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Saturday, July 26, 2008
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Band agreements.
If you write songs within a band, you need to plan for the day when you will be earning royalties from your songs, and be clear what will happen if a member of the band leaves or if the band splits up.
The best way to deal with this is to all agree what is fair, and then put this in writing as a formal agreement which you all sign. This way there is little chance of any comeback if the band splits for less than amicable reasons.
Here are a few specific points you should consider:
- If a member of the band leaves, do they forfeit all rights to the songs, and the songs remain the sole property of the band?
- Are the songs written by one person, or a few principal writers, who wish to retain all rights?
- If a band member leaves would both he and the band both retain a claim to the song, (this is probably the most likely option).
- How do you determine each persons share?
Do you base it on a song by song basis ranking each members input, or use the same formula for every song.
Do you simply divide everything up equally, (i.e. 5 members each own 20% of all the songs and therefore receives 20% of the proceeds/royalties), or do you rank each individuals input? - If a member leaves, can he/she perform or profit from the music outside of the band.
Sample band contracts can be viewed and downloaded from the following sites:
http://undercurrents.com/agreements/agreement-bandmember.html,
http://www.blues101.org/articles/promotion1.htm and
http://www.musicianassist.com/archive/contract/files/member.htm
The advice from the UK Copyright Service on this subject is:
Where music is written as a group effort, we recommend that you draw up an agreement to clarify issues, such as which rights belong to which member, and how royalties would be distributed in the event that members of your group leave.
For successful commercial bands, incorporation is also an option. As with a normal incorporated company, the band members would own shares in the band/company. In this situation, a band member would typically sell his shares to the other members if he decided to leave.
Resources
Band member agreements
Music Copyright Factsheet
Coming Out of the Dark
Designed as a companion to the singer's 1991 Into The Light--World Tour concert video, this look behind the scenes in Gloria Estefan's career draws drama and urgency from her recovery following a disastrous bus accident, which crippled the Cuban-American performer even as her popularity pushed further into the pop mainstream. Produced for the video arm of her record company, Coming Out of the Dark is hardly an objective documentary, laced as it is with testimonials from executives and frankly designed as a valentine to the feisty star; when we're given an "informal" look at Estefan composing new material in her music room, there isn't a figurative hair out of place as captured through these expertly shot segments. The story, however, is intrinsically compelling, and Estefan offers her fans glimpses into the genesis of the songs from her Into the Light album. The singer's steely resolve, which doubtless explained the speed of her recovery, is visible, too, as is her sure sense of command over recording sessions. Brief performance excerpts show her saucy style of salsa-drenched pop, as well as less satisfying stabs at boiler-plate pop-rock songs that were aimed squarely at the charts. A segment chronicling a video shoot with choreographer-turned-director Kenny Ortega reveals both the technical intricacy of shooting elaborate dance sequences and the hyperbolic coddling platinum stars can expect from their most diplomatic handlers. --Sam Sutherland
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Each instrument has its own voice, and just like the human voice, it can express a wide range of sounds. The acoustic guitar produces everything from lush chords to delicate bell-like tones. And just compare a Cajun fiddle to a classical violin to hear the variety of timbres that instrument can produce. Effective practice is essential to coax that voice from your instrument. This article will help you get the most from your practice sessions.
Of course, the instruments themselves don’t make any sounds at all. They all require one thing -- the human touch. A person must take up the instrument and coax the voice from within it. And just as a new-born baby can’t recite poetry, a novice musician can’t evoke the instrument’s full natural voice. Through practice, he or she develops a level of skill with that instrument.
Don’t confuse skill with talent. Skill is acquired through hard work and a desire to excel. Talent is an innate ability; a gift that is bestowed on us at birth. Everyone has talent, but some people seem to have only to glance at an instrument and have it emit the most beautiful sounds. These musicians are blessed with a wealth of natural talent. The rest of us must spend countless hours ‘wood shedding’ in order to make our improvements. We depend more on our skill, which we hone and build upon with practice, to make us good players. Using that practice time effectively may be the most important thing a player can do to improve his or her musical skill level.
The goal in practicing is to improve our ability to coax the natural voice from our instrument. We want to be as expressive and nimble with it as we are with our own voice. Without thinking, we all use inflections, whispers, shouts and myriad other devices to express ourselves vocally. Ideally, we should be equally adept at manipulating the instrument’s voice to express musical ideas. Most of us can’t spend as much time playing and practicing as we do speaking, so we must make the most of the time we do have with the instrument.
Daily practice is necessary to sustain progress. When you skip days or weeks, the improvements you might have made fade quickly away. Establish a daily practice regimen that you can stick to. If you work a ‘normal’ job every day, it’s a good idea to practice before you start working. You’ll feel good knowing that you’ve been musically productive before you even begin the work day. Also, take one day of the week off. The rest will help you maintain a fresh approach to your music.
And don’t over-do it. If you intend to practice for more than an hour-a-day, work up to it slowly. Don’t jump right in with two hours in the morning and two at night. You can easily cause permanent damage in the form of tendonitis, carpal tunnel, or other repetitive stress injuries. These are debilitating and may never heal. If you do feel discomfort while you’re practicing, stop immediately. Do not keep going and think the pain will go away. If you feel pain every time you play, see a doctor.
You should also strive for privacy when you practice. If your environment is quieter at night than it is in the morning, set aside time in the evening. Let those around you know that this is your own time and that you are not to be disturbed. Turn off your beeper, don’t answer the phone, and stay out of earshot of the television or stereo. The further you are from the mainstream of household activity, the less likely you are to get distracted. Practicing in private also helps you feel less self-conscious about making mistakes.
And if you don’t make mistakes when you practice, you aren’t working on the right material. You should be concentrating almost solely on the passages that give you trouble. Instead of playing a song through from start to finish over and over, you should play it through only once to warm up and then work on the difficult measures. During the warm-up, make note (no pun intended) of any bars where you miss notes or beats. Then go back and practice each of these trouble-spots slowly enough so you can play every note clearly. Repeat the offending section until you can play it twice without errors. Then increase the speed a little and repeat the section some more until you can play it twice without errors. Continue this way until you can play the part up to speed. If after you increase the speed you find that you can’t play it without making a mistake, slow it down again and repeat the section until you can play it cleanly.
Practice sometimes seems like drudgery. The repetition gets boring and it’s easy for your mind to wander while you’re playing a passage over and over. You go into a sort of ‘auto-pilot’ mode and your fingers move without your brain being engaged. While this is sometimes desirable when you’re performing, it can be counter-productive during practice. Stay aware of what your hands are doing to make sure you’re playing a passage correctly. If you are playing it wrong over and over, you wind up reinforcing mistakes rather than correcting them. And if, while you practice, your wondering about what to have for dinner, you are not fully present for the activity at hand. Keep focused on the instrument and making it sound as musical as you can. Even if you’re practicing “Twinkle-Twinkle Little Star”, you should be fully aware of the sound (or the voice) that you are forming.
Varying your practice material is a good way to minimize the monotony of repetition. If you work on songs A, B, and C on Mondays, Wednesdays, and Fridays and songs D, E, and F on Tuesdays, Thursday, and Saturdays, you won’t become bored with your daily practice. And be sure to do warm-ups every time you pick up your instrument.
Developing a good sense of timing is as important in music as playing the correct notes. Just as with spoken language, your playing must maintain a natural, rhythmic flow. If your speech is fractured and difficult to follow, no matter how profound your words are, people will have a hard time listening to you. In music, if you hit every note but your rhythm is off, the musical message will be lost. A metronome is the best practice aid available to this end. It serves a couple of different purposes. First and foremost, it keeps you playing in time. It taps out an indisputable beat, and as long as you listen to it, you’ll be right on the money. Secondly, a metronome helps mark your progress on a given piece or passage. When you slow a difficult part down, make note of the metronome setting at which you can play it without making any mistakes. As you master the piece, set the speed higher and higher as described earlier. Keep track of your progress by marking down the songs and metronome settings that you’re working on in a practice journal. This makes it possible for you to know exactly how fast you played it yesterday, the day before, last week, etc.
Good technique is the cornerstone of good musicianship. If you form proper habits when you start playing an instrument, you’ll set a strong foundation upon which you can build. If you form bad habits, you may find at some point that your technique actually hinders your playing ability. Breaking old habits is extremely difficult, especially if you’ve been repeating them for years. Do everything you can up front, including taking lessons from a reputable teacher, to develop the proper technique for your instrument. While you practice, pay close attention to maintaining that technique. Eventually, it will become second nature and you won’t have to think about it.
Remember, when you practice, you are improving your ability to express yourself musically. Strive to find your instrument’s natural voice and listen for that voice in every scale, arpeggio, or paradiddle that you play. Follow these rules for effective practice and you will be rewarded with a lifetime of music.
Practice daily, but don’t over-do it
Don’t practice mindlessly.
Focus on the musicality of what you’re working on, even if it’s only a C major scale.
Work on material that you find difficult
Use a metronome
Keep a practice journal
Develop good technique.
Joe Pescatello is an author, a guitar player and commercialsoftware developer. Visit http://FourthFret.com for a sample of his work.You can reach him at joe-p@unclebobsattic.com.
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Many parents worry about the amount of time that their children spend playing video games, and in particular, that their children are not getting enough exercise. Well, it could well be that their worries and concerns are over, with the increasing popularity of video games and peripherals which actively encourage physical exercise.
Recently there has been an increase in demand from children and young teenagers for dance mats. These are interactive mats which have built in sensors, the idea being that the players have to move, dance, jog, jump and twist to music, accomplishing as many moves as quickly as possible, and following set dances. This puts them in direct competition with their friends, and of course, they spend a great deal of time jumping, twisting and being energetic. Some people would argue that getting exercise in this way is better for their health than going out on the streets, cycling along busy roads or going off to parks, where they meet with all sorts of risks and dangers.
In addition to dance mats, Nintendo has very recently launched a new sports peripheral, that acts as a baseboard - not dissimilar to a small surfboard. By balancing on this, a number of activities can be carried out - from basic stepping, to surfing and snowboarding, and even yoga. The massive number of incredibly sensitive sensors built into the board mean that the computer can detect the balance, pressure and movement of a player, and either replicate that using a three dimensional avatar on the screen, or provide feedback or an assessment on the level of skill, level of fitness or level of ability at a particular activity.
Again, children have a natural competitiveness in them, and this can be against themselves as much as against their friends. Often these days schools are not keen to engage children in competitive sports, and many schools have actively opted out of teaching competitive activities in the curriculum. However, children do have a natural need to try to be better, either than their past performance or against someone else - and whether that is a friend or a computer generated avatar doesn't always matter. Getting physical exercise in this way means that not only are your children getting a good dose of healthy exertion, but very often they are being taught how to improve their skills, and carry out warming exercises and techniques to help them.
Clearly computers are unlikely to replace the fresh air and benefits of going outdoors and running around on a sports field, or cycling through the countryside, but we also have to be realistic and accept that, whilst these activities might well have been possible and safe a generation or two ago, children are at far greater risk today, and so one way in which they can be helped is to use these games which provide them with fun and entertainment, as well as exercise.
As with all things - the key is striking a reasonable balance between types of exercise, and types of games.
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Making a presentation in front of international audiences is not for the fainthearted, they say.
They say that people from different cultural backgrounds with varying language skills are definitely more challenging than a homogeneous local audience. Are international audiences any different from local audiences? From a biological point of view, there are almost no differences as all humans behave similarly in response to basic stimuli like hunger and heat. The differences become crucial when one considers cultural conditioning.
Let us take the classical example quoted in many places. If the world were a village of 1,000 people, it would include: 584 Asians, 124 Africans, 95 Europeans, 84 Latin Americans, 52 North Americans, six Australians and New Zealanders, and 55 people from the former Soviet republics. They would speak more than 200 languages and reflect an astounding mix of different cultures. Fortunately, you would most likely never get such a mixed audience. Remember, what works in one culture doesn't always work in another. How can you make your presentation a success among people from different parts of the world?
Factors Affecting Audience Behavior
Many factors influence audience behavior e.g., culture, profession, gender, age, reason for being in the audience, state of mind, time of day and year and general mood. In fact every audience is unique. An audience of insurance salesmen in Germany is very different from an audience of German chemical engineers. So whenever a typical behavior is associated with certain nation states, you have to be extremely careful with these stereotypes.
Language Barrier
The language barrier plays a very important role, both for the speaker and the listeners. Many people in your international audience actually have jumped over large chasms of language and cultural divides in order to be there in that very audience listening to you. "Can I understand everything that is spoken there as they are speaking in English and my English is very bad?" or "What if someone asks me a question and I can't answer it in French in this seminar held in France?" These are typical fears that many people have overcome before they turned up in the international gathering.
In mixed audiences the language used is bound to be a foreign tongue for someone, if not for the speaker. Deficient language skills might considerably limit their ability to grasp much of the presentation and they have no way of dealing with that frustration with themselves. The fear of losing face in front of other people is very common, more so in Asian cultures. Many people think in their mother tongue and speak with the help of simultaneous translation. Many ideas are very challenging to be put into another language. So the task of the presenter is to make sure that central ideas come across easily and even to people who are not natives to the language of presentation.
Culture Affects Presentation Styles
Culture influences how people in different countries prefer to receive information. How interactive a presentation is, depends much on the culture. Typically English speaking cultures like presentations to be lively and interactive. Paradoxically there are similarities among Far Eastern, Slavic and protestant cultures like Germany and Finland. There presentations are formal and there are few interruptions. Questions are answered either when the presentation ends or quickly as they arise.
Many Europeans, particularly Scandinavians and Germans prefer to receive information in detail, with lots of supporting documentation. They want their presenters to be systematic and build to a clear point within their presentation. The Japanese business audiences, where senior managers are more likely to hold technical or management degrees are very similar. American and Canadian audiences, on the other hand, like a faster pace. Many Asian and Latin cultures prefer presentations with emotional appeal.
Different cultures gather and process information differently, in a way that is unique to that culture. We assume that speaking Spanish is a safe option in all countries where Spanish is spoken, but Hispanic employees from different countries even have different words for the same thing, and this can create conflict. Sometimes logic or reason can evade us. For example, there is no concept of guilt in some Eastern cultures. There is no Heaven or Hell, but there may be karma and shame. The Chinese are very strict about Mianxi, not losing face. When a Chinese person doesn't understand something due to language problems, she still says, "Yes, yes it is clear." People from a western background often have difficulties understanding this.
Humour in Presentations Presenters use humor skilfully to relax the atmosphere. Another very powerful tool is telling personal anecdotes which reveal humaneness connecting the speaker with members of the audience. There must be a relevance to the topic or theme, as speakers who talk very much about themselves are often considered self-centered and even tiresome.
The response to humour varies greatly across different cultures. Humor based on making fun of someone else is not understood in many areas of the world and is considered disrespectful. In some cultures like Japan, laughing aloud is a sign of nervousness and is not appreciated.
How audiences respond to presentations varies across cultures. In Japan, for example, it's common to show concentration and attentiveness by nodding the head up and down slightly-and even closing the eyes occasionally. Don't think that they are falling asleep. In Germany and Austria, for example, listeners seated around a table may show their approval by knocking on the table instead of applauding. Applause is accepted as a form of approval in most areas of the world but in the U.S, you might even get a few whistles if you have really made a great impression. If you hear whistles in many parts of Europe, you had better run because someone might start throwing tomatoes and eggs next. If you were finishing a speaking engagement in a Latin American country like Argentina and you waved goodbye, the audience might all turn around and come back to sit down. For them the waving gesture means, "Come back! Don't go away."
Handling Questions in Different Cultures
Ways of handling questions are very different across cultures. Brits or Americans almost always ask challenging questions. In Finland or in some Asian cultures, audiences are more likely to greet a presentation with silence or just a few polite questions. This is not always indifference but a show of respect.
As a presenter, you should have a clear goal of what you want to accomplish and how you will accomplish it. The goal should be easy to understand - even to someone outside of your organization or industry. If you can't summarize your message, how can the listeners? When the audience is international, you'll need to step out of your own frame of reference and focus on making communication relevant for your target group. The aim is to "localize." By focusing on the audiences' own frames of reference, you acknowledge their importance and pave the way for them to come closer to you. If for example, you are using a metaphor about snow blizzards and sleet to sub-Saharan people, they might not get your point, as they have no experience of snow blizzards.
The most vital thing to remember is that each and every member in your international audience is a fellow human being. If they feel treated well and get something for being there, they will appreciate your efforts and you will also succeed in your presentation.
Enjoy your success! Good luck.
Rana Sinha is a cross-cultural trainer and author. He was born in India, studied and lived in many places and traveled in over 80 countries, acquiring cross-cultural knowledge and building an extensive network of professionals. He has spent many years developing and delivering Cross-cultural Training, Professional Communications skills, Personal Development and Management solutions to all types of organizations and businesses in many countries. He now lives in Helsinki, Finland and runs http://www.dot-connect.com, which specializes in human resource development as well as communication and management skills training with cross-cultural emphasis. Read his cross-cultural blog http://originalwavelength.blogspot.com
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Larynx
From Wikipedia, the free encyclopedia
The larynx (plural larynges), colloquially known as the voicebox, is an organ in the neck of mammals involved in protection of the trachea and sound production. The larynx houses the vocal folds, and is situated just below where the tract of the pharynx splits into the trachea and the esophagus.
I must first say that I consider the Larynx to be one of the greatest miracles and gifts that mankind has ever been given. Let's pause for a moment and consider life without a larynx. If you could not speak, sing or laugh I think you would agree that your life would change in a major way. We have actually been born with a free instrument. It is more functional and complex than any instrument created by man because it can not only create pitch, but it can also communicate words when used in connection with the parts in the throat and the head that produce diction and tone.
No other instrument can do this. With many people, though, they shy away from singing because many students, in my experience, think they sound poor. This is often because, as in my case, somebody close to them laughed at them when they sang and maybe said they had no talent. Unfortunately with the voice, many people have completely forgot that, like any other instrument, it must be trained to reach its potential.
I agree that there exists many people who sound wonderful without any training. The mistake many of these people make is that they can achieve "exceptional" voices if they would submit themselves to effective training. This is because their basic voice is so far advanced without training. Often times they conclude they have a "natural talent" and " have a perfect voice that does not need training". Another problem these "natural voices" have is the lack of knowledge of how to achieve effective breath control. As I have learned through my many years, humans do not breathe correctly under normal conditions. All of us must learn this basic and vital ability.
For example, if you were learning the clarinet, you would not expect to just be able to play it once you purchased your instrument. That would be ridiculous! Anybody would expect that they would have to take some kind of lessons. One reason we forget this in respect to the voice is that our instrument already works. Since we have used it to communicate, starting with our first scream after being born, we have already developed some level of vocalization and pitch.
Another consideration is that, with the clarinet or any other instrument, if you do not want to play or learn, you can sell your instrument and chose another. With the voice, though, you are stuck with what your have. This is why many people harbor ill feelings about their voice for many years. For many, it is easier to just keep quite than take another chance at being ridiculed for singing poorly. This result is a shame as most people can be trained to sing effectively. To reach our vocal performance goals, we must first be grateful for the gift we have and believe that it can improve with correct information and effort.
Now we can discuss the nuts and bolts of this marvelous creation called the larynx.
The larynx, also known as the voice box, is an organ in the neck of mammals that protects the trachea and is the miracle organ that creates sound production. The larynx houses the vocal cords. It is positioned just below where the tract of the pharynx, the part of your throat you see when you look straight back into your mouth, splits into the trachea (passage to the lungs) and the esophagus (passage to your stomach).
Sound is generated in the larynx. Further, this is where pitch and volume are manipulated. The strength of the airflow from the lungs, generated from the lower abdominal muscles and controlled by the diaphragm, contributes to loudness of overall sound. As this air column passes through the vocal chords, a fundamental sound is produced.
The vocal chords are, then, stretched according to the information received from the brain and a certain pitch is produced. This is information is important weather we are singing or speaking. As I have clearly written about in my book, Singing and Speaking on the Edge of a Grunt, Public Speakers and Actors must perform the same air support and control of any singer. In fact, if a speaker, actor, etc. is to be effective, they must also alter their pitch and volume like any singer.
This connection of similar vocal training for these different vocal disciplines is often not supported. They are seldom considered to be doing the same thing when they perform. But, in my world, they all need to become Vocal Warriors. We are all doing the same thing. We are using our voice to express entertainment and ideas to others. Strategies for vocal development are the same for all. This is an important cornerstone of my teaching philosophy.
After the basic sound vibration exits the vocal cords it is altered as it travels through the vocal tract, eventually exiting the mouth and nose. The changes occur based on the individual construction of your unique body and on the position of the pharynx tongue, lips, and mouth. The process of altering a source sound as it passes through the filter of the vocal tract creates the many different vowel and consonant sounds of the world's languages. Further, this is where comedians, for instance, alter their sound to mimic other people's voices or others create cartoon characters.
The vocal folds can be held close together by adducting the arytenoid cartilages. The muscles attached to the arytenoid cartilages control the degree of opening.
Vocal fold length and tension can be controlled by rocking the thyroid cartilage forward and backward on the cricoid cartilage, and by manipulating the tension of the muscles within the vocal folds. This causes the pitch produced during phonation to rise or fall.
To summarize, these two basic movements exist within the larynx.
1) Bringing the vocal chords together so they vibrate and produce a fundamental vibrating sound when air travels between them.
2) Once the fundamental sound is produced, the vocal chords are stretched (just like tightening a guitar string and the pitch rises) and the pitch changes.
Although there exists more complex muscle movements within the larynx needed to produce sound, these are the most fundamental and easiest to understand. After all, my main goal is for you to understand the fundamental basics of vocal production so you can apply them daily and improve your sound. I am not trying to prepare you for pre-med school!
This information is only the beginning to understand the complexities of how to operate the Human Voice. To become a powerful and accomplished vocalist, you must have a thorough understanding of the Abdominal Muscle Systems, the Larynx, the Resonating Cavities in the Throat and Head and the many facets of Diction that are used to produce the multiple styles of Music or Speaking production.
This information is only the beginning to understand the complexities of how to operate the Human Voice. To become a powerful and accomplished vocalist, you must have a thorough understanding of the Abdominal Muscle Systems, the Larynx, the Resonating Cavities in the Throat and Head and the many facets of Diction that are used to produce the multiple styles of Music or Speaking production. All these subjects are thoroughly discussed in my book, Singing and Speaking on the Edge of a Grunt which can be viewed through the "ebooks" link below.
Thank you for reading. Please visit my web site for more information.
Check out my web site!
http://www.vocaltrainingwarrior.com/ebooks
http://www.vocaltrainingwarrior.com/home_recording_studios
http://www.vocaltrainingwarrior.com/about_me
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A wedding reception is a great time to let loose after the more solemn ceremony. The pressure of getting your vows right is over, you are officially married, and now it is time to party! Many couples feel that the wedding reception should reflect the way that they live, and not be stuffy or sedate. The idea is to have a great bash, and dance the night away with friends.
Setting aside a section of the reception venue to be a cool disco lounge is a huge trend. Couples often like to have a traditional band for their first dance and the early part of the reception. Then, as the night goes on, the young people migrate to the "lounge" area, complete with a d.j. and mirrored balls on the ceiling.
The lounge area should have a flavor that is distinct from the more formal reception area. Comfy chairs and sofas are a must, and look great in bold colors. Lighting should be dim, like you would find in a dance club. Of course, the bride will want to use some of the same personalized touches as she did in the rest of the venue to tie her theme together. And don't forget the monogrammed cocktail napkins!
The traditional gown that the bride wore at the church just won't do for dancing 'til dawn in her own personal disco lounge. That is why many brides choose a second dress that is a little sexier and a lot easier to move in. You will also want custom bridal jewelry to complete the transformation from demure bride to fab party girl. A really great idea would be to have a suite of custom bridal jewelry made with pieces that you can mix and match. For instance, the bride might wear pearls with a few Swarovski crystal accents for her ceremony. Then when she changes into her second gown, she can change out the earrings for handmade long crystal drops, and layer on a few more bracelets for a fun and sparkly look.
The finishing touch to a late night of dancing is to bring out a second round of desserts. Serve the wedding cake in the usual way at the reception, then have passed trays of desserts brought around in the wee hours of the morning. Your friends who have stayed at the party all night will love it, and it is the perfect ending to an incredible wedding reception.
Would you like Bridget write about a particular aspect of weddings,romance,jewelry or fashion. She has extensive experience of providing advice for Silverland Jewelry.com
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Customer Review: Gaby Spanic Rocks!When I seen this novela I was so glued to the TV I couldn't wait to see it everyday and sat-sun were the worse! I am so very happy they release such a classic on DVD. Granted, it may be edited and short but I think the reason why they did that was because they figured people who are buying it already know what happens. In my case, I wouldn't need the complete novela because I already saw it and I just wouldn't have the time. So this being edited has it's advantages for those who already saw it and loved it. After this novela, Gaby Spanic became one of my favorite spanish actresses! She did such a wonderful job and how brutal she was portraying the mean sister! I highly suggest you invest in this novela!
Customer Review: A Fantastic Story!!
A nice edited telenovela..you guys should buy this..even though there's no subtitile..but you can easily understand the whole story..you guys should buy this DVD!!
Do you have the "only if" or "it always happens to me" malady? Is negative thinking getting you down? Are you constantly telling yourself things always go wrong and nothing ever goes right? Has an argument, a mishap, a bad experience with a neighbor, waiter, friend or colleague at work got you down? Are these thoughts on auto-replay in your mind three months later - a year later? And do these constant thoughts make you feel more and more anxious or depressed?
We all suffer from anxious moments and feeling down occasionally, but if these feelings are part of your daily routine, perhaps it is time to evaluate your surroundings and your thinking to see if some positive energy will help. If you continue to focus on things that make you anxious and depressed, you will continue to attract more situations and thoughts that create even more anxiety and despair. What you focus on is what you get. What you think about is what you create.
Positive Thinking = Positive Results
When Norman Vincent Peale wrote his book The Power of Positive Thinking in 1952, he understood the impact of negative thoughts versus positive thinking. He knew that if people would focus their thoughts on positive things they could change their lives for the better. This same principle is at the core of the more recent book The Secret by Rhonda Byrne. The good news is, now there is another tool you can use to enhance the ability to stay in a positive mode instead of dropping back and focusing on the negatives.
In the world of Feng Shui, balance is the ultimate objective both in your surroundings and in your mind. If you are always thinking negative thoughts and focusing on the things that have gone wrong in your life, you lose the balance and harmony in your life and attract only the negative things which snowball into more things that go wrong.
Positive Energy Surroundings = Positive Thinking
To stop the constant replay of things going wrong in your life, shift to positive energy in your surroundings and thoughts. What follows are a few easy to apply suggestions on how to create positive energy so you can permanently push the stop button on negative thinking and create a better life which goes your way more often.
1. Step into the light. Go outside where the sun is shining and take a walk. Or, open your curtains and turn on bright lights in your home. Invest in a torchiere lamp that shoots light upward in your favorite room. Light automatically raises your energy levels and thoughts.
2. Find brightly colored rooms to spend time in when feeling down. Go shopping and purchase accent pillows or a throw for the sofa in bright colors to cheer up your favorite room - it will also cheer you up. If you are feeling anxious - spend time in a room that is painted calming colors like blue and green - you will respond positively to the calming energy of these colors.
3. Wear light or bright colored clothing (yellow and orange work great) when feeling despair setting in - they will lift your spirits. Wear calming soft blues and greens when feeling anxious. These colors can change your outlook on life very quickly from negative to positive.
4. Get a notebook or a book for writing and create a Gratitude Journal. Write at least 10 things you are thankful for every day in your journal. If you can't think of anything start with things like having a roof over your head, food on the table or having the ability to walk from your bedroom to the kitchen. Anything will do until you get the hang of it. The more grateful you are for everything in your life the less time you have to feel sorry for yourself and you will find that a lot more things have gone your way than you thought.
5. Play uplifting nurturing music instead of listening to the 6:00 news. There are a lot of music options today so choose wisely - much of it can rob your spirit and create even more anxiety and depression. If you really want stir your energy - play a few John Phillip Susa marches - there is no way you can listen to them and remain down. If you are anxious play classical music like Mozart or inner peace music by artists like Steven Halpern. Music is the universal language that makes the heart dance and the spirit soar creating an abundance of positive energy.
The Feng Shui based suggestions above energize your world and not only lead to positive thinking but also reduce stress, anxiety and the feelings of despair and depression. So often the solution to having a joy-filled happy life truly is in your own back yard - in this case your own home and mind.
Many have long underestimated the power of positive thinking. When you replace the "only ifs" or "it always happens to me" thought process with positive energy, positive thinking is the result. When you think positively, you take control of your life and have a better life - and that is good.
Pat Heydlauff, all rights reserved 2008
Pat Heydlauff, President of Energy-by-Design (http://www.energy-by-design.com) and Feng Shui expert, is a consultant, speaker, columnist and award-winning artist. She has been consulting with individuals, families, and companies since the early 1990's, with clients ranging from California to Florida. In addition, she speaks at corporate and organizational functions, and gives seminars to enhance productivity. Pat Heydlauff can be reached at balancingenergy@energy-by-design.com.
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Title: The History of Latin Music
Author: Kallen, Stuart A.
Publisher: Lucent Books
Publication Date: 2006/09/22
Number of Pages: 104
Binding Type: LIBRARY
Library of Congress: 2006004676
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Shadows
Customer Review: Highly recommended - this is an oustanding debut cd
I just got this cd a couple weeks ago, and it has been in heavy rotation ever since. Some songs are reminiscent of Dave Matthews or Bob Dylan, but he has his own style. My favorite songs are the funky title track, and "Carter's Tune" which is just amazing. The whole album has a countrified, rootsy feel, and sorta mellows out toward the end. The front end is funkier and jams out - it's a great way to start the day, but the second half is also the perfect late-night soundtrack before you go to bed. I highly recommend this cd to anyone who digs quality singer/songwriter music, and there's a sincere balance between sadness and optimism in his lyrics that's hard to find. I don't know who the other musicians are on the album, but they're all really tight together and this album has become an immediate favorite.
It is too simple to learn, how one should play the blue guitar scale. The masters would definitely feel to most easy and smooth playing. However, playing guitar is an art. It is necessary to be in right hands to get wonderful music and beautiful rhythms. But suppose, it falls in wrong hands then, it will definitely sound unsophisticated as well as atonal. The person with right knowledge of playing blue scale guitar can release wonderful sound similar like an expert. It will make people shock and wondering, how anyone can learn so long about music theory fear. Well, the answer the answer of experts is, you just need to everything about blues scale, which covers every important thing one lesson itself.
The blues guitar scale is almost parallel or alike to that of the minor pentatonic scale. Well, it was resulted with indulgence of the flat fifth. The flat fifth is too unique and different having atonal quality. Well, it almost sounds having evil overtones and almost too dark sounding. Before so many years, it is believed that hundreds of years back the flat fifth was recognized as "The Devil's note". It was banned to use at many different places, it was believed that it invokes the devils.
Now days, people are getting more temperate towards the some of the interesting rhythms and their sounds as well. These interesting sounds are of the flat fifth. the other name given to these sounds are "blue" note. You will find that it has being applied or used everywhere over everything - different sound tracks. It is applied over rock and blues at same time from blues to jazz as well as from heavy metal to different world music.
Don't you feel to have knowledge about the method of playing blues guitar scale?
--X---------------X--
--X---------------X--
--X----------X----O--
--X----------X-------
--X----O----X-------
--X---------------X--
Here, is small diagram describing about how you should play the blues guitar scale. There are two different signs "X" and "O". Well, they describe about the notes, which describe and make the scale. It is not at all difficult to add extra note inside. It does not require much expertise as well in adding additional note.
Robert Grazian is an accomplished niche website developer and author.
To learn more about blue scale for guitar visit Acoustic Guitar Site for current articles and discussions.
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Wouldn't it be nice to just be able to take a pill and suddenly wake up one morning and find that you can play guitar like Eric Clapton? Films like Matrix featured this concept, but Hollywood is Hollywood and real life, as everyone knows, is quite different.
Although this magic pill does not exist when it comes to learning to play the guitar, one thing is certainly true: If the lessons you have chosen are not well structured and laid out, your learning curve will be more of a straight horizontal line, gently inclined upwards.
When I was young, I earnestly wanted to learn to play the guitar, but we were five children in my family so money was quite scarce, and I had to learn 'the hard way'. This trial & error method worked, as I now realize that I was quite musically inclined and very set on my goal, but I ended up spending a lot of time needlessly. What I learned in my first five years of consistent 6 hour daily sessions, could easily have been learned with a proper method and teacher in less than 6 months ...and spending just an hour a day on the instrument!
I can tell you first hand that there is a big difference between learning the right way and the wrong way. Experienced teachers and good methods will make you progress like you've never dreamed possible. And if your problem is money there's a very good alternative to hiring a private teacher: Online guitar lessons.
For less than $100 you can get quality lessons with videos, backing tracks, TAB plus musical notation and software bonuses to boot! Sure, you can find free lessons all over the web, but having the information is no guarantee you'll know how to use it effectively to learn quickly.
As a beginner guitarist, you need someone to tell you what goes first and what follows in a step-by-step manner. Yours is the goal you wish to achieve, but it's up to a well structured course to get you there.
Ruben Cardos has been a non stop studio and live musician as well as sound technician, electronics technician and sporadic guitar teacher for well over 25 years. Check out the ultimate Online Electric Guitar Lessons reviews at:
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top dance musicEclipse Series 6 - Carlos Saura's Flamenco Trilogy (Blood Wedding / Carmen / El Amor Brujo) (Criterion Collection)
One of Spanish cinema's great auteurs, Carlos Saura brought international audiences closer to the art of his country's dance than any other filmmaker, before or since. In his Flamenco Trilogy-Blood Wedding, Carmen, and El amor brujo-Saura merged his passion for music with his ongoing exploration of Spanish national identity. All starring and choreographed by legendary dancer Antonio Gades, the films feature thrilling physicality and electrifying cinematography and editing-colorful paeans to bodies in motion as well as to the cinema that so eloquently, and artfully, captured them.Customer Review: Fantastico!
If you want a sweet taste of flamenco - this is a perfect set. Starting w/Blood Wedding - progressing to Carmen - and finishing w/El Amor Brujo. Fantastico!
Customer Review: Brilliance
My love of flamenco music was born when I heard Carlos Montaya playing when I was about 25 years old. I am now 73 years old and when I hear flamenco it is through my heart not my ears, I watched this dvd Eclipse Series 6 Carlos Saura's Flamenco on my 107 " plasm tv, it was breathtaking, such brilliance and beauty, watching it over and over again it moves me every time.
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