If you are thinking of learning how to play violin, keep these pointers in mind in order to get the most out our your studies.
1. Complete and master each section before moving on to the next: As you work through your studies make sure you have each new technique or idea conquered before moving on to the next. Lessons are planned to build upon each other and trying to rush through without fully understanding one will just lead to frustration and wasted efforts.
2. Study as if you were in school. Do some homework every night. If all you have is 15 minutes then use those 15 minutes. If you don’t have time to read/watch and apply then do the application of your last lesson or drills such as scales and chords. Reading/watching and not having the opportunity to apply immediately will usually mean you have to relearn your lesson. Take notes. Especially if you’re watching a video or working with a human. Also don’t be afraid to write all over your workbooks and sheet music.
3. Apply what you’ve learned: Play for others. Your church, your family, that spare piano sitting in your favorite department store (ask first). Nothing drives a music lesson home better than a recital. It will also magnify what you need to work on.
These tips work whether your a child or an adult. Learning to play an instrument is a wonderful activity.
Saturday, September 19, 2009
Wednesday, September 16, 2009
The Path To Self-Destruction With Music
Rock Stars...we are fascinated by them as much as we idolize Hollywood celebrities. We listen to their music, buy the CDs, hang their posters on every wall of our room, watch them at MTV, and go to their concerts. We idolized them so much that we often see them as demi-gods. But beneath all that fame and fortune that the world of rock and roll had given them, many of these rock stars are on the path to self-destruction.
Often, being a rock star would also mean that they are associated with substance abuse and drug overdose such as the case of Janis Joplin, Jim Morrison, among others. It is a merry-go-round of money, adulation, traveling, and being in the media. Like other human beings, these demi-gods of rock music are also susceptible to pain and depression. Drugs and alcohol --- two things that get them going, two substances that were supposed to ease their pains and worries... are the same poisons that would ruin their lives.
Perhaps, we tend to forget that they just like the rest of us --- real people with real problems. Despite having multiple sexual partners, enormous amounts of money, and popularity... deep down they all want just to be loved. Even famous people suffer from loneliness and crave for love in the truest sense of the word. They want to be loved for who they really are and not for the famous persona they have created as rock artists.
Like Joplin and Morrison, there are other music legends who have been immortalized through their songs. Kurt Cobain and Ian Curtis, both young and musically gifted, were in the peak of their careers when they decided to end their lives. Cobain and his band Nirvana were known for introducing the “grunge sound.” For his part, Curtis and the rest of Joy Division had left a legacy through the song “Love will Tear Us Apart.” Despite the appearance of “having it all”, these artists were unhappy and tortured psychologically and emotionally. Even with all their external success and public acclaim, Cobain shot himself and Curtis committed suicide by hanging.
What made them that way? Self-destructive people are aware of their faults. They can be self-critical of their work and often think that they are not good enough, creative enough, or smart enough. They can be displeased with their personality or can be burdened by their own perfectionism. In many cases, self-destruction leads to suicide or having suicidal tendencies.
Most who struggle with thoughts of suicide and other forms of self-destruction usually exhibit some or all of the following behavior:
Too much smoking
Being stress out always
Drinking a lot
Having a lot of casual sex
Not getting enough rest and sleep
Not seeing a doctor or ignoring the doctor's orders
Self-destructive people are more focused on the “outer universe and have lost sight of the need to have a sense of internal peace and self-worth. Unfortunately, for many rock stars like Cobain, their legacy will be more about their tragic end rather than about their music.
Often, being a rock star would also mean that they are associated with substance abuse and drug overdose such as the case of Janis Joplin, Jim Morrison, among others. It is a merry-go-round of money, adulation, traveling, and being in the media. Like other human beings, these demi-gods of rock music are also susceptible to pain and depression. Drugs and alcohol --- two things that get them going, two substances that were supposed to ease their pains and worries... are the same poisons that would ruin their lives.
Perhaps, we tend to forget that they just like the rest of us --- real people with real problems. Despite having multiple sexual partners, enormous amounts of money, and popularity... deep down they all want just to be loved. Even famous people suffer from loneliness and crave for love in the truest sense of the word. They want to be loved for who they really are and not for the famous persona they have created as rock artists.
Like Joplin and Morrison, there are other music legends who have been immortalized through their songs. Kurt Cobain and Ian Curtis, both young and musically gifted, were in the peak of their careers when they decided to end their lives. Cobain and his band Nirvana were known for introducing the “grunge sound.” For his part, Curtis and the rest of Joy Division had left a legacy through the song “Love will Tear Us Apart.” Despite the appearance of “having it all”, these artists were unhappy and tortured psychologically and emotionally. Even with all their external success and public acclaim, Cobain shot himself and Curtis committed suicide by hanging.
What made them that way? Self-destructive people are aware of their faults. They can be self-critical of their work and often think that they are not good enough, creative enough, or smart enough. They can be displeased with their personality or can be burdened by their own perfectionism. In many cases, self-destruction leads to suicide or having suicidal tendencies.
Most who struggle with thoughts of suicide and other forms of self-destruction usually exhibit some or all of the following behavior:
Too much smoking
Being stress out always
Drinking a lot
Having a lot of casual sex
Not getting enough rest and sleep
Not seeing a doctor or ignoring the doctor's orders
Self-destructive people are more focused on the “outer universe and have lost sight of the need to have a sense of internal peace and self-worth. Unfortunately, for many rock stars like Cobain, their legacy will be more about their tragic end rather than about their music.
Sunday, September 13, 2009
Broadway Musicals History (Early)
Broadway as a symbol
Broadway is the street in New York that has come to symbolize live theater entertainment and musicals throughout the world. Today the area, known to tourists and theater-goers, stretches from W.41st Street, where the Netherlander Theater is located, up to W. 53rd Street's Broadway Theater. Only four theaters are located physically on Broadway, the Marquis at 46th Street, the Palace at 47th Street, the Winter Garden at 50th Street and the Broadway at 53rd. All the other legitimate houses are located east or west of this twelve block stretch.
Broadway Stars.
By the 1830's America was exporting stars to Europe. The first notable American actor to make a successful tour was Edwin Forrest, who at nineteen, had played Iago to Edmond Kean's Othello. Forrest's second tour of Great Britain, in the following decade didn't fare as well. He was hissed off stage. Though the disruption of his tour was a personal feud with a British actor, its results were well publicized in the American Press and his return to the American stage was received with populist fervor. This "personal feud" became an international incident and demonstration of class struggle in 1849, when the British actor in question was scheduled to perform at the Astor Place Opera House in New York. A riot ensued on the night of May 10th which was put down with troops and cannon.
Broadways first marquis.
In 1891, the first electric marquis was lit on Broadway. The theater was on Madison Square at the intersection of Broadway and Fifth Avenue at W. 23rd Street. The Flatiron Building now occupies the site. By midway through the following decade, the street blazed with electric signs as each theater announced its shows and stars in white lights. By the turn of the 20th Century the street had an entirely different look, with as many as sixteen theaters on Broadway itself and many others located on the side streets or other avenues. Broadway was much more than a mere twelve blocks. It started at 13th Street and wound its way a mile and a half up the Avenue to 45th Street, ending in the heart of Long acre Square. This first decade of the century also saw the construction of many theaters, most notably the New Amsterdam on 42nd Street in 1903, along with four others in that same year, that are still standing today.
Our Broadway.
The first decade of the 20th Century was both boring and transformational in the history of our Broadway Musicals. The seeds of that transformation go back to 1882, and the construction of The Madison Square Theater at 24th Street. The Mallory’s, who had built the theater, had employed a young actor-manager from San Francisco along with two brothers from the lower Eastside to help manage the theater. David Belasco, who had the distinction of appearing on stage with another unknown child, Maude Adams, in San Francisco in 1877, was soon to become a playwright, theater owner and builder. The two brothers from the lower Eastside were, of course, Charles and Daniel Frohman. The first sign of the transformation occurred when producer Rudolf Aronson decided to build a theatre of his own. At the time, theatres were concentrated between Union Square and 24th Street.
Broadway is the street in New York that has come to symbolize live theater entertainment and musicals throughout the world. Today the area, known to tourists and theater-goers, stretches from W.41st Street, where the Netherlander Theater is located, up to W. 53rd Street's Broadway Theater. Only four theaters are located physically on Broadway, the Marquis at 46th Street, the Palace at 47th Street, the Winter Garden at 50th Street and the Broadway at 53rd. All the other legitimate houses are located east or west of this twelve block stretch.
Broadway Stars.
By the 1830's America was exporting stars to Europe. The first notable American actor to make a successful tour was Edwin Forrest, who at nineteen, had played Iago to Edmond Kean's Othello. Forrest's second tour of Great Britain, in the following decade didn't fare as well. He was hissed off stage. Though the disruption of his tour was a personal feud with a British actor, its results were well publicized in the American Press and his return to the American stage was received with populist fervor. This "personal feud" became an international incident and demonstration of class struggle in 1849, when the British actor in question was scheduled to perform at the Astor Place Opera House in New York. A riot ensued on the night of May 10th which was put down with troops and cannon.
Broadways first marquis.
In 1891, the first electric marquis was lit on Broadway. The theater was on Madison Square at the intersection of Broadway and Fifth Avenue at W. 23rd Street. The Flatiron Building now occupies the site. By midway through the following decade, the street blazed with electric signs as each theater announced its shows and stars in white lights. By the turn of the 20th Century the street had an entirely different look, with as many as sixteen theaters on Broadway itself and many others located on the side streets or other avenues. Broadway was much more than a mere twelve blocks. It started at 13th Street and wound its way a mile and a half up the Avenue to 45th Street, ending in the heart of Long acre Square. This first decade of the century also saw the construction of many theaters, most notably the New Amsterdam on 42nd Street in 1903, along with four others in that same year, that are still standing today.
Our Broadway.
The first decade of the 20th Century was both boring and transformational in the history of our Broadway Musicals. The seeds of that transformation go back to 1882, and the construction of The Madison Square Theater at 24th Street. The Mallory’s, who had built the theater, had employed a young actor-manager from San Francisco along with two brothers from the lower Eastside to help manage the theater. David Belasco, who had the distinction of appearing on stage with another unknown child, Maude Adams, in San Francisco in 1877, was soon to become a playwright, theater owner and builder. The two brothers from the lower Eastside were, of course, Charles and Daniel Frohman. The first sign of the transformation occurred when producer Rudolf Aronson decided to build a theatre of his own. At the time, theatres were concentrated between Union Square and 24th Street.
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