Singing Lessons - How To Get The Most Out Of Them

Singing lessons are very useful for those of us who love to sing and would like to improve our vocal technique as well as our overall pitch and rhythm sense. However, some singing students may be a little overwhelmed whenever they attend lessons, and may not know how to best make use of the time that they have with their vocal coach or singing instructor!

Here are some important tips for all singing students, so that you will be able to make the most out of your singing lessons, and be able to improve quickly in your singing and vocal technique:

Get A Good Vocal Coach

For your vocal lessons to be genuinely useful to you in developing a better singing voice, you will need an experienced vocal coach who is able to 'diagnose' your voice and know exactly what exercises you will need in order to improve your singing! For example, you may need more exercises to strengthen your chest voice, or more pitching or rhythm training, or even some basic lessons in pronunciation and diction. Your vocal coach should be able to tell you what you need, and be able to communicate these ideas to your clearly!

Always Come Prepared For Lessons

Every singing lesson is an opportunity for you to talk to an expert in singing and to learn as much as you can from your vocal coach! So, always come prepared with questions that you may have had during the past week or are genuinely curious about. This will show your vocal coach that you are motivated about learning how to sing, and he or she will be more inclined to teach you even more! Your instructor will also be able to understand better what are your main concerns and how best to answer them so that you will be able to improve even more!

Practice, Practice and More Practice

Make sure you practice whatever vocal drills or pitching exercises that your singing instructor has given you during the singing lessons. Learning how to sing is just like learning how to play any musical instrument, and as with any instrument, practice is absolutely essential if we want to improve in our playing or singing skills! Also, pay attention to how you practiced during your lesson with your vocal instructor so that when you practice at home, you know how to do it correctly and certainly not inadvertently harm your voice during your self-practice!

Be Patient

Learning how to sing well takes some time and effort, and certainly does not happen overnight. Just like how it takes a piano player many years before he or she is able to be great at playing the piano, so it will also take us a certain period of time before we are able to master our singing voice! Even professional singers take regular singing lessons to keep their voices in top form, and to keep improving in their vocal technique!

One reason for a longer learning curve is because our voice learns through what we call 'muscle memory'. Many of the functions of our vocal cords and voice box are involuntary reflexes that we cannot control consciously. In order for us to correct our singing habits, we need to practice positive reinforcement through muscle memory, using the correct singing methods often so that our voice and our brain remembers them and uses them each time we sing!

Enjoy The Learning Process

One great thing about singing is that it is fun and enjoyable even during proper lessons, and we would certainly be able to enjoy the learning process that we must go through in order to get a better singing voice! Once we accept the long learning process, we will certainly be more relaxed during our lessons and be able to improve our voice even more! It is a virtuous cycle that singing students will be able to benefit from with the correct mindset and attitude.

With these important pointers in mind each time we attend our singing lessons, we will certainly be able to get the most out of our lessons and achieve a great singing voice through practice and patience!

Singapore-born Aaron Lim has been a Vocal Coach for the past 8 years, and has taught a variety of vocal students ranging from teenagers to mature adults. He is the founder of an online singing guide: http://www.your-personal-singing-guide.com , which provides a wealth of resources and tips available for any singer! Find out everything you want to learn about singing from this useful and comprehensive website!

Aaron is also the director of Intune Music School, a dynamic and vibrant music school in Singapore that provides professional music programmes in singing, songwriting, keyboard and guitar sing and play, music arrangement and audio engineering! Find out more by visiting the school website at: http://www.intunemusic.com.sg

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Master Success Coaching Tip - Leverage the 3 Qualities That Temper Potential

Potential is a key component in the ability to master success. Yet, have you ever thought about the 3 qualities that are needed to temper your own potential?

Temper comes from the Latin word temparare that means to regulate. In modern times, the word has come to mean to harden such as in metal.

Herbert Bayard Swope wrote: You never will be the person you can be, if pressure, tension and discipline are taken out of of your life.

These 3 qualities will regulate your potential, will temper your potential and ultimately contribute to your ability to master success or the continued inability to master success.

Pressure is a quality that molds individuals. How you respond to various pressures showcases your potential. Pressure can reveal certain potential strengths that you did not know that you had.

To understand the word tension begins by learning its origin. Tension is also Latin in its origin and comes from the word tendere that means to stretch. How much can you stretch yourself? Tension is the result constantly being stretched.

With the W.A.Y. S.M.A.R.T. or S.M.A.R.T. goal criteria, the R means to construct your goals realistically high so that you have to stretch. When achievement comes easy, we as humans have a tendency to become complacent.

Discipline is another Latin word and comes from two words: dis means apart and capere means hold. Today discipline involves training that develops self control or character in which you hold yourself apart from the rest. Effective leadership or rather self-leadership is really about self-control and character.

When you look at your own personal and professional achievements, if you removed the pressure, the tension and the discipline from your life would you have these successes?

Now take a look at your life from a different lens. What would happen if you applied a little more pressure, tension and discipline to your life? Would you have tapped into more of your potential and realize even a greater ability to master success?

Are you where you want to be? The M.A.P. for Success, a FREE email coaching program may help you begin to chart a course of business, professional or personal success. Visit http://www.processspecialist.com/action-plan.htm.

Looking for other success coaching tips and advice? Then visit the success coaching gym.

Leanne Hoagland-Smith, chief customer officer with locations near Chicago & Indianapolis helps organizations through business training coaching services to return to the purpose of business that being building raving fans while increasing productivity and profitability. Her clients double their results in 30 to 90 days. Call 219.759.5601 to schedule a free business coaching consultation.

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Barbie Puppets

Design a Puppet Theater

Start by making a puppet theater with your child. If you have a large cardboard box, you can use that or head to any office supply store for a project display board. Cut out a large rectangle near the top of the board or box and your basic theater is complete. If you are of the crafty sort, you can even design curtains and other ornamentations for your theater.

Your child will likely want to decorate the outside of the theater and you should encourage this. Provide markers or paint for this very purpose. Spending a bit of time and effort on the theater will allow your child hours of puppet fun even after this round of Barbie games.

Plan a Play

A child who is already practiced at creating stories will have a simple time coming up with a play idea. If your child is struggling to grasp the puppet show concept, help her learn by showing her how her puppet can sing and dance through the window you've created and then decide on a song for her Barbie puppet to sing.

Your puppet play can be as creative and long as your child likes, although first timers will likely appreciate a shorter version that is simple to remember. Playing a favorite song on the radio or CD and just having Barbie dance in the puppet theater might be a good way to warm up. Later, you can enjoy your child's imagination as it grows and expands into more complicated stories worthy of a junior Tony award.

Design the Costumes

Barbies games wouldn't be complete without a bit of dress up fun. Selecting the outfits Barbie wears during the performance is just as critical as the play or music. Again, if you are crafty, you might help your child design a new outfit worthy of her role in this production. This might be a good exercise in basic sewing, but if the existing wardrobe must do, you can rest assured Barbie never suffered from lack of outfits. Find the best one and get ready for the big performance.

Sit Back, Relax and Enjoy

No show is complete without the audience. Grab younger siblings and take a break to sit down and enjoy the show. Putting other chores aside while you sit through ten verses of Barbie singing and dancing might seem tedious, but your presence and enthusiastic applause is all the encouragement your child needs to build self confidence and pursue other creative venues.

One you've enjoyed your child's performance, you might see if she's willing to do a bit of role reversal. Have her take a break while you pull out an old dance favorite from high school or college and show that girl how to really rock a Barbie puppet. Better yet, give everyone a Barbie and make this puppet show a family affair.

My name is Aleksey Syrovatchenko. I specialize in interests of girls and online dress up teen communities. I am a dreamer who can visualize what kids want and try to find best content that will be safe and entertaining. Girls love Barbie games and I consider them best online barbie dress up games for kids.

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DJ Services For Your Wedding - Tips For Choosing the Ideal Wedding DJ

You will need DJ services for your wedding reception, but unless you're close to someone who spins records, you may not know how to go about finding the right person. This article will give you tips on how to find a wedding dj.

First, you've got to know what kind of music you desire. While many disk jockeys say they have "everything," finding out what their specialty is may save you trouble at the reception. This is especially true if what you're looking for is something other than rock/pop.

In principle, always get references. Talk to other brides and grooms about their experiences with the DJ you're contemplating. When you're viewing a DJ's website, check to make sure he or she has testimonials. Also, you may feel like asking the DJ if he has a tape of himself taken at another wedding.

Once you have a short list of DJs, meet the contenders in person. This way, you can check out their personality and make sure their "look" is acceptable for your wedding.

Make sure the DJ's music is up to date, particularly if you plan to use a lot of recent music. Nothing keeps people off the dance floor more than tired songs.

Ensure that the Disk Jockey has Professional Liability Insurance. If you don't - and Aunt May trips over the DJ's cords - you could get sued yourself.

Determine whether the DJ has emcee duties or whether he will just play music. Make sure all obligations are clear (preferably in writing) ahead of time.

What will the DJ do if his sound system breaks down? Because most DJs have moved into the digital era, you'll want to know what the emergency plan is if the DJ has to suddenly boot up.

The DJ should know the dress code and what you expect him to wear. Make this clear ahead of time and it will save you annoyance at the event.

If the DJ has worked the venue previously, you can ask him for help with entertainment logistics. Consider this an extra.

Finally, you will want to get everything down in writing. The contract is your formal protection as to price, what happens in the event that the DJ cannot make it, and logistics.

Getting a good wedding DJ is necessary for the success of your reception. Follow the tips in this article and you'll be well on your way to finding the perfect wedding DJ.

Visit http://www.totally-weddings.com/ for tips, resources, gift ideas, shopping and more to help you plan your wedding day. Also find out how to Cheat Proof Your Marriage with our top selling Ebook.
http://www.totally-weddings.com/Cheat-Proof-Your-Marriage/

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Mambo in New Zealand

Origin:

Mambo originated in Havana, Cuba in the 40s. The Mambo was originally played as a Rumba with an emphasis on 2 or 4. Once introduced, it fast led to other variations. Although Mambo did not last long and is only danced by advanced dancers today, it led to other styles that became popular such as Salsa and Cha-cha.

Music:

Mambo is an up-tempo dance rythm, usually around 200 bpm. Mambo, like Salsa is played in 4/4 with all 4 beats being evenly accented. Like a lot of Latin American rythms, percussion forms a very important part of the music.

Dance:

Mambo is probably one of the toughest dances to learn, especially is you are already used to dancing one of the other Latin styles like Salsa. Although the music is 4/4, the stepping is quite different. The steps are taken on the second beat as opposed to the first beat, which is one of the main differences that throw most dancers off. The other difference is that the weight change takes place three times in every four beats whereas only two steps are taken!

Latinos NZ Popularity Scale: 1/10

Mambo is rarely danced in Latin clubs in New Zealand, and is rarely taught in training institutes.

Article taken from Latinos.co.nz (http://www.latinos.co.nz)

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Music for Corporate Entertainment

For many years I have supplied music for and played in bands that provide music for corporate entertainment. Clients have included Audi, The Evening Standard, Sainsburys, P.C. World, Safeways, Large corporate clients at Henley and Ascot, I.T.V. and H.M. Treasury. Because of this experience I felt it would be relevant in putting down some pointers in helping clients choose the right kind of music for their particular corporate entertainment.

Interestingly enough, most corporate hospitality entertainment work tends to require music as an ingredient to a larger recipe. What I mean by this is a great deal of corporate events are offering a multi service package. Typically an organization may be putting on an evenings entertainment to thank its workforce for a particularly successful year. They may be offering music, food, comedy, a close up magician, a casino and a caricaturist. The corporate client organizing needs to decide what part the music has to play in the days/evenings entertainment.

Questions he or she needs to ask are:

Is the music specifically for entertainment or is the music for background listening?

Do we need one style of music early on in the proceedings and then a change of style later in the days/ evenings entertainment?

Do you expect the corporate clients to be networking and discussing business or are they just there for a good time?

What overall atmosphere do you want to project with the event?

Is there going to be a change of location for the music as the entertainment event unfolds?

Different styles of music bands lend themselves to different corporate hospitality situations. Below are a number of typical corporate hospitality events with music suggestions for suitable music entertainment.

Corporate entertainment model 1.

Evening reception with dinner and speeches.

In a situation such as this you will typically need music from the outset as part of the meet and greet of the corporate evening. A four-piece swing or Latin group is ideal with a larger ensemble for particularly large gatherings. A professional outfit can pitch the music at just the right decibel level so your guests can talk and enjoy the entertainment without it encroaching on conversations. The musicians would typically be dressed in Lounge Suits or Tuxedos (or the female equivalent) to mirror what the guests are wearing themselves. The music portrays an atmosphere of sophistication, which again hopefully reflects the evenings overall ambience.

It is rare for corporate clients to want to dance especially as clients there relationship is business not pleasure! In most cases it is more important that the band is flexible in when it is needed over the course of the evening i.e. At the top of the night for the reception, a smaller version of the band (The pianist maybe for the dinner), stopping for speeches and then after the speeches to play until other entertainment is put on for the corporate clients. In this situation give the band a clear idea of how you expect the evening to go. What to wear, when they will be needed, when they need to get their instruments in the building and be set up, when breaks will be required, let them know if it is convenient or not to feed them and then finally how they can leave when finished so as not to disrupt the rest of the entertainment.

Corporate entertainment model 2.

Company Party.

Still corporate entertainment, still corporate hospitality but a totally different set of requirements for the music. Ask yourself these questions: Are your work force the type of workforce who will want to dance at some point in the proceedings? If they are, then a professional band with flexibility is essential. My experience is that people of all ages will join together to dance to music from the sixties and seventies. Whatever background music you require earlier in the day/evening be it Latin, Swing, Rat Pack or Lounge, if you are hoping to provide entertainment that will get people dancing remember this fact. Sixties and Seventies. For some inexplicable reason this is the music that gets people up on their feet.

When choosing your music ask the band if they can cover this part of the corporate entertainment requirement. Get samples of their music if need be. There is nothing worse than an ill equipped band struggling through alien repertoire. However good the band is, if they do not play the right repertoire, the right style of music then the corporate entertainment will fall on deaf ears.

Let me at this point provide a caveat. Your workforce work together They are not always going to be the best of friends however professional their relationships are at work. Answer truthfully, will they really want to dance together or is it asking too much? I would say that in all the years of providing music for this kind of corporate entertainment / hospitality , as long as the music is right, the workforce tended to dance 30 or 40% of the time. It could be said that a workforce who will enjoy each others company in this way is a reflection on the talent of senior management to create a happy team!

Corporate entertainment model 3.

Company Fun Day.

These come in two types. The type to entertain your own workforce or the type to entertain prospective clients. Both types of corporate entertainment require music that is fun. This means that the music must be perceived as fun and the band must be perceived as fun. In both cases Jolly Dixieland Jazz or the summer sounds of Latin music are most suitable.

Ask yourself these questions: does the band need to be mobile? Meaning do you want the music to move around the site at various points in the proceedings? If so then the jolly jazz route is most suitable. A good professional outfit of four or five players can play acoustically and move around a site as directed.

If the band can be static and close to electrical power then either Jolly Jazz or Latin Music is suitable.

Is the event outdoors or indoors and do you have provision for bad weather? This is England, never trust to luck, assume the worst! Any band that needs power cannot play in the rain for health and safety reasons. At the first hint of inclement weather a band will have to breakdown their equipment. Build this situation into your corporate entertainment music decisions.

How do you want the band to dress? It is a fun day after all! In the past I and my musicians have dressed as Elvis, Cavemen, Circus Clowns, in fact all manner of characters in the name of corporate entertainment and corporate hospitality. Good bands will have suitable outfits for most situations but don`t hesitate in providing something off the wall for a special event. Most professional players have a strange urge to jump into such costumes at the earliest possibility! As someone who has played at a nudist camp and for a toga party, both dressed accordingly, take my word for it!

To draw this article together let me say this. Choose the right kind of music for the event. Brief the band accordingly but make sure you have a professional and flexible outfit, things can change over the course of the event and you want to make sure the band are both co-operative and able to fulfill your needs. Don`t hesitate to ask the band for any special requirements you have. Do it in plenty of time so they have time to prepare.

The corporate entertainment and hospitality you offer to your guests reflects directly onto your company. The music and musicians must be the type who are aware of this. Dont go for second best just to save a small amount of money. You need a well prepared, well dressed band who are both polite and charming to your guests. They need to play the right kind of music for the event in order to help make the day or evenings corporate entertainment a resounding success!

About the author
Jeff Williams is a London based trombonist and vocalist who has worked all over the world in most areas of the business. He also runs a successful, specialist, live music agency using the best of London musicians, servicing both private and corporate clients playing all over the country. He would be happy to advise you with your own event or party and offers bespoke solutions for the perfect occasion.

Contact him on +44(0)20 8761 8932 or +44(0)7747 801471Email him on bonejeff@aol.com

Visit the website http://www.jazznotjazz.co.uk

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Trombone With An Attitude: Music : Omar Torres: CenterstageChicago.com
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The Four Stages of Awareness in Learning How to Swing Dance

The difference between the Basic, the Intermediate and the Advanced levels of dancing proficiency are defined by more than just their core curriculums. In the aviation world, for example, it is the difference between driving an airplane and flying one! A basic pilot can fly straight and level, climb, descend, and turn. An intermediate pilot can combine these basic "stick and rudder" airwork fundamentals with good airspeed control and make acceptable take offs and landings; however, only an advanced pilot can take full advantage of his airplane's capabilities by being able to fly it safely to the edge of its performance curve. Switching our focus now from the cockpit back to the dance floor, let's put the Basic, Intermediate and Advanced levels of swing dancing into their proper perspective by looking at them within the context of the four stages of awareness in the process of learning to dance.

1) UNCONSCIOUS INCOMPETENCE: At this first stage of awareness, a dancer has never given the subject of swing dancing any conscious thought. He has never been formally introduced to it and, although he may be quite adept at other styles of dancing like freestyle or Country and Western, for example, until he takes his first Basic level swing dance class, he is really at a stage of unawareness because he is simply unconscious of his incompetence.

2) CONSCIOUS INCOMPETENCE: At this second stage of awareness, the new male dancer or "leader," has been formally introduced to swing dancing at his club and he now fully appreciates its social and recreational potential. He has taken several Basic level classes but he realizes that his performance is marginal at best and that he needs to take many more swing dance classes and workshops to sharpen his skills. He is grateful for any helpful tips that might improve his dancing; for example, he may determine his lead hand by looking to see which thumb and forefinger form the letter "L." This is the awkward stage for the new swing dancer. His hand-leads are generally too strong and his body movements tend to be too stiff and mechanical to suit all but the least experienced of his female partners or "followers." At this point in his training, he is more prone to be repeatedly answering the question: "how long have you been dancing" rather than "where do you dance." All in all, the conscious incompetent clings to his patty-cake, the think-step pattern like a new western horseback rider clings to his saddle horn.

3) CONSCIOUS COMPETENCE: At this third stage of awareness, the male dancer has completed all of the Basic and Intermediate level classes offered by his club, and he is now an accomplished, well rehearsed dancer. He almost always executes his triple step footwork flawlessly in every direction to varying tempos of the music; he seldom misses that important "3 and 4" count of his footwork that often eludes less experienced dancers, and he has developed a gentle yet firm lead that guarantees him a willing partner for every dance. All in all, he has developed into a smooth dancer who confidently performs the different swing patterns that he has learned over the years. The conscious competent leader knows what he is doing!

4) UNCONSCIOUS COMPETENCE: At this final, fourth stage of awareness, the male dancer has achieved the highest level of proficiency where he has cultivated a signature style that transcends being well rehearsed; instead, he has become just as intimately familiar with each inherent part of the patterns that he has learned over the years, as he is with the overall patterns themselves. As an advanced dancer, he can intuitively "mix and match" the specific handwork and footwork elements of different patterns to create new patterns, and he has the versatility to frequently intersperse steps from other dance disciplines to physically embrace the beat of the music. His extensive knowledge of the dance, combined with his fluid lead authority enables him to maneuver his partner to the edge of her capabilities so that as a couple, they are able to consistently deliver award winning performances. Simply put, the unconscious competent is the dancer that the dancers enjoy watching!

TEACHABILITY INDEX: How quickly a new dancer progresses through these four stages of competence depends upon how "teachable" he or she is! All of us may compute our own Teachability Index (TI) which is the product of the following two variables that are rated on a scale of "1" (lowest) to "10" (highest): our Willingness To Learn (WTL) and our Willingness To Change (WTC). If our willingness to learn how to "dance centered," for example, is a 10, but our willingness to change our body positioning to accomplish this goal is just a "5," then our Teachability Index is only 50% (WTL x WTC = 50)! In other words, the maximum effort that we made in class to LEARN the correct way to "dance centered" is half wasted if we are not willing to CHANGE the way we lead our partner! Always remember that both learning and change are the inseparable, twin handmaidens of dance proficiency.

Copyright 2008 by Skip Culver, Certified Swing Dance Instructor. Member of the West Count Swing Dance Club and author of the manual: Imperial Swing Dancing - visit: http://www.ImperialSwing.com

Henry H. "Skip" Culver, Jr. is a member of the West County Swing Dance Club in St. Louis Missouri. He is a Gold Seal Instrument Flight Instructor and the author of the bestselling book on navigation titled: IFR 'Pocket Simulator' Procedures that was selected as the Main Selection of the Jeppesen Aviation Book Club. In 2000 Skip turned his attention from aviation towards the dance floor. He became a Certified Swing Dance Instructor in 2004, and then with over seven years of detailed notes from various classes and workshops in hand, he began assembling the Imperial Swing Dancing manual which he published in June of 2007. Skip is a frequent contributor of articles on swing dancing to different club newsletters throughout the United States.

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Finding Rare and Vintage Vinyl Records

The classic way to listen to music is with vinyl. It is the old form of music playback that is a cherished item for the Baby Boomer generation in North America. However, since the advent of the cassette player, they have faded away and it has been decades since they were actually sold as part of new music packages.

So, for those who wish to go back to the days of Elvis, The Beatles and Led Zeppelin, what can they do? Well, thankfully just because cassette players, CDs and mp3 players have come along, it has not meant that all vinyl records have been destroyed. In fact, many still exist.

When you are looking for vinyl records, it does not have to be a hard chore, and you can actually find them in many different places around the city. One of the best places to look is the pawn shop. They are the dens of the antiques that no one wants any more, and you will be able to find some great vinyl records there that could prove useful to your collection.

Second hand shops are also great locations for vinyl records as people donate them when they get newer versions of music playback technologies. You may find a diamond in the rough, or simply a copy of the record your mom threw into the garbage in 1967.

That being said, do not expect to find Led Zeppelin IV, Tommy or Sgt. Pepper's Lonely Hearts Club Band in the second hand store or pawn shops. Even average music listeners know those are valuable and will not give them up without a good price in return.

For the high end and collectable vinyl records you may be looking for, you will have to check out collector's shops, where you will find the records but not for a cheap price. You can probably expect to pay upwards of $50 to $200 for some records, instead of the one dollar per record you would pay in a pawn shop or second hand store.

Vinyl records have gone the way of the Do Do Bird, and no company makes them anymore. They are nothing more than collector items now for a variety of Baby Boomers and their children who want to grab a piece of history. They can be found in many different places in the city, including pawn shops and second hand stores. At those locations, you will find a variety of vinyl records, from the obscure to the well-known. Of course, for the more expensive and valuable types of records, you will have to go to collector shops, or even better, eBay, which will have every kind of record you could possibly imagine to put into your collection.

These days, there are more opportunities than ever to find the vinyl records you are looking for because they have been supplanted by new technology not once, but three times. In fact, two of the technologies that supplanted vinyl records, cassettes and CDs, are considered archaic these days. So, where are you going to find the vinyl records you are looking for?

Victor Epand is an expert consultant for used CDs, autographed CDs, and used musical instruments. You can find the best marketplace for used CDs, autographed CDs, and used musical instruments at these sites for used vinyl recordings, autographed vinyl record and used 70"s musical instruments.

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Beyond the Open Position Piano Chord

Those of you who have been reading my articles for some time know that I'm a big fan of the open position chord. This is where both hands play a chord together. It's a great technique that allows beginners (and pros) sound good at the piano right away. But, it's just one method or way to approach chord piano playing.

Another method I use is something called the crossover technique or arpeggio. Here the left hand plays a cascade of notes ascending or descending (usually ascending) while the right hand plays melody. This technique is especially suited for New Age piano playing because we can get a gentle flow of notes in the left hand. In fact, you can use over 2 octaves just in the left hand. This covers a lot of musical space so to speak and creates a lovely backdrop over which melodies may be composed or improvised.

For example, in the upcoming lesson, "Winter Sky," we have a 16-bar phrase in the Key of B flat. The chords are all charted out for you and you can hear me playing the left-hand crossover pattern. This pattern uses much of the left hand right away. The right-hand plays octave melody notes and the whole piece is finished in a few minutes.

Usually, when we use the open position chord, we skip the third in the left hand. In this lesson, we use the third to create a denser sound. And it works out well! You see, when you block out or chart the chords using the crossover technique, you create a harmonic background, a canvas of sound over which you paint in your foreground using melody instead of paint! A unique, but very helpful way of seeing how an improvisation or composition can be structured!

Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Visit http://www.quiescencemusic.com now and get a FREE piano lesson!

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