How To Play The Keyboard - Start With C Major

Playing the keyboard is not as difficult as a lot of piano upstarts think. In fact, the piano is the perfect instrument for music beginners, as, unlike other instruments, its layout is straightforward and easy to understand. Plus, in contrast to instruments like the guitar, to play the keyboard doesn't require a lot of unnatural hand contortions -- at least until you get to more advanced pieces, but by then your fingers will be buff.

When learning how to play the keyboard, the basics are quite simple. Looking at the piano, there are two types of keys -- white keys and black keys. As you may already know, the musical scale consists of the letters A through G with some sharps/flats mixed in. The first important fact to learn is that the white keys represent the letters, while the black keys represent the sharps and flats.

Before going any further, you must find your piano's middle C. You will find it in the middle of the keyboard. Most pianos have the name of the company that made them printed above the keyboard. In many cases, the first letter of the name is directly above middle C. If you still can't find the middle C, consult a diagram.

When starting out, you might as well tell yourself that you're not going to touch the black keys for the first few lessons. For now, focus on the white keys, which make up the C major scale.

To play this scale, place your thumb on the middle C, with the rest of your fingers on the next four successive notes -- D, E, F, and G. Essentially, you're going to play eight notes, beginning with middle C, and ending with the C that is one octave higher.

When you play these eight notes in order, you'll notice that it sounds quite familiar. Even though you may not know it, the C major scale is something that you've probably heard hundreds of times in your life, from various sources. If you do it correctly, to play your first scale should feel pretty satisfying. This is partly because the major scale is designed to musically resolve itself in a nice way.

Piano teachers have specific ways that they recommend playing scales. My teacher, for instance, taught me the standard way of playing the C major scale upwards, which was to play the first three notes with my first three fingers, then cross my thumb under and play the rest of the scale with all five fingers. Whether or not you use this particular method is up to you; the important thing is that you find natural ways to play the scales. As your ways of playing will soon be internalized, you want to find the best ways to play the keyboard.

Once you become good at playing the C major scale with your right hand -- both up and down -- it's time to learn the same thing with your left hand. Essentially, the C major scale with your left hand is the mirror image of the one you've already learned; place your thumb on the middle C, and play all the white keys down to the next C, then go back up.

After you learn how to play the C major scale, it's time to learn chords. Soon after that, it will be time to learn some other scales. For now, though, practice the C major scale as many times as it takes to sound smooth and even. It may be boring, but once you get this down, everything else in the future will be a little easier.

Basically, when learning how to play the keyboard, mastering the piano's C major scale is the bridge toward bigger and more ambitious things. So, practice that scale until you can play it in your sleep.

Duane Shinn is the author of the popular DVD home study course on playing piano titled Crash Course In Exciting Piano Playing!

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The Shadow Puppet Plays

Nang Talung is the indigenous performing art in the south of Thailand. It is a kind of the Thai Shadow puppet theater that formerly spread from southern Thailand to other regions. It has much influence on the lives of the rustic people of Thailand.

As in the past there were no movies, one of the most popular entertainments always enjoyed by a multitude of Thai people was "Nang" or share puppet play. This was subsequently called "Nang Yai" (literally meaning "grand puppet") and "Nang Lek" (literally meaning "small puppet") which was later called "Nang Talung." These two genres of traditional performances can still be evident up to the present days in some precincts of Thailand. But it is not clear whether Nang Yai or Nang Talung arose first.

Nang Talung is the indigenous performing art in the south of Thailand. It is a kind of the Thai shadow puppet theater that formerly spread from southern Thailand to other regions. It has much influence on the lives of the rustic people of Thailand. Nang Talung uses the shadow of puppets in operating. Since antiquity this type of play has ever been held in many civilized countries such as Egypt, Greek, Turkey, India, Indonesia, Malaysia and Thailand especially in every part of the nation. When the time went by, it is found only in southern Thailand. The provinces of Pattalung and Nakhon Sri Thammarat are the perfect places to see Nang Talung.

It is believed that Nang Talung originated in the reign of King Rama V and appeared in the village of Baan Don Maprao in Pattalung. So the southerners called it "Nang Don" after the district in which it initiated. It is assumed that it is now called "Nang Talung" becaused when it was performed in Bangkok, the people of Bangkok realized that it was from Pattalung and continued to call it "Nang Pattalung", Afterwards, the name was abbreviated to "Nang Thalung" and finally it was abbreviated again to "Nang Talung". Even today, the people of Bangkok still call it this, but the southerners abbreviate it as "Nang Lung" or simply "Nang".

This regional performance of southern Thailand was previously depicted from the episode of the Ramayana epic in India. It was gradually modified to suit the time and preference of the spectators such as its content, hero, heroine and musical instrument while the joker becomes a favorite performer amongst the spectators. The chief of Nang Talung will sit behind a brilliantly back lit white screen made of cloth. His duty is to provide dialogs for every puppet and also narrate the story while the play is proceeding. Nang Talung is nowadays very famous at village festivals, temple fairs and celebrations like marriages and ordination ceremonies.

Each shadow play figure is made of good quality cowhide which has been dried and perforated into different shapes. The figures are elaborately painted with natural and water-resistant colorings. They are held up by bamboo sticks with the mouth and hands movable in tune with the narration. The Nang Talung hall has a thatched roof and three walls. Every piece of Nang Talung is manipulated with rods in order to control their movements and given life by the chief. He will express his feelings on the puppets by the prose or verse during the play. The puppets emerge only in shadow against a white screen with the light shining through from behind.

A Nan Talung troop is composed of two main parts. One is "Nai Nang", the group leader who pilots the performance with simultaneous singing an story telling. Another is the musicians who accompany the leader's action. Performances may be a religious theme or the story from the Ramayana. They may also be particularly composed to include trendy reflections, songs and poems about local events and matters of current interest in the country. Presently, the Nang Talung troop comprises many members and more music than in the past as each troop is trying to modernize Nang Talung and make their group so unique amongst other troops.

Quite similar to Nang Talung is Nang Yai or the grand Shadow puppet play. Nang Yai is conceived as one of Thailand's traditional dramatic art forms that mingles various artistic creations into astounding one. In terms of visual arts, the detailed and elaborate traditional design of the puppets is first drawn by a master artist. Then the design is applied onto a piece of leather and scrupulously etched into almost lace-like proportion. The pieces are mounted onto sticks and they are given life by the master puppeteer in a classical drama performance complete with a live Thai musical ensemble and a singer to provide the narration.

Thailand Culture Blog Writer

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Meet Me In St. Louis

Go West, Back In Time
Venture on the Shores of Mississippi

Intrinsically woven through time, the old and the new, St. Louis abounds with rich color, flavor and taste. Whether you are passing through on historical Highway 66, or visiting on business, St. Louis will whet your appetite for more. More rich, mouth-watering entrees. From southern to soulful. Satiate your appetite with historical finds like Lewis & Clark. Top it off with dozens of cultural and sporting events.

Grab your walking shoes, sunscreen, bottled water and camera. You can walk through the botanical gardens, ride on a horse drawn carriage or fly in a vintage aircraft.

The Gateway Arch is an inverted, three-sided catenary curve, gleaming, historical monument which commemorates Lewis & Clarks expeditions. A quick four minute tram ride to the top gives a spectacular view of the city and the mighty Mississippi River. Americas freedom and explorations into Western Territory are methodically illustrated here. Underneath the Arch is the Museum of Westward Expansion featuring 100 years of human history with murals depicting scenes along Lewis & Clarks journey of discovery. Dozens of national treasures including handwritten journals, maps, equipment and other artifacts are displayed here.

After the advent of the steamboat, St. Louis grew into a thriving river city. Then came the railroad and in the 1930s an ambitious local movement led to the purchase by the Federal Government of a large riverfront area and plans were begun for the Jefferson National Expansion Memorial. Due to its industrial and engineering capacity, St, Louis emerged as a leader in aviation and automotive production after World War II and the Korean War.
St. Louis began as a fur-trading outpost on the site of what is now called Lacledes Landing. Named after the French fur trapper Pierre Laclede who began the first settlement, The Landing, is an interesting assortment of shops, galleries, offices and restaurants. At night it comes alive with music and entertainment; Blues, Jazz, Opera, Cabaret, Symphony and Rock n Roll can be heard on the streets.

Music, dance and theatre are plentiful in and around the city. St. Louis launched many talented actors, musicians and writers. Playwright Tennessee Williams lived in St. Lois, as did poets T.S. Eliot and Maya Angelou. Actors; Betty Grable, Vincent Price and Buddy Ebson from the Golden Age, to current favorites, John Goodman and Kevin Kline have all called St. Louis home. From comedy and drama, to Shakespeare, a cultural experience is offered for any age. (www.explorestlouis.com) (One Lewis & Clark Trail
Hartford, IL 62048, Phone: (618) 251-5811, URL: www.campriverdubois.com) Museum of Westward Expansion, Under the Gateway Arch, St. Louis, MO 63102, Phone: (314) 655-1700, URL: www.nps.gov/jeff/index.htm)

Sports & Recreation

The International Bowling Museum stands proudly adjacent to Busch Stadium endowing the public with a century of history and colorful memorabilia. This is the only bowling museum in the world and offers more than 5,000 years of bowling history.

A team of archeologists from the University of Pisa, Italy, found the oldest bowling alley in a city called Medinet Madi. The Italian team has unearthed an open structure dating back to the Ptolemaic age. The floor is composed of a single large block of limestone with a groove 10 cm deep and 20 cm wide. In the middle there is a 12 cm-square hole. They also found two balls of polished limestone, one of which fits the groove and the other the square hole. The structure is like no other found in the ancient world.
Earlier versions of pins are on display at the museum.

Until medieval period, sports were steeped in pagan rituals. Denounced by priests, a ban was placed on bowling in 1443 and 1447, and was permitted again in 1468. Bowling was popular at festivals, dances, and baptisms with variations. One variation of bowling is Quilles De Neuf (ninepins).
Bowling was first mentioned in Rip Van Winkle, by Washington Irving.
Pinsetters in the 19th century earned .03 to .05 cents per line. The sport prospered in the 1930s and 40s. The poor image was upgraded by the 3 As; automation, architecture and air conditioning. In the 1950s, television turned regular people into heroes. The Womens Professional Hall of Fame is on the third level. And on the lower level, a bowling lane is set up for visitors and enthusiasts to enjoy a few frames with their admission. (Across from Busch Stadium, St. Louis, MO 63102, Phone: (314) 231-6340)

Shared Heritage

A candy apple red convertible given to Mark McGwire, has been donated to the city and is on the display in the St. Lois Cardinals Hall of Fame Museum. A plethora of leather worn gloves, home-run tattered bats and printed tickets adorn the glass cases. Young and mature athletes started their careers in St. Louis and leave behind a legacy. Heroes were made from honest, hardworking down-home lads who have a passion for baseball.

Sports are an obsession in St. Louis with active sports centers, loyal fans and professional athletes. St. Louis is home to: Cardinals (baseball), the hockey Blues, and the NFL Rams. St. Louis is one of the few cities to host the summer Olympics, 1906, in conjunction with the Worlds Fair. The U.S. Senior Open draws crowds from every state in the union. A single admission price of $6.00 for adults and $4.00 for children ages 5 to 12 covers the entry fee for both the baseball and bowling museums. A joint museum/stadium tour ticket costs only $9.50 for adults and $7.50 for kids. The museum is open daily from 9:00 a.m. until 5:00 p.m., Monday through Saturday and noon until 5:00 p.m. on Sunday. Hours are extended to 6:30 p.m. before Cardinal home night games.

Plenty for Kids

Forest Park offers a Zoo, (www.grantsfarm.com), (www.purinafarms.com), Art Museum, Science Center, History Center, skating and more, at little or no cost for the little ones. Petting farms, botanical gardens and butterfly gardens (www.butterflyhouse.org) also bring young ones up close, presenting educational opportunities as much as fun! Wild rides, cool waves and family fun at Six Flags St. Louis. The Spirit of Thrills! (www.sixflags.com) Explore rivers, caves (caves will be in another article) and wine, Mount Pleasant Winery , 5634 High St. , Augusta, MO 63332, Phone: (636) 482-WINE
Toll-Free: (800) 467-WINE, URL: www.mountpleasant.com as you tour charming villages from Louisiana Purchase territory, vintage Cathedrals and unique historic towns. Visit Mark Twains historic boyhood home, museum and a live imitation, in Hannibal. Cruise on nostalgic riverboats.
Picturesque, sun-drenched rolling hills can be toured by bike, skates, car or canoe, Trailnet - Hiking and Biking Trails, Various Trail Locations, St. Louis, MO 63125, Phone: (314) 416-9930, URL: www.trailnet.org

Old Chain of Rocks Bridge, on of the worlds longest pedestrian and biking bridges and a Route 66 landmark, offers breathtaking view, with occasional spottings of bald eagles.

Another roadside attraction is the Wax Museum, in LaCledes Landing. More than 150 life-size wax mannequins dressed in period costumes, depict their culture, our history. Beware of the shop of horrors in the basement.
The noble Budweiser Clydesdales are the most recognizable symbols of Anheuser-Busch. Known for their size, strength and beauty, they can be seen at the flagship brewery of Anheuser-Busch. Witness state of the art technology and historic architecture at the corporate office and brewery; open for tours daily, year round. Anheuser-Busch Brewery Tours and Gifts, I-55 & Arsenal St., St. Louis, MO 63118, Phone: (314) 577-2626, URL: www.budweisertours.com

Shopping, golf, theatre, dance, music, museums, sports, day trips, fine dining and recreation are abundant and worthy for the whole family in St. Louis, Missouri.

Loretta Lynn is a freelance writer, editor and publisher residing in central Florida, yet keeps her sanity with frequent excursions.

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Effective Instrumental Practice

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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Spanish Music and Dance Are Great For Weight Loss

Spanish music and dance has become very popular over the past decade. It has especially had a big influence on inner city youths mainly due to the popularity of singers such as J-Lo and Shakira. Spanish music has a fast beat that is punctuated rhythmic thumping of drums. When you hear this type of music, you simply cannot help but start to sway to the motion of the beats. It is simply hypnotic.

Spanish music and dance has experienced resurgence with the popularity of weight loss programs that feature moving to the beat. Zumba fitness DVDs pair pulsating Spanish and Latin rhythms with dance steps that were specially choreographed to get you moving. The idea behind programs like Zumba is that you will have so much fun listening to Spanish music and dancing that you won't even realize that your are exercising.

Of course, you don't need a Zumba DVD or fitness club to use Spanish music and dance as a form of exercise. Find a Spanish music station on the radio and start swaying your hips to the beat. You will work up a sweat in no time and will have fun doing it. It is a lot more fun if you have a dance partner. Call up your best friend and invite her over! If she isn't available, your child will enjoy dancing and exercising with you.

The most popular of the traditional Spanish dances is the Flamenco dance. Flamenco dancing is difficult to learn from watching a video. If you are interested in learning this type of Spanish dance it would be best to sign up for some dance lessons. The best way to learn to dance is to dance with someone who knows how. Most dance studios have promotions where you can take one dance lesson for free to see if you like it before signing up for a series of lessons.

Spanish music lyrics are wonderful. Read more at http://www.spanishmusiclyrics.net/

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Music Review of Spirit Healing Chants by Sophia

It wasn't long after I first fell in love with the Mount Shasta area that I discovered Sophia's Hidden Waters/ Sacred Ground CD. Her stunningly pure, sensuously hypnotic vocals carved a window into my heart, a window which remains open to this day. Sophia is able to put more heart and soul into her voice than all but a few singers I've ever heard. But more than just having technical chops, Sophia evokes the sublime passion of the Goddess. Listening to Sophia is like listening to an angel, one who is able to bridge the apparent divide between this world and that of pure, loving Spirit. Her entire discography, including Emergence, Return, Chakra Healing Chants and more, is well worth collecting.

The musicians on Spirit Healing Chants are truly an amazing group of stars in their own right. Gifted singer-songwriter Michael Stillwater plays guitar and adds his inimitable voice to " Heart of the Mother/I am One," while Raphael contributes keyboards. Along the way, Fantuzzi gifts us with invocations and vocals on "Universal Lover," and Donnie Regalmuto offers keyboards, vocals, percussion and programming throughout. Additional artists contribute violin, bass, percussion, flutes, sax and more.

Other chants on Spirit Healing Chants that Sophia and crew do more than justice to include " Blessed are the Peacemakers," " Shakti," " Keepers of the Garden/We are the Ones" and the delightfully jazz-tinged " Celebrate this Day."

An exquisite accompaniment to tantra and other yoga practices, active meditation or massage, Spirit Healing Chants artfully and passionately celebrates the Divine in all of manifest creation. Be sure to give Sophia's new CD your undivided attention. Your heart will love you for it.

Steve Ryals has been writing music reviews since 1994, and to date has published more than 1200. Steve specializes in World Beat, Native American, New Age, Meditation, Contemporary Instrumental, Chanting, Devotional Singing, and more. He currently writes two music reviews every month as part of his Drunk with Wonder Newsletter. To sign up for his FREE newsletter go to http://www.drunkwithwonder.com

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