October, 2013

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How to Pick the Right Electric Guitar-4 Main Factors

Friday, October 25th, 2013

Whatever you are buying a guitar for yourself or for somebody else, purchasing the right guitar can be an overwhelming experience with the vast chooses and varieties on the market. Buying a guitar can still be a huge amount of fun, so do not let this discourage you!

When trying to find the best guitar, whatever what is your situation, you have to consider 4 main factors.

1. Tone

It’s a very important factor.The main components that shape the overall tone of an electric guitar is the following:

Body wood

Neck wood

Neck joint

Pickup type and placement

Bridge type

Gauge of the strings

You must try different amps and control settings to see what each guitar has to offer.

2. Playability(feel)

It doesn’t matter how beautiful it sounds, how great it looks, or how much you paid for it.When you are playing it the guitar must feel comfortable. If it did not feel right, you wouldn’t want to play it for very long.In order to get good result you know that you will have to spend a long time practicing.So, I strongly recommend buying a guitar that is handy for the size of your hands. Here is what to look for:

Neck width at the nut- Your fingers will tell you if it is too narrow if they are tripping over themselves during chord changes. For soloing I recommend wider necks. This can vary from 1 3/4″ to 2.

Fret size-This is four common sizes: standard, thin, medium jumbo, and jumbo.When you playing, this will alter how much your fingers rub against the wood of the fretboard.

Neck thickness and carve shape-Whenplaying chords around the first few frets you want to have one that fills your hand well.

Scale length-that’s representthe vibrating length of the string.The shorter the length, the closer the frets will be to each other.

3. Your Style

Guitarists incline to see their instrument as a continuation of their persona and want to design their personal style with its color and shape.But the way a guitar looks does not always depict the tone that it will produce. So, if at first view, a particular guitar does not show like something you would appreciate, just give it a try. It might wonder you and open your eyes to new possibilities.

4. The Budget

First, you must decide how much you want to spend.If playing guitar is not something that you that you will want to stick with- probably not more than a few hundred.It’s very important to find the lowest price.A good strategy is to find the lowest price online and then go to a local music shop and parley using that price. You can get a good price because the vendor knows that you can buy online.

Click here to instantly play your favorite guitar solos

It is always a good idea to do some research about the different types of electric guitars and the different styles that they are available in. Depending on the different features the prices of these instruments can vary greatly. This is why you should carefully inspect the different parts of the electric guitar to be sure that you are placing your money in a right instrument that will stay with you for years to come.

Have fun and see you next article!

 

Article Source: http://www.articlesbase.com/music-articles/how-to-pick-the-right-electric-guitar-4-main-factors-4342570.html

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Learn Jazz

Tuesday, October 15th, 2013

Taking an active interest in jazz means improving the quality of the “sounds around us” – the level of musical quality, which implies, if there is any justification in talking about musical quality, the spiritual, intellectual, human quality – the level our consciousness.  In these time, when musical sounds accompany the take-off of a plane as well as a detergent sales pitch, the ” sounds around us” directly influence our way of life, our life styles.  That is why interesting jazz means carrying some of the power, warmth, and intensity of jazz into our lives. Click to continue »

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Learn Piano Online

Saturday, October 5th, 2013

Music, in all its variety, is one of our most constant companions.  It is the sound from our dashboards, iPod’s, the background to our movies, the special gift of our stereo sets,  and concert halls.  Nearly everyone responds to some kind of music.  Most of us can identify at least one performer or musical style that moves us emotionally.  Our choices today are without limit, for technology gives us instant access to more than ten centuries of music.  Most of us can readily summarize our musical tastes with a simple thought: we like what we know.

We appreciate only that music that we have come to understand.  We can follow a familiar piece of music with expectation, welcoming its main melodies, participating in its moments of climax and repose.  An unfamiliar work is not likely to affect us so strongly, for we can only guess what its unfolding melodic and rhythmic content will be.

For these reasons, one obvious way of coming to love music is through repeated exposure to specific works.  Of course, few sensual pleasures equal that of immersing oneself in an afternoon of “oldies,” be they rock, jazz, or symphonic.  But to restrict oneself to the familiar is to limit the possibilities for pleasure, and to limit them sharply.  A more adventurous way of increasing musical enjoyment is to cultivate the art of listening – the special abilities that enable a person to perceive the patterns of musical movement, the uses of musical themes, and ultimately, the creative intentions of the composer and performer.  Such abilities can heighten the enjoyment of unfamiliar works as well as familiar.  For the attentive listener, they can open entire new words of musical experience.

Music is unique as a form of expression.  Unlike traditional painting or sculpture, it is nonrepresentational.  A melody can bring to mind a seascape or the death of a loved one, but it cannot represent them in an obvious way.  In this sense, music is an art without subject matter.

Perhaps this is why music has often been said to convey pure emotion.  Music closely parallels the way in which emotions are played out in our inner lives, leaving us with feelings ambiguous in content, fluid, and strongly felt.

In that wordless state in which we think and feel, there is movement and rest, tension and release, dissonance and harmony, acceleration and retardation, intensity and dissolution.  Learning to play the piano or any instrument, one can perceive how many of these effects are created in music.  One can even come to understand why a particular musical technique creates the effect it does.  Perceptive listening can increase the level of the intellectual experience of playing music while at the same time intensify the emotional experience.
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