Incredibly 15 years have passed since Robbie Williams last appeared on stage with Take That.

So it was with baited breath that fans waited to see if he would join the quartet at a Children In Need charity concert.

And their prayers were answered - partially.

Take That opened the musical extravaganza - organised by Gary - at the Royal Albert Hall with a rendition of their hit single Greatest Day.

It was then the moment the audience had been waiting for as singer-songwriter Gary announced the 35-year-old singer on to the stage.

“What a perfect night for us to introduce an old friend,” he said as the tearful musician appeared.

Overcome with emotion, he hugged his former band mates each in turn as he soaked up the limelight with Gary Barlow, newlywed Mark Owen, Howard Donald and Jason Orange once again.

Despite hopes that the five would reunite for a special performance of an old Take That number, the boys then left Robbie on stage to sing his solo singles Bodies and You Know Me.

Speaking after the show, the Stoke-on-Trent-born star said: “I was tearing up just before I came on and the lads were singing and knowing it was just about to happen and knowing what the reactions were going to be like, and then all my team were like ‘Please don’t cry.’”

“And I think we should have milked it for a lot longer than we actually did,” Robbie added.

His sentiments were echoed by Gary himself who said: “Robbie was the icing on the cake for the whole gig. We wanted to stay on and do ten songs. It felt great having him back.”

Clearly relations between all the boys are at a high - Robbie and Gary sang together with their arms around each other’s shoulders as they joined all the evening’s acts for a finale of Beatles classic Hey Jude, led by Paul McCartney.

So does that mean there is a Take That reunion is definitely on the cards?

“We’ll save that for something special, whatever that is,” teased Robbie, denying it would be at the next Brit awards.

Many Mobile Discos have made the change from a conventional CD or Vinyl based system to a software based one, usually running on either a full sized pc or a laptop. The fundamentals of both systems are largely the same, and so you shouldn’t simply be taken in by reading other DJs horror stories about how their laptop overheated during the first dance at a Wedding or how their full sized PCs power supply exploded halfway through a gig. There are pros and cons of using both systems, but largely whether to use a full size pc or a laptop comes down to personal choice, practicality, budget and space, and you’ll often find that DJ’s criticising the opposite machine, have never actually used the system that they are criticising!. If possible visit a DJ who already uses a system to that which you intend to use yourself, nothing can sell an idea better than actually seeing it in use!, for the record, I have watched Mobile DJ’s use both PC’s and Laptops to DJ from, and neither, in my opinion, was more reliable or better than the other, so it should only be personal choice, rather than rumour or scaremongering which makes the decision on that score!.

Is running a Mobile Disco from a PC or Laptop reliable?

Anybody who has ever encountered the windows blue screen of death, or worn out the Ctrl+alt+del keys on their keyboard will possibly dread the thought of using such a system as a platform to their DJ’ing!. In essence, a decent dedicated pc or laptop with a clean install, good quality hard drive and a reasonable amount of memory will out preform most typical home pc set ups which may be running several applications at a time, be infiltrated with virus or spyware traces, and have a hard drive and registry full of corrupt enteries and partly uninstalled files.

The key to running a successful software based DJ system, is to buy a dedicated pc / laptop for the task, and to only run the operating system and DJ Software on there, and never allow it to run other applications or even connect to the internet. This way the installation runs and remains clean and largely error free, will rarely have a corrupt file, and won’t get infiltrated or bogged down with several other applications. This advice is given by DJ’s who have been using software and PC’s for many years, and have found this method of DJ’ing to be just as reliable as conventional DJ’ing from CD’s.

The advantages of using a Laptop or Pc to DJ

The advantages of converting your material to music files and using a Pc or Laptop to DJ from are many. The first is the most obvious, gone are the days where you are carrying several heavy boxes of CD’s around with you, most DJ’s CD collections can easily be converted to MP3 and will fit onto a 80gb - 200gb hard drive!. By converting to Software Dj’ing you also rid yourself of that long search through several hundred CD compilations in order to find that elusive requested track that you just know that you have got somewhere!. With most DJ Software, you can type in part or all of the artistes name or song title and find it within seconds!. It really is possible to find and cue up a request within 5 seconds - something which just can’t be done easily or quickly with a CD or vinyl collection.

Other advantages of a software based DJ system, include the possibility to create playlists from frequently used tracks, and you could create playlists from all genres, for example a playlist for background music, one for dance music, one for the 70s and one for the end of the night slowies. Of course you can also group the tracks together and catalog them according to Genre which also makes finding tracks from particular era’s easier too. Some DJ Software will also allow you to group tracks together which have a similar BPM - a boon for DJ’s who mix.

Which DJ Software should I choose?

There are many different brands and types of DJ Software about, again it comes down to personal preference which type you choose. It is always a very good idea to check out reviews and discussions on DJ Forums and if possible to find a DJ who uses a system based on the software which is of interest to you, so you can actually see it in action, in a disco environment.

Some DJ Software comes with a free trial, which enables you to download and install the software on your system and try it for for free for a time limited period (usually 10 - 30 days). Depending on the cost of the software, there can be differing features. Some Dj Software will simply allow you to cue up and play music using 2 “players”, others will have more comprehensive features, such as being able to fade between tracks, alter the pitch and tempo controls in a similar manner to conventional CD and Vinyl turntables, some of the more expensive software will even allow you to mix, or add a USB controller which looks and functions like a twin cd controller!, some Software will even mix the tracks for you!.

Remember that a feature is only worthwhile if you have a use for it!. Carefully consider what features you need, and which will be the ones that you will have any use for. It would be pointless buying a Dj Software package which allows you to mix, if you are a mobile dj who rarely has the requirement to beat mix. Most Software in its basic form, also comes with the option to add and install plug ins which give you additional updates and features, so its worth starting with the basic packages and then adding new features if and when you require them!.

My advice at this stage, if you are new to, or considering Software Dj’ing is to download the free trials of the various software which is available, try them for the time limited period, and then buy the one which suits you, and which is the most comfortable to use.

Some dj software titles which are currently popular and well reviewed by Mobile DJ’s include OTSDJ, DSSDJ and PCDJ

What type of PC do I need to run my DJ Software package

When you have decided on a software package, it is then time to consider what pc or laptop to use it on. Contrary to rumour, you don’t need the latest brand new pc or laptop to successfully run DJ Software from, and neither do you need a huge CPU processor. Most DJ Software will happily run on a pentium 3 processor with 600mhz speed or higher, many of the newer 1.2ghz+ celerons will also flawlessly run DJ software with no problems and without breaking into a sweat. Try and buy as much memory as you can afford, ideally 512mb of memory or a minimum of 256mb for most applications.

How big should I be :o)

A decent sized hard drive is the next consideration. Remember the bigger the hard drive the more individual tracks that you can fit on there. An average music file ripped at 192kbps is around 5mb in size and so a 100gb hard drive should fit around 20,000 tracks on there. However if you increase the quality of the track in MP3 format, then the file size rises also, so a 320kpbs mp3 could be as large as 11mb in size and so the same 100gb capacity would be reduced to holding only around 9000 tracks. Don’t forget to factor in space for your operating software, drivers and DJ software when working out hard drive capacity!. You can of course expand your hard drive capacity by fitting external hard drives to USB ports, and these are also reliable. If possible try and use a system which runs USB2.0 or even firewire since these run at faster data speeds than conventional USB1.1 although many Dj’s report no issues with hard drives and soundcards run from older 1.1 systems.

Give me Sound!

Using a good quality soundcard is a must!, many laptops and motherboard based sound chips on full sized pc’s rarely do justice to sound quality or are designed with full time high quality audio playback in mind. Consider installing a pci sound card in your pc, or investing in a good quality USB external soundcard if you opt to use a laptop. Most 2 channel soundcards will suffice for DJ’ing in most mobile applications, where the audio is mixed between the players on the laptop and the single output is then fed through a pair of “L” and “R” connectors on the soundcard, and then into the mixer or amplifier.

However, if more creativity is required, or the software is to be used for mixing applications or the use of a crossfader between channels on a conventional mixer is likely to be utilised, then you need to buy a 5 channel soundcard. This allows the soundcard to be set up, in a manner which allows one pair of “L” and “R” outputs to be used for “Player 1″ on the soundcard and fed into an individual channel on the mixer, and the same for “Player 2″ - this allows each software player to have its own fader on the mixer - just like a conventional twin cd player.

What Quality?

Some Dj Software packages come complete with the means to “Rip” a cd. “Ripping” means placing the original Cd into the PC’s CDROM and the process of converting the original music on the CD to MP3 Data, which is then stored on the hard drive as an MP3 File. In the case of OTSDJ, the option is also there to convert to a file called OTS, this is a custom files regonised only by the OTSDJ software, however it sounds just as good as MP3 and is also a slightly smaller file size, meaning that more OTS files can be stored on a hard drive when compared to conventional MP3 files.

If you use a DJ software package which does use conventional MP3 files, then you will need to select the quality at which to “rip”. This figure is measured in “Kbps” and often ranges from 32kbps and 320kbps. Lower ranges are not recommended for professional use over a PA system since they can sound dull and even distorted. Ideally for professional use, the DJ should be looking at ripping their CD’s to Mp3 files at 192kbps or greater.

192kbps is considered reasonable quality, however 320kbps is near cd quality and may be prefered by some Dj’s - however on smaller audio systems the difference may be hard to detect. As the quality is increased, so does the file size, and a 320kbps file may be several mb larger than its 192kbps counterpart, it may also take longer to rip an entire CD at 320kbps than at lower rates.

For Dj Software which doesn’t have ripping capability, Musicmatch Jukebox may prove to be an alternative for this process,

Are there any disadvantages to being a Digital DJ?

Now the disadvantages!. Obviously the initial cost of buying a PC / Laptop, a good quality soundcard, large hard drive and the Dj Software itself is likely to total far more than buying a conventional CD Player or turntables. It also takes time to “rip” your cd collection to Mp3 and store them on your hard drive. In some jurisdictions it is also illegal to convert original material to MP3 format for digital use without a licence, and this can prove to be expensive, if the Dj is to work on the right side of the law. It is the possible licence requirement that we discuss next.

Do I need a licence to play music from a laptop?

At the time of writing this article, an annual licence is required in Canada and the UK in order to use a PC or laptop to DJ from. In the UK, a further licence and possible royalty payment is also required for the conversion process. Although no fees have yet been advertised (April 2006) these controversal laws are likely to make this form of DJ’ing unattractive when compared to more conventional, and “licence free” alternatives.

Finally, my tips for Software Djing

* Always buy and use a dedicated pc / laptop purely for Dj use, do not be tempted to use the family pc or run other applications on the machine you use to DJ from, and do not allow this machine to connect to the internet. On a pre-used machine, also start from scratch with a format and fresh install of the operating system.

* Use a good quality soundcard, even if you need to upgrade or buy an external USB one

* Always rip the music direct from an original CD at 192kbps quality or higher. 320kbps is advised for higher quality pa systems and is near cd quality. 192kbps is okay for smaller systems used by the Mobile DJ.

* Don’t be too concerned about buying the latest top of the range PC to run from. Most Dj Software will happily run from basic P3 600mhz machines, but do check out the minimum requirements on the software authors website.

* Read reviews on the various software packages available. Stick to the features that you will use, since you can always upgrade extras later. Take advantage of the free trials of DJ Software which are available and use the time to find the best software to suit you

* If you choose a full sized PC make sure that it is professionally flightcased - pc’s are not designed to be carried around.

* Select a high capacity 100gb - 200gb hard drive from a reputable manufacturer. Where practical and legal always back up your data

* Fit your machine with at least 256mb of memory, and ideally 512mb.

* Check out the legal aspect of converting original music to MP3 and whether a licence is required to operate such a system.

You may freely use this article on your website, blog or forum, provided a working, active link is provided to the full article at http://www.djsite.info/idx/0/028/article/Running-a-Disco-from-a-Laptop-or-PC.html.

Music for the, Caged-dead

(Dead)

When worms have eaten from thy flesh

And no longer will songs help thee rest

On thy tomb crawls: vipers, toads, pests;

So shall your liar’s tongue beheld, sealed

From ashes burnt deep in hell’s tumult.

You have hours to consume, from thy tomb

Glories all solvent, now of oblivion.

Browless! Speak loud, so I can hear thee

Deep down within your dreadful cage

I hear the music for the deadwith rage;

Their heart is full of stillness, as they gaze;

Murmur their music of the caged-dead,

With a haunting battle-cry, dethroning.

Mute harps play shrewdly the banquet:

Silent gazes from the scattered skulls

Muffled light, spurn hearts, lizard-fear

It’s all wrinkled here in the grotto!…

(Witness)

I see in my dream-vision, silent clouds

Silent clouds, over head, with no sky

Only eyes, eyes, so many eyes

They turn to see me on their sides,

What stirs them so, I cannot say,

They fade and fade (away) in their cage.

(They Speak)

Said they to me: “Long we’ve been weary”

They claim there is no rest from strife and pain

Nor peace from the redly gapenights

They speak of roots winding round their cage

And dead flowers on some grassy tomb

Innocent in their death, so they seem

I notice the winds cover up their weeping.

Eternally: they wish they were sleeping.

(Dream)

Shadows now filled my dream, the dead fading
The in-descript formlessness of the dead
My mind free from them, and they from me
Ah yes! So many vaults in the mind
Filled with rainbows and darkness
Undiscovered mysteries, seas deep
Vines that stretch to eternity
Roots that storm Olympus’ Throne.

(Heaven)

When I woke up, the harps of heaven played
Twilight had a hundred shades of green
Souls gazed down from above the clouds
Tears had turned to sapphires and gold
And hearts renewed, their need for God;
Everything, even me, was comforting
The night had flutes and graceful tenderness,
And this was the end of my vision quest.

#933 11/26/05

See Dennis’ web site: http://dennissiluk.tripod.com

“If music be the food for love, play on…”

Remember the bard’s fabulous line in his romantic comedy, “Twelfth Night”, that celebrates the romantic passion of humans through the magical device of melodies? Yes, ages have passed by since, and our ardent fervor for music is miraculously magnifying with the passing of every single day. The advent of the electronic media (radio and television) has further accelerated our quest for listening to melodies with providing greater exposure to our favorite singers and their albums. Ages ago, one would have to be a privileged member of Akbar’s “sabha” to listen to the soulful chanting of Miyan Tansen. However, years and ages passed after that and the 60’s and 70’s audience today fondly remember their pristine days of “Binaca Geetmala”, where the lively and spirited Ameen Sayani popularized the concept of live music broadcasting, and brought the timeless Indian classics to our drawing rooms.

Today, with an abundance of entertainment programs on television, one cannot help noticing young boys or girls anchoring different music shows. In Channel V or MTV, which airs music shows on the TV throughout the day, almost every hour the anchor changes and a fresh face comes up. Sometimes these programs are telecast live, in which the anchor has to interact with the live audience. These professionals are referred to as Video Jockeys, responsible for anchoring the music shows and also for maintaining the interests of viewers in that particular program. In radio broadcast, these professionals with pleasant and lively voice are called radio jockeys. In India, mainly the young generation is largely dependent upon the television or radio for viewing or listening to their favorite music. With a host of international music shows on Channel V and MTV, an ardent lover of Jazz or pop can get access to music from around the world. It is a mutually gratifying world for both the VJs and RJs who are making their livelihood by anchoring and organizing live music shows on the television and radio as well as for the viewers/audience who are mostly of younger age group and make specific
request for a particular song or a set of songs and music.

While today viewers/audience of these live music shows have noticed that whether it is classical, western, jazz, rock or pop albums that they play, they have a quintessential
knowledge of beats and different forms of music. However, many of the viewers/audience would also be curious to know how they handle various hardware equipment or work on different specialized software while playing their favorite numbers live.

While the critical components of radio broadcasting operations include an audio mixer, scheduler and playback system, these days the tech-savvy Radio Jockeys mostly use powerful digital music players for FM Radio programs. With such equipment, they ensure gapless, continuous playing with intelligent mix point detection where music mixes and fades at the right point at the right time. With a host of high-end digital equipment, music is fully controlled, using the best Audio tools ever. Radio disc jockeys play music, chat, deliver news, weather, or sports, or hold conversations with celebrities or call-in listeners. Like Club DJ’s, they mix music, sound effects, and special effects and occasionally provide time-filling chatter between songs in technically equipped radio stations. Being extremely organized and synchronized is critical to the radio station, where songs fill a certain span of time and commercials are also aired during specific blocks. In most radio stations, computer software programs are used to schedule the music for each radio program or play listener requests. When DJs are “off air,” they might record commercials for later broadcast, preview new music and prepare material for later shows.

On the other hand, the advent of digital satellite and cable has brought greater diversity with Television channels such as MTV and Channel V, which focus on playing music videos and other music-related programming. With the explosion of MTV and MuchMusic in the 1980s and 1990s, music videos became a new art form, a new way for an artist or group to express their songs visually. After it’s advent in 1981, MTV started nonstop broadcasting of music-video clips intended to boost sales on the music charts. With the coming of digital video editing, the VJs of these channels have used visual manipulations and effects in music- video clips.
These days, many VJ’s even edit their material live on a computer, which could change and recompose the material in many ways. Some use found footage and other film material to tell their story, while others produce their own footage.

Today, after the advent of the Internet, live streaming music via the Internet radio stations have opened up new vistas of enjoying the melodies from all over the world. With a host of options ranging from shareware and freeware (designed to record streaming audio from online Radio stations) to webcasts and other Internet audio sources, the convergence of the Radio and Internet definitely mark the beginning of tremendous opportunities for the music aficionados.

Lopa Bhattacharya is a content writer/developer working on websites for overseas/Indian clientele. Has worked for various corporate website projects, CD-Rom presentations, brochures, flyers and other communication materials on varied themes ranging from travel, hotel industry, photography, web design and software development to US-based clubs and network communities. Was previously an editorial associate for a news, culture and entertainment portal based on the life and times of Kolkata.

Jealousy - do you feel it? Do you sense it in others? Does it hinder your relationships with other musicians? Does it sap your confidence? Does it block your creativity? Here are some questions to help you get clearer about the jealousy in your life.

1. What is my jealousy trying to teach me? Generally when I have a strong emotion towards a specific person it’s either because that person represents something about me that I can’t tolerate yet or because that person embodies something that I wish I could do or have. I remember being in a high school arts program and being incredibly envious of a fellow singer. What I was so painfully aware of (though I couldn’t have articulated it at that time) was that this person was able to fully express herself and her talents, and I couldn’t. I was a better singer at home in my bedroom than I was in front of other people, and THAT’S what I couldn’t stand about the situation. By doing what I couldn’t do, she shone a spotlight on my biggest challenge. It made it virtually impossible to have a good relationship with her.

2. How can I identify with this person as a fellow musician, instead of comparing our work? What opportunities are there for collaboration, mutual support and the exchange of ideas? Can I open myself to receiving gifts from this person - feedback, support and love? What can I, in turn, give to this person? Even the most famous, the most successful musician is a human being just like you. Find the connection. What can I give to a musician who’s newer than I am?

3. How can I develop confidence in my unique message and express this authentically? I will never sound like this other musician, or anyone else for that matter. Influences may be heard, comparisons will inevitably be made, but my words will never come out exactly like theirs, because my “story”, my life, my experiences, my collection of qualities, strengths and challenges are completely unique to me. When I honour my uniqueness my confidence grows, and it becomes pointless to compare myself to others - there’s no comparison. This quote by Martha Graham further explains what I mean.

There is a vitality, a life force, an energy, a quickening, that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. - Martha Graham, quoted by Agnes DeMille, Martha: The Life and Work of Martha Graham

4. How can I turn my attention away from this other person and back to what I can do to further my own success and creative fulfillment? If I’m jealous of someone winning a songwriting contest, I can ask myself: how many songwriting contests have I entered? If I’m jealous of the size of their fan base, I can ask myself: how am I attracting new fans and how I am deepening my relationship with the ones I have now? If I’m jealous of the number of songs they’ve written, I can ask myself: what am I choosing to do with my time instead of writing songs?

5. Now that I’ve learned from it, how can I let go of my jealousy? Often in life we hang on to emotions long after they’ve served their usefulness. They become comfortable, familiar and safer than doing the work to get to the other side of them. And yet they can also weigh us down and block our creativity. Try the analogy FEEL. First, Feel your feeling - don’t suppress it, actually let yourself feel it. Next, Express the feeling - write about it, sing about, talk about it with someone you trust, play it on an instrument or express it in art. Next, Explore the feeling - what is it trying to teach you, etc. as discussed above. And finally Let it Go. This can be as simple as saying a short prayer or affirmation (”I have let go of my jealousy”, or “I have valuable and unique gifts to offer”), or writing the feeling on a piece of paper and tearing it up.

Jealousy has a lot to teach us. So when it shows up in your life, pay attention. If you notice jealousy in others, put yourself in their shoes and help them to identify with you. Reveal your humanity. Let them know that they’ve got something to offer you.

This article was originally published on the Muses Muse Songwriter’s Resource website (December 2004) http://www.musesmuse.com.

(c) Copyright 2005, Genuine Coaching Services.

Linda Dessau, the Self-Care Coach, helps artists enhance their creativity by addressing their unique self-care issues. To receive her free monthly newsletter, “Everyday Artist”, subscribe at http://www.genuinecoaching.com/artist-newsletter.html

What does it mean to be an “organized” drummer?

When your band plays a song, do you play that song the same way every time? If not, you should. Here’s why…

It can all be summed up into one word called “predictability.” So many drummers will never play a song the same way twice. This, many times, throws the other musicians off, potentially causing a drag in timing or increasing the chances of a mislead cue.

As the drummer in a band it is your responsiblity to provide the foundation for the music. This meaning that everything you do behind the drum kit is vital. Anything you do out of the ordinary, or something the other musicians are not used to hearing you play in a particular song really has the potential to screw things up.

Experimenting is definitely a good thing, and that’s why we practice, but there just comes a time when experimenting is over. You must decide what you’re gonna do and then stick to it. Never throw in something that the other musicians are not expecting or you can end up with some serious choas.

Predictability is a must! The other musicians must know what you’re going to do before you do it. An outstanding drummer is predictable, prepared and organized, ready to bring his or her goods to the table. Personally, it has always bothered me when a band mate would come to play and he or she would just not be ready. Situations like that are just not fair to everyone else who is ready.

It’s been said that when prepardness and opportunity meet, success occurs. I don’t know what kind of “success” your hoping for, but one thing is for sure, you will more likely meet with it by being organized when opportunity knocks.

Copyright 2006 Daniel N Brown

Dan Brown has been drumming since 1976. Sign up for his FREE weekly newsletter and get tips, ideas, articles, and merchandise!
http://www.dbdrumtips.com/

It says a lot about an artist when their return to the media spotlight after a long absence is met by almost as much hype as before they went away.

And it says much more when that artist is a popstar who’s recording company is prepared to patiently wait over a decade for the next release.

Such is the case with Aerial, the new album by mysterious British songstress, Kate Bush who’s return after a 12 year hiatus has both the critics and die-hard fans buzzing with excitement.

And it would seem from first listen that it has been well worth the wait.

Aerial was written and recorded over 5 years in Bush’s home studio. It is an ambitous double CD split into two parts.

Part 1 - A Sea of Honey is a obtuse analysis of domestic contentment and features the first single King of the Mountain, as well as such interesting pieces as How to be Invisible, a ode to her son Bertie, and an interesting musical interpretation of the mathematical calculation Pi.

Part 2 - A Sky of Honey is a conceptual piece in nine parts, built around recurring motifs of light and birdsong (the album’s cover art, which seems to show a mountain range at sunset is in fact a waveform which represents birdsong), following a day from afternoon through dusk and night and on to sunrise.

The album ignores all current world pretentions by featuring an array of somewhat “unhip” artists such as Rolf Harris, Lol Creme (10CC), Gary Booker (Procol Harum), and Nick Kamen who completed his offerings shorty before his death in 2003. Also back is drummer Stuart Elliott who has appeared on every one of her albums.

In the gap since 1993’s The Red Shoes, the myth of Kate Bush has grown to extraordinary heights. Rumours that she had become a recluse, or suffered a breakdown and gone off into la la land have now finally been dismissed. In fact she has simply been doing nothing more peculiar than being a mother bringing up her son, and watching on while people made up nutty stories about her.

But don’t expect a world tour any time soon though as the reluctant popstar has agreed to only a handful of interviews for the new album prefering the music speak for itself.

Kate Bush has come a long way since she was discovered by Dave Gilmour (Pink Floyd) and signed to EMI at the tender age of 16 and celebrating international success with Wuthering Heights.

But as the soothing etherial sounds of Aerial wash over you, one could be forgiven for thinking time has simply stood still.

Peter Shuttlewood is the author of webzine freshread which contains articles on Popular Culture with an Australian slant. freshread - the everyday in a fresh way.

I love to reminisce about the old days when sheet music played an important part in the pop music culture of the time. As soon as a new song was introduced, either by a burlesque singer or by being sent out on radio waves, millions of people would rush out to the music or department store to buy the latest song in sheet music form. Almost everybody owned a piano or could visit as friend who was lucky enough to have one. Piano lessons were part of every child’s education in those days.

A while ago, our chorus music committee leader needed some pictures to supply a theme for the upcoming show on Irving Berlin melodies. I was able to gladden him with twenty samples of songs Berlin wrote in their original colorful form. Today, these graphic reminders of past musical pleasures are available from many sources. Most antique stores have a box of old music you can go through. Relatives who are up in years often have a box or suitcase full of old sheet music they are glad to get rid or. Garage sales and rummage bazaars occasionally have donated to them whole boxes of music. Of course, as a collector you only want music sheets which are in excellent condition.

Most fun are the songs of Tin Pan Alley from the early 1900’s. I have found some rare examples of sheet music from the mid 1800’s, but I have never heart these songs sung.

You also may want to limit your collection to a certain category that pleases you. Most valuable are portrayals of ethnic life in America, covers with pictures of ships, planes or automobiles, or of famous people. It goes without saying that there are certain rare covers which bring huge prices, but you don’t have to worry about finding one of those, even though you never know. Easier to collect are sheet music featuring girl’s names, (wanted by their namesakes), famous singers, movie and Broadway hits, and patriotic themes.

I’m sure your older relatives or grandparents can sing or even play most of the songs you find. It’s fun to categorize and preserve your sheet music collection in clear plastic sleeves and chat or trade around the world with other collectors. I found it not too difficult to produce a CD presentation including two or three hundred of your favorite covers along with names of the composer and date, the lyricist, and the celebrity on the front. If you are offering them for sale, include the price. You can follow the popular price guides or depend on supply and demand. Most excellent quality sheet music covers of a collectible nature are worth from ten to twenty dollars on the market to the right people. You might even find a copy of ‘Their Song’ for framing.

Retired portrait photographer. Main hobby - quartet singing the old songs.

Do you know what it costs to take piano lessons these days? Anywhere from $30 to $60 an hour depending on the teacher and the studio. But, if you have a computer and a pair of speakers, it can cost you as little as $9.95 a month!

To play piano online, you need to know what to expect. There won’t be anyone looking over your shoulder correcting you as you go along. No instant feedback or suggestions on fingering. What you do get is the chance to work at your own pace and learn at your own pace - something adults really appreciate.

Most adults simply do not have the time to schedule an additional hour a week many piano teachers require their students to do. It’s just not feasible. When you learn to play piano online however, you can login and take lessons whenever and wherever you want.

Many online piano lessons feature audio examples where you can actually hear the instructor demonstrating the example. This is a feature you should look for. Some online instructors also have “office hours” where you can ask questions and get feedback on any problems you may encounter.

The real benefit however is the money you can save. If you’re someone who needs constant feedback and assistance, learning to play piano online may not be for you. But if you like the idea of taking your time and working at your own pace and saving a lot of money, you should consider trying the online piano lessons that are currently available.

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. Stop by now at http://www.quiescencemusic.com/piano_lessons.html for a FREE piano lesson!

Piano students need to have knowledge and understanding of musical concepts in a way that they can apply to their playing. For example, students often have difficulty understanding the musical term syncopation. They can memorize the definition, but don’t know what it sounds like or how to do it. Here’s an easy way to explain this to kids taking piano lessons.

Rock music follows a strict 4/4 tempo, or four beats to every measure. The first beat of the measure is emphasized. Similarly, cheerleaders follow a 4/4 beat to scream their cheers. Try this count a steady 4 beats and keep repeating.

1 - 2 - 3 - 4, 1 - 2 - 3 - 4, 1 - 2 - 3 - 4, 1 - 2 - 3 - 4, 1 - 2 - 3 - 4, 1 - 2 - 3 4…

Clap on each beat emphasizing the first beats. This is a steady rock beat or an “Indian” beat that cheerleaders and the marching band might use during half-time at a football game. It doesn’t have a rhythm really, just a steady single beats.

Now create a syncopated rhythm. Clap the beats out, but hold out beat 4 and don’t clap on the next, or first, beat. Instead emphasize the 2nd beats. Like this:

1 - 2 - 3 - 4…hold - 2 - 3 - 4….hold - 2 - 3 - 4….hold 2 - 3 - 4….hold - 2 - 3 - 4….

Syncopation means to emphasize what would normally be a “weak” beat. Not playing on the first beat creates a sense of anticipation gives music a jazzy feeling that makes your want to tap your toe.

The Entertainer, by Scott Joplin, which was popularized by the 1973 movie, The Sting, has a syncopated rhythm common to ragtime music. Ragtime music has a steady 4/4 bass beat that supports a “ragged,” syncopated melody that keeps trying to interrupt the bass.

Have your child in piano lessons try the exercise above. Then get a CD or the sheet music of The Entertainer. You can find a simplified arrangement for children taking piano lessons online or at your local music store. It would make a nice Birthday or Christmas gift and you’ll love hearing them play this syncopated, ragtime music written by Scott Joplin (1868-1917).

For great home piano activities parents can use to help children ages 5 to 11 develop their musical talent, visit Piano Adventure Bears Music Education Resources You’ll find a treasure box filled with piano resources to create an exciting musical adventure for your child - right in your own home! Visit their website and subscribe to their f’ree internet newsletter so you can download f’ree piano sheet music and mp3s of original piano compositions.

These exciting stories, games, piano lessons, and inspirational gifts feature the Piano Adventure Bears, Mrs. Treble Beary and her new piano student, Albeart Littlebud. Young students follow along with Albeart to learn what piano lessons are all about in a fun way that kids readily understand appreciate. Click here to visit PianoAdventureBears.com For a wealth of information about piano lessons, visit tallypiano.com