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The Used - A Band Fused From Diverse Talents
Hailing from Orem, Utah, the alternative rock band called The Used has made its mark on the public with a couple of albums and music videos released under Reprise Records. With songs like "A Box Full of Sharp Objects" and "The Bird and the Worm," the band has established itself as a thriving music group. With an active following since 2001 (and still going strong), The Used possess a history of making music that begins in the middle of the '90s.
Brief Group History
During the mid-1990s, The Used was known in their early days as a local band called Froglick. At this time, Brenden Steineckert (founding member and drummer) was grouped with Quinn Allman (guitarist) and Jeph Howard (bassist). It was soon agreed that a full-time singer or frontman would be needed to boost the popularity of the band. Auditions were held, but a suitable member could not be found. Upon the suggestion of Allman, a friend from school (Bert McCracken) was asked to join and gladly accepted.
The group began to record a few demos and hold a handful of local shows. John Feldmann, a member of the punk group, Goldfinger, heard the band and, in 2001, encouraged Reprise Records to sign the group. Within a couple of months, a ten-track demo CD was produced. The band would later become The Used after finding out that a band in Boston already went by the moniker Used.
In 2003, The Used released a CD and DVD combo package titled "Maybe Memories." Live, unreleased, and demo works were included, such as band history, musician bios, and live concert snippets. Platinum sales status followed. In 2004, the group released their second studio album, titled "In Love and Death." A host of personal tragedies suffered by lead singer McCracken guided the themes, subjects, and songwriting of the album. The title of the album and the song, "Hard to Say," paid tribute to the pregnant girlfriend he lost to drug overdose. "In Love and Death" became the group's second platinum venture, selling more than three million copies.
The future of The Used involves another CD and DVD compilation and a couple of tour dates. A new album is set for a 2007 release, and the group is adjusting to their new drummer, Dan Whitesides.
Current Members
Currently, The Used is composed of Bert McCracken (lead vocals and piano), Quinn Allman (guitar and backup vocals), Jeph Howard (bass and backup vocals), and Dan Whitesides (drums). In the past, the group also worked with other musicians, such as Greg Bester, who served as touring guitarist during the early 2000s. Most notably, Branden Steineckert, who provided backup vocals and played drums, was kicked out of the band during the summer of 2006.
Discography & Musical Achievements
The Used released their first full-length studio album, which was self-titled, in 2002. The public readily accepted the new group, and they enjoyed a wealth of early success. Four singles ("A Box Full of Sharp Objects," "Buried Myself Alive," "Blue and Yellow," and "The Taste of Ink") helped claim a following. The album soon went platinum.
In 2004, the group released "In Love and Death," which also became platinum-certified, selling more than three million copies. The David Bowie remake of "Under Pressure" featured My Chemical Romance and was offered as a bonus track on the 2005 re-release of the album. Additional songs on the album included "Take It Away" and "I Caught Fire." Set for a 2007 release, The Used is planning on sharing "Lies for the Liars," which is also set to come with a DVD.
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Start Your Child Playing Piano By Number
Play piano by numbers: an historical overview:
The idea of playing piano by numbers has been around for a long time. In fact, numbering the keys is just an extension of numbering the fingers, which was first done by Carl Czerny early in the 19th Century.
In the 1950's, there was the Emenee organ, a keyboard which had numbers printed on the keys, and a book of songs "by number" to go with it. There were even "play by color" products. The concept was always to find a quick way to get people started playing the keyboard.The reason for this is that reading conventional sheet music is not easy, not for adults, and certainly not for children. Why should starting piano be "easy?" Talk to most conventional teachers and they'll say that music is serious and difficult, and piano cannot be made easy for beginners. The truth is that piano students have historically had an 80+% quit rate. 8 out of 10 quit within the first year! Why? The teachers blame the kids, but perhaps the teachers are to blame.
Do you know any method for anything that has an 80% failure rate and calls itself a success? A golf swing? A sewing pattern? A diet regime? It's supposed to work!
Here are a few figures from my private teaching practice: 90 out of 100 children who start piano by numbers are still playing a year later, almost all having made the transition to conventional sheet music. And almost all of those continue, year after year, because they are allowed to learn at their own pace, and started having fun with the piano right away.
Who cares if a child who would normally have quit piano is happily playing songs by number and a few pieces of sheet music a year later? The choice is to have that child quit music altogether.
If a piano method does not work, the method is wrong, it's as simple as that. The professionals tell you otherwise, but common sense tells you this is true: if a piano method does not work, the method is wrong,
But why use numbers to teach beginning piano? What is there about conventional music notation (sheet music) that so confuses almost everyone, and specifically children? The answer is that numbers are understood by everyone. Numbers are essentially one-dimensional, whereas conventional sheet music incorporates concepts from many dimensions to convey the information necessary to play, say, Jingle Bells.
Conventional sheet music and conventional music teachers demand that a child comprehend at least four things in order to "succeed." Find the correct piano keys to play (a big task for a child)
Be able to use the correct names for these piano keys (hard to remember)
Use the correct fingers to play those keys (even harder, especially at first)
Play those piano keys at exactly the correct point in time (add this to the above three)
These four elements are overwhelming to all but the most musically gifted children. Is music only for the musically gifted, or should everyone be able to play piano at their own ability? Kids are often devastated by failure at this ridiculous, conventional system. No wonder they quit.
I'm not saying that the above four elements aren't necessary, I'm saying that almost all children don't respond to this conventional system as a starting point.
We need a better starting point for children and the piano.
Playing piano "by numbers" requires only one thing: play the correct piano key as best you can. Believe me, after watching thousands of kids, this is hard enough to do well. It's a great place to start for everyone. Just press the numbered keys so that it sounds like the song you know.
Music isn't just for musicians and teachers and stars and artists and record companies, it's also for children, an essential part of childhood.
But why "piano by numbers?
The basis of musical construction is mathematical. No one asks kids to start math class in the first grade solving algebraic formula. We let them start adding and subtracting for YEARS until we ask more. Piano by numbers gives children the same "gentle start." It's only logical to start at their level.
Numbers are an essential part of music. When we "number" the piano keys with stickers we do no more than denote the classical "intervals." The numbers that kids learn with this system are the same as the numerical assignments given to the relation between piano keys by classical music. When a child plays the piano key #1 and the key #5, they are playing the same combination of keys known as a "fifth" in classical music.
Everything learned playing piano "by number" will be of value when making the transition to conventional sheet music. Playing "by number" is a reinforcement of classical technique, a "prequel" that conventional teachers have unwittingly left out, to the unintentional detriment of their students.
It's important for children to get started easily, and successfully. I'm not advocating lowering the bar for everything and forever, only for the first year that a child starts music study. The benefits are enormous.
Preview the elements involved in playing piano "by number"
Here's a sample page from both PIANO IS EASY and THE CHRISTMAS CAROL KIT.
Your child will play a single line of numbers, from left to right like a book. There are no other symbols to decipher. There are no chords and no accompaniment. The child is not expected to play with both hands unless this is what comes to them naturally. The object is to have the child make the piano produce the tones of a song they can recognize. Recognition is the key: just watch the smile on their face as they realize they are actually playing a song they know. It's an instant increase in self-esteem, and I have the pleasure of seeing it every day
I've put the stickers on the piano, now what do I do?
You should put the stickers on the piano with your child. Kids emulate what you do. If you play piano and are involved, they will want to do the same. I can't emphasize this enough. Even if you only try playing at the beginning, the sight of you trying piano is enough to let them know that they should try it, too. Make the launch as fun as possible.
Open the book to the songs and try one yourself so you know what it's like. YOU are the teacher. You need to see what the children are attempting to do. Playing piano by number is so easy for adults that you'll get the idea in a few seconds.
It doesn't matter which finger or hand you use. If you or your child use one finger, most likely the index finger, that's fine. The point is to start playing. It's better to play with one finger than be confused by a flurry of commands and not play at all.
Here's a very important tip: lavish praise on your child. Tell them they are great for playing Jingle Bells. Tell them you want to hear another song. Tell them you want still another, if they seem still excited. Be amazed. It is amazing. Sit with them and listen to them. Be involved.
Stay directly involved until your child seems to be firmly launched, playing song after song on their own. Then back away and let them do it by themselves. If they need help, there's nothing so complicated that you can't help them figure it out. Piano "by number" is that easy, and satisfying to a child.
My object in private teaching is to make a child into a "tinkerer." A tinkerer is a child who:
1. Plays the piano a little bit every time they go past one
2. Likes to try out new songs
3. Doesn't worry about anyone else's opinion of their playing
4. Tries to play songs they hear on TV or elsewhere
5. Is confident and curious about the piano
6. Thinks piano is easy
7. Makes up their own songs
A piano weighs perhaps at least an average of 500-700 pounds. Are there any other 700 pound pieces of furniture your child has exclusive control of in your home? My point is that just playing Jingle Bells on a 700-pound monster is enough to raise the self-esteem of the most humble child.
Never express disapproval.
The only mistake your child can make is to not play the piano. Praise, praise, and then when they are bored, go play the piano yourself. They'll keep coming back, and so will you.
The phrase, "Piano Is Easy!" was in fact the expression of one of my students. I asked a child, after about a month, "Well, Dave, how's it going? Still like piano?"
Dave, about seven years old, said, "Piano is easy!" with a smile that indicated anybody knows that silly piano stuff. I had the title for the book, right there. Thanks, Dave.
By the way, Dave now reads music, plays simple Bach pieces and sight-reads any easy piece of conventional sheet music I put in front of him. Yes, it took two years. But Dave plays (not practices) the piano without being told, because it's a fun activity.
Dave was allowed to discover that piano is fun, even for people who can't read conventional sheet music at first. In my estimation, Dave had a 100% chance of being one of those "quitters" if I hadn't started him with numbers, and then used numbers carefully to prepare his transition to sheet music. I always tried to find HIS level, and help him move up at his own speed.
How do you teach a child at first?
To be honest, I make a game of everything. Kids are always scared and intimidated by the idea of "piano lessons." (In the interest of accuracy, I make only "house calls." I am that rarest of teachers who travels to the child's house and teaches them where they feel most comfortable, at home.)
You have to demystify piano lessons as quickly as possible, and get the fun started. After the kids memorize the location of Middle C, I start playing familiar songs right away.
All you have to do is say, "Dave, play the piano keys that are numbered, just like in the book."
The kids play familiar songs like Jingle Bells right away. In fact, I've never had a kid who couldn't play Jingle Bells in the first two minutes of their first lesson. And then five more songs. And then ten and then twenty.
One important point: I break any tension with jokes and fun and playing silly songs myself as soon as I see the child begin to wander, and kids will wander. Thinking about music is hard work, so break it up with fun. As soon as a child has a small taste of fun (a silly song) they're ready for a little more work.
Fun, work, fun, work. Watch their faces and you'll see exactly which one is right for the moment. The kids will show you what to do! Keep leading them back to the task, for short periods, and they will follow, because music has its own inherent fun. Kids and music, work and fun, in simple combination, are a natural partnership.
The transition from numbers to conventional sheet music
Walden Pond Press recently announced their publication of the new illustrated children's piano activity book, I CAN READ MUSIC available in 2002. This fun piano book contains all the games, tricks and music I use to get a child started reading conventional sheet music. We make a game of it, and after you put stickers on your piano, you're ready to start! Kids find this method really easy. You'll pick it up right away. Five year olds, properly prepared with numbers, catch on right away.
Click here to read more and view sample pages from our fun new piano activity book, I CAN READ MUSIC!
Using other books to prepare the transition
PIANO IS EASY and THE CHRISTMAS CAROL KIT are intended as an ideal starting point for children's music study. Almost all children can and should make a transition from numbers to playing conventional sheet music. For example, there are gifted kids I teach who have Attention Deficit Disorder, and I allow them to play by number as long as it takes me to get them feeling secure about deciphering sheet music. I try every lesson to move forward with reading music, and if the child isn't ready for the transition, we stop and go have fun with games and counting and numbers. This patient "bait and switch" method, in my estimation, always works, with any child.
Numbers are like training wheels on your kid's bike. When they're comfortable with taking them off, you'll be the first to know about it.
Perhaps only the eye of a professional will be able to determine the exact moment for this transition from numbers to conventional sheet music. I also recognize that almost all parents don't have the luxury of a teacher coming to their home once a week. But the principles are the same.
How will you know when your child is ready? As a general rule, later is always better than sooner.
Give your child the chance to explore the piano at their own pace. If the kids seem to lose interest, you should renew your interest. If they see you keep trying to play piano, they will keep trying, too.
In fact, one element I look for in finding candidates for this transition to conventional sheet music is arrogance: I want a child to say, "This number stuff is too EASY!" That's when kids are ready for conventional sheet music. Remember that by this time (every child differs, a week, a month to a year) any child will be able to play dozens of songs by number from memory, and dozens more with the book in front of them.
Introducing chords to children
There is another element that I always introduce before I make the transition to sheet music: chords. Chords are groups of three piano keys. Kids love chords and take to them readily. The only foolproof way I know to teach chords outside of my private teaching is to use a book like TEACH YOURSELF PIANO STEP BY STEP, which has a video tutor that makes the concept of chords clear to anyone.
TEACH YOURSELF PIANO STEP BY STEP is not intended for children. Chords are too complex a subject to expect a child to comprehend them on their own. Many parents use TEACH YOURSELF PIANO STEP BY STEP as a text to make themselves able to teach their children chords. There is no better teacher than a parent.
TEACH YOURSELF PIANO STEP BY STEP has a companion volume, THE BIG BOOK OF SONGS BY NUMBER, which has 130 songs by number with chords and is a fun book for kids who have learned chords and want to play more songs by number.
In addition, there are many songs in THE BIG BOOK OF SONGS BY NUMBER that don't require "sharps and flats" (the black keys of the piano) making THE BIG BOOK OF SONGS BY NUMBER a great choice for parents looking for more songs "by number" for the kids who have started using PIANO IS EASY or THE CHRISTMAS CAROL KIT.
The advantage of having schooled a child using all three texts, PIANO IS EASY (or THE CHRISTMAS CAROL KIT) TEACH YOURSELF PIANO, and THE BIG BOOK OF SONGS BY NUMBER is that when the transition to conventional sheet music is made the child will surely know:
1. How to play dozens of familiar songs
2. How to play eight of the twelve chords
3. How to play flats and sharps, the black keys of the piano.
A child who has had a positive initial experience with piano, and who already knows their way around the piano, is a much better candidate for conventional music teaching than a child who is simply thrown into complex conventional piano lessons and expected to succeed.
How far can piano by numbers take my child?
The followup texts, TEACH YOURSELF PIANO STEP BY STEP and THE BIG BOOK OF SONGS BY NUMBER, are intended to lay as firm a foundation as possible for the transition to conventional sheet music. To make the transition to sheet music I use our new piano activity book I CAN READ MUSIC.
Every concept learned in the 'piano by number" books is used in reading conventional sheet music:
Melody (numbers on the white keys) PIANO IS EASY
Accompaniment and playing with both hands (chords) TEACH YOURSELF PIANO
Sharps and flats (black keys) THE BIG BOOK OF SONGS BY NUMBER
Piano by numbers, if introduced by a parent or understanding teacher, offers the best possible starting platform. There's no confusion, discipline or force involved.
Do I have to use more than PIANO IS EASY to get started?
Absolutely not. We've created an entire system in case exploring "piano by number" meets the long term needs of our students.
The average child benefits by being able to start playing piano in a positive atmosphere, starting with perhaps PIANO IS EASY or THE CHRISTMAS CAROL KIT, and then proceeding to I CAN READ MUSIC. Here are some of the benefits of starting a child playing piano by numbers:
Start learning piano at home where a child feels comfortable
Use a system which is immediately understandable: numbers
Build confidence with simple, barely perceptible, gradual steps
If all your child gains in starting piano "by number" is a positive attitude towards piano, everyone is a winner. The goal is to see your child start playing piano in a positive atmosphere, and then perhaps go on to private lessons.
I'm not advocating playing piano "by number" for more than the initial experience. In my private practice, I use "numbers" to start the child, and then, as we get started with conventional sheet music, numbers are used as a way of defusing the tension kids feel in learning the more complex art of reading conventional sheet music.
Practical advice for parents: do's and don'ts
Do encourage your child
Don't criticize their playing
Do sit and listen to them play
Don't demand that they "practice."
Do ask them to "play" the piano
Don't set a time limit, such as "Practice half an hour." If a child doesn't do it under their own steam, it's pointless to force them. Five minutes a day is all that a child needs, if it's fun.
Do play piano yourself. I teach in homes everyday where the youngest ones are eager to try piano because Mom does it, Dad likes it, and the older kids play as well.
Don't take playing piano so seriously. If you think it's fun, your kids will, too.
Do this if your child seems to not want to try it: go over to the piano and start trying it yourself. You'd be surprised how quickly your child decides that they want to do it, too.
Don't even think of Carnegie Hall. Don't apply any pressure whatsoever. If you push kids too hard, they turn off right away, and it's hard, if not impossible, to get them back.
Do think about a private teacher for your child if they show interest. But not for a while. Let the child explore the piano on their own.
Don't expect your child to understand things like using the "correct fingers" or playing "in rhythm." All you want at first is to have your child enjoy sitting at that great big piano for a few minutes a day. There will be lots of time to pursue further interest if and when your child decides they want to take lessons. And when they start those lessons, they'll already have a relationship with the instrument. It's much easier to interest a child in conventional music study when they think they already can play!
Do make games out of everything connected to music:
"You play a song, then Mom will play a song.""Let's see who can play Jingle Bells the fastest without any mistakes.""Let's each play our favorite song.""Let's play the song backwards!" (Kids love this one!)
"I'm going to try a song using both hands.""I'm going to play three songs, and you play three songs.""Does this song sound happy or sad?""I'm going to use lots of different fingers on this song." "Let's play name that tune.""Let's play musical chairs."
Don't be impatient. Don't expect anything, and you'll be pleasantly surprised. Expect lots of conventional accomplishment and your child will lose interest as soon as they see they cannot please you. Make it easy to please you.
Mom and Dad say you have to practice.
One case comes to mind, regarding forcing kids to "practice." I had a student, six, who was a great, zesty boy, clumsy and sensitive and athletic and curious. I used all my usual methods to get him started. He became a tinkerer, making up little songs, always playing a few minutes every day or so. He was progressing well enough toward learning the first five notes of the conventional sheet music staff. I never gave him assignments, or homework, but I always brought him new conventional sheet music which he had the option of exploring that week. He always tried the pieces I left him.
After five months he was intrigued by a silly beginner's song called "My Wigwam" and played it at home, according to his Mom's account, 500 times a day. His Dad hated this song. I tried to get the parents to see that it was important for the child to memorize and own a song that he liked. I advised them to grin and bear it, be thankful you have a child who goes to the piano under his own steam, with no one nagging him to practice.
But Dad instituted a new program, demanded assignments and started forcing the child to practice half an hour a day, with Dad watching sternly, which was very uncomfortable for this child who thought it was fun to play the piano by himself.
After two weeks, I watched the child give up and want to quit. I told the child that he didn't have to play piano if he didn't want to, that it should be fun, and that maybe he would start again some day. This was a child who had waited by the living room window for me to arrive for our crazy, fun lessons for five months.
After a month the parents decided that piano "Just wasn't for him."
How do I choose a piano teacher?
Very carefully. Look for the following list. Some elements below are obviously hard to find, but you won't find them unless you look for them.
Look for a teacher that has a fun, warm manner. Don't choose that great teacher down the block that everyone says is great but has a distant, professional manner. You can come back to that teacher when your child shows promise and is older. Start with someone friendly, professional and skilled with children.
Look for someone with the patience of a kindergarten teacher.
You need someone who is willing to go slowly, who doesn't emphasize accomplishment as much as very patient skill building. The truth is that music and piano study is hard, and it takes a brilliant, patient teacher to inspire kids. Look for a teacher who also teaches music theory to kids, not just piano, and has a reputation for making music theory fun. Kids like to know how music works from the inside, but it takes unbelievable patience on the part of the teacher.
Try to find a teacher who will come to your home. This is not easy or inexpensive, but for a beginning child, it is often the difference between getting started and quitting. A child is most comfortable at home. You can see and evaluate the teacher's manner and "method." From the child's point of view, you've never seen a child as uncomfortable as a beginner sitting in a stranger's music studio, unless the teacher really has a handle on putting kids at ease with games and fun.
If you can't find a "house call" teacher, ask to sit outside the teacher's studio room until the child feels comfortable. It's hard enough to comprehend music, much less do so with a stranger in a strange house. Make your child as comfortable as possible.
Here's my most important point. Listen to your child. If they say again and again that they don't like lessons, that it's too hard, get another teacher and start over. Kids don't lie about this: if they say piano is too hard very often, the method is wrong. Get another, more sympathetic teacher. Every child is unique, and too many teachers forget this in their passion to teach their "method."
I'd rather have a child love the piano and happily play six simple songs than hate piano as they play some complex piece like a robot performing pointless drudgery.
There's time enough to work on the hard stuff after a child is inspired to do so.
In conclusion:
A child who has a positive start on the piano at home is more likely to make the transition to private lessons outside the home.
In former times, before radio and television, the piano was the entertainment center for the family. The whole family at least tried to play an instrument.
I believe beginning to play piano "by numbers" helps move a family toward that perhaps unattainable but noble ideal. There can be only a good result from more people discovering the pleasures of the piano and music, no matter how humble their current abilities.
It's better to start playing piano with a simple system than to be confused with a flurry of conventional commands and thus quit trying altogether.
What I try to do as a teacher is to communicate the excitement I felt for the piano as a child to each and every child as an individual.
Copyright 2001 Walden Pond Press
Visit http://www.pianoiseasy.com to see the PIANO BY NUMBER method.
John Aschenbrenner is a leading children's music educator and book publisher, and the author of numerous piano method books in the series PIANO BY NUMBER.
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Should You Try Dance Aerobics?
Many people really don't dance that much these days. This is probably especially true after getting married and having a family, just due to the sheer lack of free time.
Because of this many people feel very clumsy when they dance. So why do dance aerobics?
One of the simplest advantages is that many people find it fun. The music adds interest to an activity that might otherwise bore you. And moving to a rhythm encourages you to keep up with the group, to keep trying. It also just feels good.
As with any other aerobic exercise, dance aerobics is good for your metabolism. It gets your heart rate up and works your muscles. Some steps help with your balance.
As with any workout, your clothes should be comfortable and your shoes suited to the activity. It's always important to correctly support your feet during physical activity. In addition to being comfortable, your clothes should help to wick away sweat.
There are different levels of classes you can take at your local gym. Talk to the trainers and figure out which one is best for you. You don't want to take a class that will push you so hard that quitting makes more sense than continuing to try. A good trainer will be able to help you figure out which class you would like to take. And if the class doesn't suit your style, consider trying a different one. Just don't give up on the workout as a whole.
The other challenge is getting over your self consciousness. When you don't know the steps, it's easy to feel embarrassed and clumsy. It can help, however, to remember that everyone else started out not knowing the steps, and that most of your classmates are solely interested in their own workout.
Take your time in figuring out what works best for you. Some people need to listen to the instructor to figure out what to do. Others do fine just watching the steps. But especially as you're learning, don't demand of yourself the intensity your instructor may perform. They know you will be working out at your level, and you can work up to the full intensity over time.
A good dance aerobics class may be one of the most "fun" things you do at a gym if it's a good match for you. Enjoying your workout is one of the best ways to get yourself to keep going back.
Stephanie Foster blogs at http://www.timeforexercise.com/exercise/ about keeping fit as a family. Get more family exercise tips at her site.
dance dance music videoThe Playdate Kids - The I Like Me Dance - Book Review
The Playdate Kids: The I Like Me Dance
by Tim Friedlander
ISBN-10: 1933721073
What is the best message a kid can understand? The I Like Me Dance by Tim Friedlander spells it out clearlyto like yourself! Just right for preschools, daycare centers and kindergartens everywhere, this book with accompanying CD is going to be a fun chance for kids to dance!
A visit to the zoo with The Playdate Kids leads readers on a dance through exhibits of EAR-lephants, RhiNOSEros, T-EYE-Grrs, and ELBOWa Constrictors, as the CD plays a delightful song, I Like Me. The song speaks of liking my fingers and toes, ears and nose, liking myself night and day, that were all perfect in our own way, and to tell yourself that every day. The beat is just perfect for a zoo setting and will soon have children dancing and singing along. The illustrations, by W.M. Edwards are inviting and fun, showing the familiar Playdate Kids making faces or holding their breath as they groove through the zoo. The youngest readers will delight in pointing out animals and hearing this positive message.
This fun book is a must have for anyone who has young children in their lives. What 3 6 year old doesnt like the zoo, or to dance? The underlying theme, and clear message of self love is most important, and it is done in such a delightful way that kids will be clamoring to hear the song and do the dance every chance they get, reinforcing this significant lesson. Its a perfect non-quiet time activity for story hour. I am thrilled to see this simple and inspiring set and trust it will fast become a favorite.
Tim Friedlander is a talented author and musician who has training in music and psychology. His work with The Playdate Kids Musical Series shows promise of a bright future, for himself, and his readers. I cant wait to see what else he does!
Heather Froeschl is an author, award winning editor, and book reviewer, at http://www.Quilldipper.com and http://www.Bookideas.com
latin music downloadsHello from Montreal - Neighbourhood Connections in the Park on Lovely Square St. Louis
After an enjoyable late lunch at Maana and after learning about the interesting life story of its owner, Angel Broncales, I was ready for enjoying a little bit of afternoon relaxation and right across from Maana is a beautiful urban park called Square St. Louis. Its history goes back a long way, all the way to 1848 when the City of Montreal installed a water reservoir on top of a hill. 31 years later the reservoir was taken down and the entire site was converted into a public park.
The centre of the park, situated in Montreals popular Latin Quarter neighbourhood, features a classic Victorian fountain, surrounded by a large number of benches that attract local residents, university students, artists and tourists in search of a shady spot to relax. Someone had brought a guitar and was strumming folk songs, children were playing, and a dog was swimming in the water of the fountain. A peaceful atmosphere imbued this urban green space. Surrounding the park is a collection of eclectic Second Empire townhouses and some people say that this square might be the closest thing to a European neighbourhood square.
As I was sitting and just taking in this picturesque environment, a young man sat down next to me and we started chatting. He said that he is originally from Antigua and grew up in Oakville, Ontario, just outside of Toronto. He went to university in Virginia, did his graduate degree at McGill in Montreal and finally a PhD at Cornell University. He told me that today he runs a biotech company located in Boston and occasionally he has to travel up on business to Montreal.
Since he lived in Montreal while taking his graduate degree, he had a chance to get to know the city up-close and says he loves Montreal, especially because of its bohemian character and its European flair. He actually lived around the corner from Square St. Louis, and he is always drawn back to this neighbourhood whenever he comes back to Montreal.
Curious about his experiences studying in different parts in the United States, I asked him what his experience was like, particularly as a visible minority. He indicated that issues such as race, religion and sex are taken much more seriously in the US than they are in Canada. He added that Montreal is a very relaxed place and racial background is not much of an issue. In his opinion, language is a much more important topic in Montreal.
As we chatted, two young ladies, one from California and from Washington, D.C., came by and requested us to take a picture. We chatted for a while and they told us that they were visiting a friend who lives here in Montreal. The atmosphere in Square St. Louis was so open and relaxed, people just felt comfortable approaching complete strangers to sit down and chat. I was having a great time.
Shortly after, the young man said goodbye and I continued my exploration of the Latin Quarter on foot. Montreals stone townhouses represent a very unique and beautiful architectural style that you will not find in any other city. As I got ready for my next item on the itinerary, a visit to Montreals Islands and the Casino de Montreal, I relished this neighbourhood encounter between total strangers, inspired by the serene surroundings of Square St. Louis
Susanne Pacher is the publisher of a website called Travel and Transitions(http://www.travelandtransitions.com). Travel and Transitions deals with unconventional travel and is chock full of advice, tips, real life travel experiences & interesting life journeys, interviews with travellers and travel experts, cross-cultural issues, and many other features.
Susanne has recently published a series of FREE travel ebooks about destinations such as Spain, Cuba, Mexico, Sicily, New York City, Chicago, Montreal, Toronto, Nova Scotia and many more. Visit Travel and Transitions - FREE ebooks( http://www.travelandtransitions.com/ebooks.html )"Life is a Journey Explore New Horizons".
latin music downloadDo Something Different for Your First Dance
The first dance at a wedding has traditionally been a slow dance, usually a waltz or something similar. But what if you and your fianc aren't the waltz type? What if you want something more fun and energetic? You've probably thought about this quite a bit and are wondering if it would be too odd to do something different. Would it be better to just go ahead and do a waltz and forget about it?
Absolutely not. If you want to do something different for your first dance, then you should. Your family and friends know you, and they love you. They want to see you dance in a style that reflects your love for each other, to a song that you love. Odd would be watching a lively, energentic couple waltzing their way through a song they don't like very much just to get to the rest of the music and have some real fun.
If you come out and do a Cha Cha for your first dance, on the other hand, not only will the whole room cheer, but it will be a first dance that nobody, especially you and your new spouse, will ever forget. You'll have a fantastic time doing it and your friends and family will be absolutely entranced.
Nearly any style of dance can be customized to fit into your wedding. If you want to do a classic dance, a Foxtrot or Quickstep can be adjusted so that your dress doesn't get in the way. If you want to perform a dance that's more passionate, but aren't sure if it's appropriate for your wedding, that's nothing to worry about. Even a passionate dance such as a Tango or a Rumba can be toned down a bit if you like.
When you and your fianc come in for your wedding dance lessons, remember that this dance is being customized just for you. If there is a step you are having difficulty with, we can work on it until you've got it or we can change things a bit to make it easier. If there is something that you don't like or aren't comfortable with in the original choreography, that can be modified as well.
If you would like to do a different style of dance for your wedding dance, but want your family to join you as well, consider choosing two songs for your first dance. You and your new spouse can perform your first dance on your own during the first song, then the DJ can invite your friends and family to join you on the dance floor for a more traditional dance style when the second song begins.
When you're at your wedding, remember that more than anything your family and friends are there to celebrate with you. They want to see you and your new spouse enjoy yourselves and have a wonderful time on your special day. Nothing could be more lovely and more memorable than sharing a bit of your hearts with the people you love by performing a dance that truly reflects the love you feel for each other.
Learning to dance is the same as any new skill. It takes patience and practice. Unlike other skills though, dance lessons are fun at every stage. Yes, it becomes more fun the better you get, but all beginners in my lessons have fun right away.
So if you are having fun right away, imagine how much fun you have when you can move your body confidently on the dance floor. Dancing really is a great way to get fit, meet people, improve your confidence and have fun. For private or wedding dance lessons visit my site: http://www.dancevogue.com.au/
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Learning Keyboard and Piano: 5 Ways to Achieve Your Musical Goals Without Getting Stuck in a Rut
People usually have some goal or dream that inspires them to take up a musical instrument. But after the initial excitement, its not uncommon to give up, many decide its too difficult, theyre too busy- and whilst theyd still really love to be able to play well, they get stuck in a rut without making progress.
The fact is, mastering a musical instrument is difficult. But its not too difficult for anybody. To succeed, you will need to build your skills in self- control, discipline and determination. Achieving your goals in learning piano or keyboard isnt impossible. If you started out with good intentions that have now fallen by the way-side, read on to discover how to make a fresh start.
Accept you wont become an instant virtuoso
I dont think anyone is a born natural piano or keyboard player. One of the skills to develop as a good player is to make the music appear effortless and natural. But if you think about it, playing an instrument is a pretty unnatural thing to do. We werent designed to do it. And reading music requires uses different parts of the brain to other activities.
If you think you can be really good after just a few weeks of playing, then you will be disappointed and disillusioned very quickly. From the outset, accept that you are going to have to work at many different skills. Realise that at whatever stage you are at, you can always improve. I think this is one of the beauties of learning music everyone is always learning and improving.
Use your current burst of enthusiasm to set you on the right path
If your reading this, youve probably resolved to improve your keyboard playing and practice more. When you finish your internet research, youll most likely feel motivated, resolve to pull yourself together and go and practice for three hours.
But tomorrow, you wont feel so motivated, youll realise your marathon practice session made no difference and youll have about a million more important things to do anyway.
Rather than repeating this cycle again and again, use todays drive and enthusiasm, to make it easier to achieve your goals over a long period of time. Set things up for when you dont feel quite so motivated.
First of all, decide what you really want to ultimately achieve, so that your efforts are focused. Then plan how you can achieve this. Find and book lessons with a teacher, if you havent done so already. Doing this today will commit you to weekly lessons where youll be given you something to work for. Youll also have someone else to monitor your progress.
Next, rearrange the room where you keep your keyboard or piano. Identify any problems with its current location which may be providing an excuse to stop practicing. Perhaps its in the same room as the television or something that causes distraction. Can it be moved? Maybe your practicing disturbs other members of your household. If you have an electronic keyboard or digital piano go out and buy some headphones. Maybe your piano is covered in clutter and junk, sort it out so you can easily get to it and practice. Check that your stool is suitable and not causing you back pain. Make sure you have all the sheet music you need to hand, and organise it so you can easily find what you need.
Identify anything thats going to make it difficult to practice and eliminate it, so you can begin your practice sessions in ease and comfort everyday. This will be more productive than sitting down right now and playing your way to exhaustion.
Build up to good practice habits
The final task for today to plan when youre going to practice. Dont plan too much because youll never stick to it. Start small. Practice in short manageable chunks which you can then build on. Why not try practicing in the advert breaks of the TV shows you watch in the evening- so you only practice for three minutes at a time. You can fit short exercises into this time slot, and you wont be sacrificing anything else. Once you can manage this, then you could try scheduling 10 minute slots during the day.
Practicing in lots of little sessions is usually more effective than sitting down for an hour a day. Also, youll find if you play more often, then youll probably end up getting carried away and practice for longer anyway. Its better motivation for yourself if you aim to play for 5 minutes and actually do 7, then if you schedule 30 minutes but never get round to it at all.
Accept there are no real short cuts. Be prepared for some hard work.
Some times, you will need to keep practicing certain things over and over. Theres just no way round it. If your prepared for this from the outset, then you will be entering your challenge with the right frame of mind. Sometimes things will be time consuming, but simply knuckling down and getting through it will pay off in the long run.
This is different to practicing things with no real thought. If you are working on a piece, identify sections that need the most work. Try not to over practice things that your already good at. If you keep your practice sessions focused, you will achieve much more.
Keep your goals clear- persevere at them.
To stay focused, make sure you are clear about why you wanted to learn keyboard or piano in the first place. What were your goals? To be able to play your favourite song well? To write songs and have a top- ten hit? To play carols with your family at Christmas? To pass grade five? To be in a position to help your children with their music studies? Whatever motivated you initially, dont forget it.
How about making a sign with your music goals written on it and keeping it on top of your piano? That way, youll be reminded of your motivation every time you walk past it. If youve lost sight of what you wanted to achieve, youll find it difficult to get out of your rut.
If you keep focused on your goal and persistently work towards it, you will eventually achieve it.
Polly Powell runs a keyboard and piano tuition centre in Weston super Mare, UK. Her website is packed with ideas and resourses for current and potential keyboard and piano students around the world.
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