing is both soothing, and captivating to the listener. Patrick owns, and operates a Texas based recording studio: Curse Buster Sound. You can hear, and contact Patrick at: http://www.cursebustersound.com

Peaceful Solution Character Education Program: http://www.peacefulsolution.com

CurseBuster Market Place: http://rocketstart.com/Brown2/default.cfm

In the movie High Fidelity, John Cusack says, Which came first – the music or the misery? Do I listen to pop music because I am miserable or am I miserable because I listen to pop music? Personally, I like pop music and all kinds of music. I really enjoy listening to music with friends. I’m not miserable at all.

Some of my friends like pop music. Some don’t. Some like country-western music. Some hate it. Some like classic rock. Some don’t. Personally, I appreciate all kinds of music. I may not like some writers or performers, but in almost all genres, there are songs I like.

In the mid-1980s, my wife and I joined forces with some friends and ran a small dance club, The Bedrock Lounge. For a while it was the place to go . . . until we had liquor board problems. We mostly played alternative rock and dance mixes. On the weekends we brought in live bands. Peg and I listened to a wide variety of music. I played records through the evening and into the early morning hours. She knit, read, and worked on her calligraphy. From pop to classics and show tunes, we’ll listen.

Every time someone mentions a musical I like, I generally say, Oh, that’s one of my favorites. I don’t really have a list of favorites, but perhaps I should write one down. Like Cusack, again, in High Fidelity says, What really matters is what you like, not what you’re like.

When I attend a musical with my wife, we always buy the cast album if possible. If you are familiar with particular Broadway musicals you can experience the entire play just by listening to the music. In your mind you can see the characters, hear their lines and watch their actions. In reality you are just listening to the songs performed on stage, but the human mind tends to fill in the blanks.

I love live performances. If I have seen a performer live AND have their music on a CD I’m in heaven. If I have CDs of a favorite singer and haven’t seen them live, I search on the internet for their concert dates. And sometimes I just fall into the right situation.

A friend attended a performance of Judy Collins at The Triple Door in Seattle, a small 300 seat dinner and music venue. I asked him to bring back a calendar of upcoming events. After the concert he just told me the website address of The Triple Door and I went there to look around. To my surprise I found out that Guy Clark was appearing just a week and a half later.

Peg and I once attended a Nanci Griffith concert and expected to see Guy Clark open for her. To our dismay, he didn’t make the trip. Since that time we have purchased several of his CDs, however. Two days later I was invited to join friends for a performance of Romeo and Juliette in Olympia. I declined, but mentioned that we were going to see Guy Clark just a few days later.

Guy Clark was wonderful. We had a decent dinner, enjoyed Rachel Harrington, his opening act, and saw him live with our Olympia friends. Good food, good music, and good friends. There was no misery to mix in with our listening pleasure.

Don Doman is a published author, video producer, and corporate trainer. He owns the business training site Ideas and Training (http://www.ideasandtraining.com), which he says is the home of the no-hassle free preview for business training videos. He also is webmaster for the music/movie website Videos, Music, and More(http://www.videosmusicandmore.com) which promotes the world of music and entertainment.

A student recently asked me; Why is improvisation so mysterious. My response was that there is nothing mysterious about it at all.

Of course, I’m saying this because I have years of experience under my belt, but truthfully, once you understand that all you need to improvise is chords, the mystery disappears and satisfaction takes it place.

Most of the problems students have with improvising is their fear of trying it. They think they need to know college theory or advanced harmony first in order to begin creating in the moment. Nothing could be further from the truth! In fact, extensive knowledge of harmony and theory can actually create more problems than they solve.

For instance, in one of my piano lessons, Lesson 3: Rainforest, I have two chords down in my left hand. I then use the G Major scale to improvise a melody and that’s that! Nothing hard about it. No mystery here – just fun!

Once you have a definite exercise to play and know what your hands will be doing, it frees you up to create. You no longer have to worry about which chords to play or how to play them. You can focus your attention on the act of improvising melody and experience the joy of improvisation!

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!

It?s a typical situation. You?ve been putting a lot of energy in your craft and people are starting to talk about your band. You?ve played a few shows and everyone is asking for a CD. I used to think that in order to release your own CD you would go out and play a bunch of shows and then someone would come out and sign you. They?d take care of everything. They?d set up the recording studio, organize the artwork, and pay for it to get manufactured. That?s not the case these days.

At present, technology is readily available for any budding musician to record, create, and duplicate CDs. CD duplication involves CD-R media. CD-R prices have dropped dramatically since the first CD Recorders were available on the consumer market. This makes it an affordable option for anyone who wants to copy their own CDs and pass them on to friends, family, or fans. This is a great option for the young band that is still getting their feet wet in the music industry. Duplicating a limited amount of CDs can keep a limited budget in place.

If your band is at the point were your ready to start selling your CD your best option is to make a retail-ready CD and having it replicated. What is a retail ready CD? These are the same CDs you find in the music stores by the major label artists. They have great artwork printed on CD inserts, a nice tray card insert, silk screened art on the CD, and they are shrink-wrapped.

The retail-ready CDs are not duplicated, but Replicated. This means that an exact replica of your CD master has been stamped out on all of the CDs. CD Replication is the way to go if you are serious about selling your music for profit. In fact most music stores will not sell duplicated CDs. Think about it this way. It is illegal to sell or profit from duplicating copy written material. If you tried to sell CDs that have been duplicated to a retail store you?ll more than likely get turned down. How are they to know that it is really your band? One of the best anti-piracy practices that CD manufacturing plants have instituted is the verification of copyright and ownership through a International Property Rights Form. Filling out an I.P.R. form ensures the CD Replication plant that they are not infringing on anyone?s copyright.

CD Replication not only shows that you value your art enough to have it made retail-ready, but also cost effective. I?ll break it down in general.

DIY CD Duplication

Total $1495.00

Typical CD Replication Package

Total $1000.00

These prices are very approximate and are only used for the purpose of estimating the difference between CD Duplication and CD Replication. Lets dig in a little bit. I?ve already illustrated some of the benefits of CD Duplication and the benefits of CD Replication. You can see above that you are spending approximately $500 more taking on the CD duplication responsibilities yourself and only getting 100 CDs!! Having your CDs Replicated costs less and someone else is doing the work. You can spend the time you?d spend on CD duplication and practice your chops or promote your upcoming CD release party, saving yourself $500 that you can use for items like merchandising, t-shirts, stickers, and posters.

Whether you choose CD Replication or CD Duplication, you?ll need to do some research. There are plenty of resources available for CD Duplication and you probably own everything you need. It is up to you and your band to decide which option is better depending on what level you see your band on. Are you a band that plays parties or small clubs, or is your band seasoned and touring? There are benefits to both. Find a local CD manufacturer in your area and ask for their recommendation. Most CD manufacturers also offer quick turn high quality CD Duplication with printing on the CDs. Keep rockin?!

Blake Stoffregen writes for many websites including Crystal Clear Sound CD & DVD Replication. Crystal Clear Sound provides cd, cdr and dvd duplication and replication services and offers packages from disc only to retail ready.

I’ve overheard teenage musicians mention casually they are considering teaching music to make extra money. I am compelled to butt in, “Do you enjoy teaching?” the answer I interrupt with “Are you patient?” Their response: “Like, I play wicked, teaching will be an easy gig.”

My response: maniacal laughter.

Teens, let us hear the wise old violin teacher preaching a holy sermon from atop a glorious mountain of experience: Teaching music isn’t a luxurious life of sleeping in late, illuminating the unquestioning minds of flocking prodigies through 30-minute jam sessions and writing off all your music gear and fast food meals come tax time. Lord have mercy on our souls.

Simply put, teaching music is weekly customer service, with occasional late night support calls when the instrument falls out of tune or the player is struggling. A teacher is dealing with customers who are exploring new ground, hence requiring lessons in the first place, and is responsible for helping advance them into musicians who no longer require our services.

Sounds easy, except that the most trying aspect of customer service is, oddly enough, the customer. The human collective is a random grab-bag of mixed egos and inhibitions, fears and potential, attitudes and limitations. Even the ideal customer, who listens closely, asks exactly the right questions and retains everything they have ever been taught, cannot master music in an afternoon. (At least we teachers have a semblance of job security).

Music, a vast system of pitch, velocity and rhythm that can take a lifetime to understand, has been further complicated with pedagogy. There are more styles to teach violin than there are ways to cook an egg. Each method claims theirs is the most effective way to master the instrument, they have countless scientific studies to prove it and please enter your credit card number here.

A teacher has to weed through the dogmatic hype and come out with a cohesive teaching concept that jives with their own approach to playing and learning. They also have to understand their instrument inside and out, keeping in mind a clear idea how and when to introduce new concepts as to not overwhelm the student. After carefully formulating a perfect lesson plan, the teacher will then scrap it all and reinvent their method when it inevitably doesn’t fit the student’s learning style.

A good teacher is not locked into one method or way of explaining ideas. Instead they receive feedback from the player and interpret it into a lesson that will make an impact.

What makes the most impact, you ask? Repetition. Repetition. Then you do it again. Detach yourself from how many times you’ve played “Fur Elise” or corrected that particular eighth note. There are pin-sized holes in my eardrums from “Twinkle Twinkle” and I develop an itchy rash prior to our annual Christmas recital, but I’ve found a Zen peace in accepting my fate.

I see each lesson as a new chapter in the life of a musician I am helping along. With experience, lessons have developed their own rhythm and my teaching days swoop past me.

The repetition can get to some people, like the crusty old piano teacher, the one everyone seems to have had as a child, who wielded a nasty ruler for discipling unwanted notes. I knew a guy in high school who whacked his violin students on the head with his bow whenever he, the teacher, became frustrated.

A teacher cannot crack when the student plays the wrong note for the hundredth time, so impatient musicians must carefully consider their suitability as teachers. “Penny whistle teacher needed: Psychopaths with Intermittent Explosive Disorder need not apply.”

Instead of whopping students with a pernambuco stick with hair, my aforementioned colleague could have channeled his infinite aggression into another enjoyable branch in the music industry, such as fending off broken beer bottles at the country bar or smashing double-neck guitars for screaming mobs at GM Place. Last I heard he’s still teaching at the music store, but has invested in a heavy carbon bow and a cocktail of barbiturates.

Once a player has established that teaching is a good direction to take and they have passed all the inkblot exams without incident, he or she needs to lay down a teaching foundation. Selecting a method book to use is one thing, but the teacher needs to develop a mission statement and their goals in teaching.

My mission focuses on two words: Inspiration and Encouragement. My goals include “music as a life experience” and sharing my love for violin among friends. The mission statement and goals serve as a guide whenever I am faced with a decision or problem in my work, it’s sort of an operations manual for my business. And that’s what teaching music really is: a business.

I urge all musicians who plan to make their music more than a hobby to take business classes on marketing and promotion, finances and taxes, and business plans. Learn to promote yourself because no one will know who you are if you just sit at home chatting on MSN. Keep good financial records so you are prepared for tax season. There are far too many exceptional musicians, performers and teachers who are stuck on the dole or playing for the coming and going liquor store clientèle due to poor business practices.

You don’t have to be a marketing whiz or a lawyer, though your mother would prefer such a career change so she can have her basement back. Just learn enough to keep yourself out of trouble with the tax man and to maintain a full compliment of paying, regular students. For more guidance I suggest the book “Making Money Teaching Music” by David and Barbara Newsam, available for a free read through the Okanagan Library system.

It seems to be an oxymoron, but it is possible to make money teaching music! So teenage musicians, nod your head, say “yes Rhiannon,” and do exactly everything I have ordained in the article above, then watch the money pour into your bank account.

Hallelujah!

And try not to spend it all at the music store filling the blank slots in your gear rack.

Amen.

**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.

Rhiannon (age 29, she’s not really old) has worn the hats of businesswoman, performer, events promoter, classical music radio host, school orchestra music arranger and music columnist in rural British Columbia, Canada.

Her business, Fiddleheads Violin School & Shop, has won several distinguished young entrepreneur business awards for her comittment to excellence. Her shop offers beginner to professional level instruments, accessories and supplies. http://www.fiddleheads.ca provides a rich resource of information on her school, violin, products for sale and more.

Rhiannon is also Founding President of the Shuswap Violin Society. http://www.violinsociety.ca She dedicates much of her time to community music projects and helping young musicians.

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.

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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

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

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

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

Check the size and shape of the guitar

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

Check the mechanics and playability of the guitar

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

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

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

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

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

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

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

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

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

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

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

More articles at article database