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start playing now . practice until your fingers bleed . surround yourself with talented musicians . be precise . learn how to read guitar tab . study classical music . learn the ins and outs of reading music . understand chord theory . play with emotion . | how to be a guitar god | the greatest of the great started becoming acquainted with their guitars as soon as they could get their hands on one , although there are many great guitarists who didnt even touch a guitar until their teens clapton and lennon for example or even older glenn tipton , k . k . downing , tom scholz but even if you are a teen but have never held a guitar before , its never too late to be a guitar god , so dont be discouraged . the point is to start playing as early as you can . stop making excuses , stop saying you need the perfect guitar , stop waiting to be inspired , and stop wasting another minute to learn how to develop your inner guitar god . theres no reason to wait . theres a very good chance that you will not be good at first . everyone has to start out being bad , so they can improve from there . think of it this way - babies are terrible at walking , little children struggle with talking . but they keep doing it , without feeling bad about themselves . eventually those babies grow up to kick you in the face and insult your mother . cant afford a nice guitar for now , buy an inexpensive guitar when you first start . you only need to get comfortable with the new movements with your fingers . its only a temporary measure see warnings but its better than nothing - - okay , maybe bleeding fingers arent the smartest way to go see tips , but you get the idea . eddie van halen used to walk around his house with the guitar strapped on and unplugged , practicing incessantly hed sit on his bed for hours on end with a guitar while other people went to parties . are you ready and willing to do the same get your priorities straight and learn to multitask . its all about dedication and discipline . ever heard the sayings , greatness breeds greatness or you are who you hang around both statements are true . if you want to be a guitar god , you have to play with the best guitar players you can find . you will learn more in a month playing with an accomplished guitar player than you will in a year practicing by yourself . if you dont know any off hand , go meet some . go to local shows and introduce yourself to the guitarists or connect with local musicians online . just because youre starting doesnt give you an excuse to be sloppy . like in tai chi , if you practice very slowly with 100 percent concentration , youll become five times faster and better so when you practice , do it slowly and concentrate . youll be amazed at the results . if you dont have an experienced instructor or high quality equipment , this may be difficult , but you have to be a stickler for technique . do your homework and ask questions . be persistent . if you know someone whos an excellent guitar player , dont be shy . walk up to them with the guitar strapped on , politely request a moment of their time , and ask them if your finger placement for a particular chord or technique is correct . most experts , when they see an error , are compelled to correct it out of their love of the art . study your idols . listen to other guitarists riffs and solos and learn them . some techniques that are worth learning harmonics and pinch harmonics palm muting vibrato hammer onspull offs . scales you should be familiar with major and minor be able to play scales forwards as well as backwards , moving from scale to scale in a given key pentatonic major and minor in all the positions , so you can easily move in your solos guitar tab is the guitarists form of sheet music . becoming a great guitar player means learning the ins and outs of some of musics best guitar ballads . you can search the web for tabs . if you want to be the best , you have to learn from the best . a few to begin with jimi hendrix , stevie ray vaughan , jeff beck , eric clapton , eddie van halen , angus young , joe perry , keith richards , steve vai , john petrucci , jonny greenwood , jimmy page , chuck berry , john frusciante , and john mayer . learn a few of each of their greatest songs and dont forget to play them slowly until you get them down . it may seem worlds apart from the music you envision yourself playing , but practically all of the guitar geniuses that you look up to have studied classical technique at one point or another . malmsteen , for example , was heavily influenced by 19th century violin virtuoso niccolò paganini . in the process of adapting paganini concerto pieces on guitar , he fostered a prodigious technical fluency that would later make jaws drop . additionally , eddie van halen began his musical aspirations with classical piano before he discovered the freedom of guitar . randy rhoads was an avid player and listener of classical music . sure , stevie ray vaughan was amazing and he didnt know how to read music , but if you just sit down and learn to read and transpose music , you will be much better off . not only will you know what sounds good , you will know how to put it into writing and you will learn deeper elements of music . music is not just the notes you are playing , but the pause between notes and the composition of good music . learn as many chords and inversions as you can . become familiar with how they sound and why you use them . even if you arent playing jazz , where you would typically hear many of these chords , knowing the notes and sounds of these chords can make your soloing more interesting . some of the greatest rock guitar solos are actually very jazz - influenced . once youve developed proficiency , you can use the guitar for freedom of expression . you can feel the music in your blood , and make other people feel it , too . remember , the greatest musicians of all time , the ones who are most deeply respected , are the ones who could move others emotionally with their music . music is a form of communication , if you have something to express , do your best to produce what you hear or feel . believe you can become a breath - taking guitarist - - it makes such a difference if you know you will be brilliant . |
break out of your comfort zone . write out everything you know on your favourite key including chords , scales , chord structures , scale patterns , and licks . devote at least two hours daily to practice . practice until you have developed muscle memory you can play it without much effort . dont be afraid of mistakes . as you move from one key to another , do this in perfect fourths or fifths . practice all the triads major , minor , diminished and augmented . practice the seventh chords maj . 7 , min . 7 , dim . 7 , dom . 7 , etc . afterwards , begin to learn standard progressions and their substitutions on each key , one at a time . begin to incorporate all the licks you already know on your favourite key into all other keys , one by one . | how to quit transpose on piano | this means , stop using the transpose button gradually , until not using it becomes the new normal for you . it is helpful to write out these tools using solfa notation , as this will make it easy to transcribe to other keys . choose one key per week , then at the end of the week , rehearse everything you have practiced . note the difference between practice time and rehearsal time . in practice time , you are learning new material , while in rehearsal time , you are revising the material you already learnt . also , when practicing , be sure to have your fingers as relaxed as possible , as this would help improve on speed and accuracy , though much focus should be placed on accuracy what doesnt kill you only makes you stronger . for example , if you are learning key c on a certain week , move over to key f or key g the next week . the reason for this is because keys a perfect fourth interval apart are very much similar , with a difference of only one extra black note . for example , if youre moving from key c to key f , there is only one added black note which is a . include all the inversions of the key youre learning . practice their inversions of the key . examples are the 2 - 5 - 1 , 7 - 3 - 6 , 7 - 3 - 6 - 2 - 5 - 1 , b5 - 7 - 3 , and 5 - 1 - 4 . in about two months , with some level of discipline and consistency , you should be able to break out of the transpose comfort zone . |
remove the old strings . get your new strings . | how to change classical guitar strings 1 | there are a few ways to do this . some people argue that the neck still needs tension and to only change one string at a time , while others say removing all of the strings is good to clean the neck––take your pick . cut them . grab a pair of scissors and snip all six strings or just one . by cutting off the strings , you will still have to remove the small scrap parts such as the parts around the bridge . unwind them until they fall off . although this way is longer , its much safer as you wont have pieces of guitar string flying everywhere and all over your room . its best to use a string winder as this makes the process much faster . if you dont have one , just loosen the string like you would to tune it down until you can slide it out of the guitar . if youve picked up a set of acoustic guitar strings , that usually means steel strings . you want classical . never string a classical guitar with steel strings . this will put way too much pressure on the neck , eventually causing it to bend and crack , not to mention they sound awful on a classical . only use classical strings on your classical guitar . you can pick up some cheap ones at a local music shop or off the internet . |
6th string . 3rd string . | how to change classical guitar strings 2 | put the string through the bridge . you want it going from the inside to outside . you will probably need 4 - 5 inches 10 - 12 . 5cm of string through the bridge . loop the string around once . you want it going under the other half of the string . tuck it under the loop once . hold the string down against the soundboard . this is important because if you do not hold the string down , it will be sticking up . this will make it loose and it will probably come undone . tighten it up . do this by pulling the string from both sides . you want it as tight as you can get it . repeat with the 5th and 4th strings . the 6th , 5th and 4th strings are done in the exact same way , but the last three strings are done slightly different . its mostly the same but you wind it around a few more times . put the string through the bridge . you want it going from the inside to outside . you will probably need 4 - 5 inches 10 - 12 . 5cm of string through the bridge . loop the string around once . you want it going under the other half of the string . tuck it under the loop three times . this makes the string tighter and more secure , which means its less likely to come loose . tighten it up . do this by pulling the string from both sides . repeat with the 2nd and 1st strings . |
turn the tuning peg until the hole is at the front of the guitar . put the string through the hole once . go back through the gap above the capstan . pull the part of the string you want to wind underneath the string itself . go back through the hole above the capstan . hold the loose string and tighten it up the same way you would to tune it up . | how to change classical guitar strings 3 | the string will be easier to work with if you can actually see what youre doing . there are other methods where the string goes through the hole twice , this method is harder and the first way works just as well . the capstan is the white plastic part that you wind the string around . , keep winding until the string is in tune . you can let go of the string after a while . |
make sure you have enough money saved up to buy a violin . know where to buy . go to the place you found and look at what they have in store , look at the pricing range , the quality , and the artistic touch . ask for the type of wood it was made from . ask for the type of varnish . ask if you can take it home to practice on it . find out where and when it was made . dont cheap out on the bow . when you are absolutely sure youve found a good violin within your budget , follow through with your purchase . | how to buy a violin | you can get a student violin in a price range of about 100 - 300 dollars . better violins can range from 400 - 50 , 000 . you may be able to find a decent one for about 500 - 600 . anything around 100 may not be very good quality . the reason some violins are more expensive is because of who made them . once you get to 10 , 000 the quality of the instrument doesnt change , just the brand . have your mind set on where you are going to go , search the internet , looking for places that sell violins at reasonable prices , but dont go too low , or you may be buying a fake . if theres any doubt , refer to the above step when buying or look at the source . in addition , be sure to check the reviews on websites such as amazon . be sure to only look at reviews with verified purchases . how much does a good violin cost if you like what you see , continue on to step 4 . if not , go back and look for another one . after all , youre spending quite a bit of money on this instrument . maple , spruce , ebony , willow , boxwood , and rosewood are the best woods , and it is recommended that you dont buy any other types . , many places are very generous and will allow you to do so for up to two weeks , which is plenty of time for you to decide whether or not it is the right violin for you . practice different techniques , styles , and pieces on it to ensure that it will respond well to all of these . also test it out with the bow you own , as the sound a violin makes when played with one bow can definitely vary from the sound it makes when played with another . the violins usually have it written on the inside . many good quality violins are from germany , or in some cases , austria . it will be tempting to , but the bow is still an important piece of the instrument . again , look at the reviews bows should be about 20 - 40 normally , however , higher quality bows may be above 50 or even into the hundreds . carbon fiber is a manmade material to mimic pernambuco . pernambuco is a very high quality type of wood bows made of it are usually at least 100 . brazilwood is another type of wood , it is also good . ask for the bow hair material , for real horsehair is usually better than plasticnylon hair . |
adjust your seat or bench at the piano . line up your feet up with the pedals . practice pressing down and up on each pedal . keep your heels on the floor while playing . experiment with how far you depress the pedals . control the damper pedal with your right foot . depress the soft pedal with your left foot . layer notes with the sostenuto pedal . watch for pedal markings on sheet music . coordinate your hand and foot movements . use your own discretion when there arent any markings . | how to use piano foot pedals | for best posture and reach , make sure that when you are sitting your feet are flat on the floor . also , be sure that you can comfortably reach the pedals without having to move in your seat while playing . instead of coming at an angle , position your right and left foot so that the big toe of each foot is in line with the far left and right pedals . since you wont be able to look at the pedals while you play piano , keeping your legs and feet straight will help you find the pedals blindly . use the ball of your foot to cover only the rounded end of the pedal . depress the pedals by pivoting your foot up and down , using only the front part of your foot . release pedals with smooth movements because lifting a pedal abruptly and not gently will create jerky chord progressions and choppy notes . only use the front part of your foot to press down so that you dont move your entire leg each time which slows down your playing . your right foot is only used to press down the damper pedal which is the one on the far right . your left foot plays both the soft pedal and sostenuto pedals which are the far left and middle pedal , respectively . use only the ball of your foot to depress the pedals and keeping your heels planted . by isolating those smaller foot muscles , youre using fine motor skills to operate the pedals more sensitively and skillfully . you can press a pedal down all the way , halfway , or a quarter of the way down . each increment changes an aspect of the pianos sound while youre playing . take the time to play around and listen to the changes in a notes sound quality as you adjust the pedal . pressing any of the pedals lifts the dampers inside the piano . lifting the dampers allows the strings that are attached to the piano keys to vibrate and make sounds . pushing a pedal part of the way down only partially lifts the dampers , so the pedals effects are diminished . on the far right of your pedal set is the damper which is the most commonly used one . this pedal lifts all dampers from the stings of the keys so that they can vibrate freely . keep this pedal depressed to join notes together smoothly , make a group of chords crescendo , or to make a piece music resonate as it ends . depending a musical notations , depress the damper pedal before , at the same time , or after you play a note . each difference in timing produces unique sound effects . the dampers on all the strings are raised when the damper pedal is used , as well as the intended ones . the one set of strings vibrations causes sympathetic vibrations with all the other strings and also sustains the notes played until the pedal is released . press the far left pedal when you play a note or chord whose quality of sound you want to soften . you can mute or incorporate an ethereal tone to your piano playing by interspersing this pedal throughout a piece . the soft pedal manipulates the hammer that strikes the strings that are attached to any key that you play . different keys have different amounts of strings and using the soft pedal shifts the hammer to strike fewer strings for a more muted sound . you can still play loudly while pressing the soft pedal . striking keys harder than normal will override the effect of the soft pedal . dont use the soft pedal as an excuse not to learn to play softly . you should still be able to control your fingers to play keys quietly without a pedal . press the sostenuto pedal at the same time as a note or chord that you want to accentuate and sustain . the sostenuto pedal will prolong the sound of that particular note while you play other notes that are unaffected by the pedal . for example , you can play a bass note and at the same time depress the sostenuto so that you can prolong the bass note while playing staccato soprano keys that are not sustained . you can still use the damper pedal while using the sostenuto . this allows you to give multiple notes different dynamics all at the same time . each pedal is notated by a different abbreviated word or symbol on a sheet of music . these notations are usually found running underneath of the staff for the treble or bass clef . to depress or engage the damper pedal , you will see either ped . in plain or flourished script . soft pedal markings on a sheet of music appear as una corda to tell you to use it and tre corde to stop . the sostenuto isnt used very often but when a piece of music calls for it , there will be markings that read sost . ped . when the composer wants you to release a pedal , there will be a symbol that resembles an asterisk . depending on when you play a note or chord and when you depress a pedal , you can create various sound effects . it takes practice to be able to play the piano with hands while also paying attention to where and when your feet are moving on the pedals . as you practice , go slowly so that your brain can become accustomed to multitasking . preliminary pedaling is when you use a pedal before playing a note . this gives off a deep , rich sound because the dampers are taken off the keys and the strings are allowed to vibrate and create sound freely . use a pedal while simultaneously playing a note to accentuate its sound . when you play notes while holding down the damper pedal , you accumulate volume , or cause a crescendo that grows louder as it is sustained . change or disengage and reengage the pedal often to help maintain tonal quality and integrity . holding down a pedal can muddy up the sound . you may come across a piece of music that is void of pedal markings . as you practice the piece , pay attention to the overall tone and theme of the music . a fast - paced tune might not need a lot of damper pedal whereas a somber piece might benefit from the damper pedal as well as the soft pedal for a melancholy effect . |
wash your hands . get several cleaning cloths . wipe down the strings . wipe the bow . wipe down the face of the violin . clean the bridge . know when to polish your violin . get the right type of polish . use a cloth to polish . limit the places you touch with your hands . clean your case . know when its time for a professional tune - up . | how to clean a violin | after your practice session , you will likely have some rosin , sweat , and grime on your hands which you dont want to accidentally transfer onto different parts of your violin . cleaning cloths help prevent buildup of rosin and other substances and also keep your violin looking nice by removing fingerprints and other markings . you always want to have at least two soft , clean , lint - free cloths to wipe down the various parts of your violin . be sure to keep these cleaning cloths in your violin case so that theyre on hand at all times . you can buy cleaning cloths that are specially made for violin cleaning , such as shar or glaesel , but you can also use what you have , such as flannel . just be sure you are using a cloth that is soft and non - abrasive . it is important to wipe down the strings of your violin after each playing session because rosin can quickly accumulate and change the sound of your instrument . this is an easy step that should become a regular habit after practicing . using one cloth , wipe the rosin off each individual string , moving up and down each string in a sliding motion . be sure to wipe off any rosin flakes that might break off during this step . if there is a build - up of rosin on your strings that you cannot wipe off , you can use pure alcohol to remove this . put a few drops of alcohol on the cloth and rub on the strings , but be careful to ensure that the alcohol does not touch any other part of the violin as alcohol will damage the varnish . just like on the strings , rosin can build up relatively quickly on the bow . you can use the same cloth you used for the strings as you are wiping away the same substance . just as with the strings , simply take the cleaning cloth to wipe down the bow in the direction that the hairs are running in . do not go against the grain , just wipe up and down using a light touch . the face of the violin refers to its body , excluding the strings or neck of the violin . you will want to use a different cloth for this step , as you want to avoid rubbing rosin or any other substance onto the violin . when wiping the f - holes , take care to ensure the cloth does not get caught in them . the woodwork of f - holes is delicate and can change or ruin the sound of the violin if damaged . the bridge of the violin is liable to have collected some rosin during your practice session . use a cloth to dust the rosin out from under the bridge but maintain a light touch , as the bridge is very fragile . try using a q - tip for those spots that are especially hard to reach . having a polished violin keeps the varnish in good shape and also takes care of the gunky build up that inevitably occurs after years of playing any instrument . if your violin is new or in good shape , you may not need to polish it at all . however , if your instrument is dull and hasnt been polished in a long time a year or more , you may want to polish it . check with your luthier a specialist in string instruments if you arent sure . only use a commercial violin polish rather than furniture polish or water as these can damage both the varnish and sound of the violin . never use violin cleaners or polishes on master instruments or antiques , because the oils they contain could open a crack and make your instrument difficult to restore . polishes generally contain some type of oil , which can create fissures in the violins wood and damage the instrument in the long run . therefore , there is some disagreement over whether polishes should be used on violins at all . if you do decide to use polish on your violin , be sure to follow the specific instructions that come with your polish and be careful to only polish the body of the violin . apply polish to the cloth , not directly on the instrument . rub out the smudges , dirt , any rosin buildup , using the cloth . buff on all sides , but be careful around the f - holes to prevent polish buildup . then take a separate rag to wipe off any excess polish to prevent moisture from entering in and damaging the violin . avoid the strings and bridge of the violin as you dont want any polish building up on these parts and affecting the sound of the instrument . the oils and sweat on your skin can attack the varnish of your violin and leave marks . the less skin contact you make with your violin , the longer it will last in terms of great sound and appearance . practice lifting and holding your violin as little as possible until it becomes second nature to not grab and touch your violin all over its body . though people often forget about this step , your violin will not stay clean if its storage case is not clean . empty and vacuum out your case once a week or once you start seeing flakes of dust , dirt , and rosin . this step has the added benefit of preventing dust mites that may eat your violins bow hair . if you start to notice cracks or other changes in your violin , its time to take your instrument into a reputable violin maker or music store . |
research bow materials . decide what size and weight are right for you . learn about the importance of shaft shape . study the importance of national origin . | how to buy a violin bow 1 | one of the most important factors to consider in buying a bow is what it is made of . depending on your level of experience , monetary resources , and personal preferences , there are four different choices you could makefiberglass bows are the most inexpensive . they come with many student violins . they are durable and affordable , but not adequate for more advanced players . brazilwood is the term used to describe bows made from tropical hardwoods . these are inexpensive bows that are ideal for beginners or intermediate players . pernambuco , a dense , heavy wood from brazil , has been used in most of the best bows since the 18the century . pernambuco bows are increasingly rare , due to environmental devastation , and therefore are much more expensive . however , these bows are thought to provide an ideal balance of strength , responsiveness , and elasticity for the advanced violinist . carbon - fiber bows are built to approximate the qualities of pernambuco , and have become increasingly popular in recent years as the real thing has become harder to obtain . they are a reasonable approximation of their wooden counterparts , and are more affordable and durable . violin bows come in a variety of lengths and weights , and choosing the right one is important for maximizing your potential as a violinist . the average adult violin bow weights about 60 grams , and some violinists will not play any bow that strays much from this weight . however , some high quality bows weigh as little as 54 grams , so dont be afraid of a lighter bow . on the other hand , a bow weighing more than 66 to 68 grams will be too heavy for most violinists . the size of the bow is also important . too long a bow can be cumbersome for children and other people of smaller build , but a short bow loses some flexibility , thus limiting the range of expression possible . anything smaller than 34 size will result in a loss of flexibility . the good news is that student learners generally will not have the technical skills required for the sophisticated bow strokes a longer bow allows for anyway . violin bow shafts come in two different shapes round and octagonal . octagonal bows are generally harder to find . many violin players prefer the look of octagonal bows . that said , octagonal bows are often stiffer , which decreases the flexibility of a bow and limits some of the nuance that can be achieved in your bow strokes . especially when buying a vintage bow , many expert players consider the country of origin of the bow to be important . english bows are almost always made for professional use . those from the 1920s and earlier are particularly sought after . german bows have a bad reputation because historically , many of the cheap student bows were manufactured there . even so , there have been many fine german bow makers such as heinrich knopf and otto hoyer . vintage french bows are the most sought after and expensive of all . if youre buying a newer bow , you can get a close approximation made elsewhere , as the parisian style of bow - making has spread to the us , the uk , and ireland . |
visit a shop . check the straightness of each bow . test the strength of each bow . play - test the bows . | how to buy a violin bow 2 | the best way to choose a bow is by visiting a music shop , so that you can inspect the bows first - hand . especially for an advanced player , you do not want to buy a bow online . bring your own violin when you go the shop . you will want to determine how any bow you are considering buying feels with your violin . the violin bow should be straight from end to end when examined on a flat surface . another approach is to hold the bow away from you and look down the length of the shaft . if there is a slight curve to the left , this may be acceptable , but any curve to the right is not . a curve to the right increases the chances of the shaft hitting the strings . for each bow you are considering , test its strength by pulling it across the strings of your violin once , with normal playing pressure . tightened to normal tension , the shaft should not touch the strings when you do this . likewise , the bow should not bend to the left or right when played with normal force . once youve narrowed the bows down to a few that are strong , straight , and in your price range , test each bow by playing a piece of music you are familiar with . this way , you will know if the bow feels right playing music you would normally play . specifically , take note of the following responsivenessbounce . a bow should have little bit of bounce when it strikes the strings . this is part of what allow for quick bow strokes . start each bow off playing slowly , and then gradually increase your speed to see how it performs . balance . hold the bow at a 45 degree angle . it should feel balanced an comfortable from end to end . sound . even with the best violin , a bow which is too flexible may not have a clear sound , while one that is not flexible enough may have a rough or edgy sound . find a bow that sounds good to you . natural feel . the true test of a bow is whether or not it feels right . this is a somewhat subjective criterion , but the right bow for you will feel natural to play with . you shouldnt have to think about the bow while you are playing . |
compare prices . compare warranties . purchase the best bow you can afford . | how to buy a violin bow 3 | check the prices of the different bows youve tested . remember that the highest - priced bow is not necessarily the best one . a fiberglass bow should cost about 20 to 50 . a brazilwood bow should cost between 50 and 200 . a pernambuco bow could cost between several hundred and several thousand dollars , with antique french bows at the high end of the range . a carbon fiber bow should cost about 300 . a new violin bow will often come with a warranty covering defects or other problems . these warranties usually will not cover replacement of the hair . if you are buying a bow brand new , consider your warranty options . bows are expensive and you dont want to have to pay to replace yours if it turns out to be defective in some way . used and vintage bows will probably not have a warranty . taking into account quality , cost , and warranty , select the best bow you can afford . take it home and start playing if you are still uncertain about which bow to buy , some stores will allow you to take a bow home and try it for a few days . |
decide what type of song you want to write . decide what you want your song to be about . find your tone . choose a title . discover your melody . get blank music staff paper . decide on a time signature . discover your key . find out your chord progression . create a chorus . create verses . create a bridge . transpose your song . structure your song . make an intro . play around . write lyrics . practice your song . find your audience . perform your song . listen to feedback . | how to write a song for piano | do you want to write a pop song , a country song or even a classical song take some time to listen to a few examples of whichever you choose to get a feel for them . take note of the rhythms and structure of other songs of the type you choose . your notes will help you stay on the right track . choose the type of song youd like to listen to . it will keep you motivated . take a few minutes to meditate about the things that are important to you . you may want to write a love song for your sweetie or a song about a historical event . make sure your topic is something you personally connect with . give your song an emotional core . how do you want your audience to feel when they listen to your song your tone will affect the way you write the song . a song about a new love would likely be upbeat and happy , while a song about the death of a loved one would likely be slow and somber . elton johns emotional tribute to marilyn monroe , candle in the wind , is a perfect example of a song with a powerful somber tone . over twenty years after he wrote the song , john would play it beautifully at the funeral of princess diana . bruno mars amazing , about the joy of being in love , is a perfect example of a song with an effective upbeat and happy tone . think about your feelings toward the subject of your song and choose a mood that will communicate it to the audience . always keep your eyes and ears open for possible titles . you never know where you might find a great one . skim newspapers . read books . have conversations . the perfect title could reveal itself to you in the unlikeliest of places . another great way to find a title is to make a metaphor for your topic . if your title comes from a conversation with someone else , be sure to ask that person permission before you use it . play around on your piano for a while and try to find a tune that fits your mood . try to feel the the emotion you wish to invoke while you play . if its a happy song , let your fingers be light and bouncy . if its a sad song , slow everything down and take time to let the notes resonate . you can even hum your melody first and then try to find the corresponding keys on the piano . keep it simple and catchy for now . youll build on it later . you can download blank staff paper off the internet or buy it at almost any music store . if you prefer , you can even create your own . make two rows of five straight lines , one on top of the other with some space in between . then split each row into four columns to make the measures . be sure to use a ruler so that you get clear straight lines . a time signature notifies you how a song will be counted . youll see it written like a fraction at the beginning of any piece of music . common time means that the song has a signature of 44 . the top number means that youll have 4 beats in a measure . the bottom number means that youll count each beat as a quarter note . in common time , there a few different types of notes that have varying values . a half note has the value of two quarter notes or two beats . a whole note has the value of four quarter notes or four beats . an eighth note has the value of one half of a quarter note . a dot immediately following a note increases that note by half its value . a half note would then last for three beats . the key is basically the arrangements of sharps and flats in your song . if you have no sharps or flats in your scale , you will be in the key of c major . for every fifth you move up from c , you add a sharp black key above a note to your scale . if you move from the key of c to the key of g , you would add an f sharp . for every fifth you move down from c , you add a flat to your scale . so if you dropped from the key of c to the key of f , you would add a b flat . this system is called the circle of fifths . the order in which sharps are added is f , c , g , d , a , e , b . the order in which flats are added is reversed , b , e , a , d , g , c , f . minor keys have a darker tone and follow the same rules . the key of a minor has no sharps or flats and you can move up or down from there . a good chord progression for your song will give it rhythm . there are few different chord progressions you can follow . one of the most popular is the nashville progression . to use the nashville progression , youll have to find your root chord , the same as your key your dominant chord , the fifth chord above your root your sub - dominant chord the fourth chord above your root and the six chord this will be a minor chord . this may sound confusing but its actually pretty easy . if youre in the key of c , you would count a fifth step from c to find your dominant chord . you would say c , d , e , f , g . g would be your dominant chord . in the key of c , c is your root chord , g is your dominant chord , f is your sub - dominant chord , and a minor is your six chord your chorus will be the most recognizable part of your song . its the part of your song that will hook your audience in . youll repeat it , exactly the same way , over and over throughout your song . you want it to be as catchy as possible . you can set your chorus apart from the rest of your song by making it louder . make it emotionally moving . your audience will likely connect with your chorus more than any other part of your song . verses tell the story of the song . if your song has lyrics , your verses should relate to the chorus . your song should have several verses and each one should come before a chorus . all your verses should have a similar tune . you can make each verse its own story or you can continue a story through all your verses . your last verse should be the payoff . it should reward the audience for listening to the song and end the story . for example , if your song is about falling in love , the last verse may be about when the lovers finally kiss . your bridge will only appear in your song once . it serves to break up the song and its tune should be very different , musically , than that of the rest of your song . a good place to put your bridge is after two cycles of your verse and chorus . introduce a new tune or rhythm in your bridge . try to surprise your audience with a unique bridge they never expected . . write down your melody on your staff paper . remember that most of the tune of the song should be written in the treble clef the top clef to the right of middle c on the piano and played with your right hand . the notes in your bass clef the bottom clef to the left of middle c on the piano should be played with your left hand and used mostly to keep rhythm . chords in your bass clef can be a great way to keep rhythm . the notes on the lines in the treble clef from bottom to top are e , g , b , d , f . they can be remembered by the device every good boy does fine . the notes on the spaces of the treble clef are f , a , c , e . you can remember they spell face . the notes on the lines in the bass clef are g , b , d , f , a . you can remember them with the device great big dogs fight animals . the notes on spaces of the bass clef are a , c , e , g . you can remember them with the device all cows eat grass . when youve written all the parts of your song , arrange them in the best possible order . decide how many times you want to repeat your melody and chorus . choose the best place to play your bridge . find the best flow for your song . you can always change this later on . what sounds like the best arrangement today may not sound as good the next day . write an attention grabbing intro to begin your song . make sure it fits in with your key and time signature . keep the intro short and sweet , you want to move into the meat of your song as quickly as possible . sometimes intros can be longer . the keyboard solo at the beginning of baba oriley by the who is an example of a long intro being used very effectively to build suspense . play your song as many different ways as you can . experiment with making parts of it louder and softer . you may even change parts of the song entirely the more you play it . be creative and let yourself explore new possibilities . keep track of what you revise just in case you change your mind later . after youve played your song a few times , decide whether or not you want to add lyrics . if youre writing a complex , classical song , it may not need lyrics . most pop songs however , do have lyrics . if you do decide your song needs lyrics , try to write words that are catchy and that fit into the mood of your song . one way to write catchy lyrics is by making them rhyme . in imagine john lennon says imagine theres no heaven . its easy if you try . no hell below us . above us only sky . play your song over and over until you can play it comfortably without much thought . practice your song slowly until you can play it perfectly so that your mind has time to absorb everything and your fingers build the correct muscle memory . break the song down . try to learn only a few measures at a time . when you have those down perfectly , move on to the next few measures . when you start to lose concentration , take a break . youll be wasting your time trying to play the piano if your brain is too tired to focus . youll need someone to perform for . the first few times you perform youll want a supportive audience as everything might not go as planned . your friends and family are unlikely to be too critical if you make a few mistakes the first few times you perform your song for them . as you gain experience , you may want to visit open mics or find other places musicians can perform . share your hard work with the world . if you start to feel a little bit of performance anxiety , take deep breaths until you feel yourself relaxing . better yet , you can channel all our nervous energy into your performance . try to feel all the emotions you felt writing your song when performing it for an audience . you dont have to pander to everyones opinion but you should at least hear it . you may get great advice about how to make your song more interesting or tips on how to put on a more exciting performance . take criticism with a grain of salt . sometimes people will be jealous of your skill and say things just to be mean . run everyones advice through your own filter . sometimes well - meaning people may give bad advice . |
identify the strings for violins , violas , and cellos by the silk windings at the peg and tailpiece ends . string fractional size instruments with strings specifically designed for that instrument . remember that on a violin , the e - string is usually offered with either the ball - end or a simple wire loop - end at the tailpiece end . remember that on a viola , the a - string is occasionally offered with either the ball end or a simple wire loop end at the tailpiece end . | how to buy violin strings | most strings , other than the e - string on a violin , are produced with a ball - end at the tailpiece end . this ball - end slips down through the appropriate hole in the tailpiece so that when the body of the string is slid up into the slot , the ball prevents the end of the string from coming through . using strings designed for other size instruments will not produce a desirable result . nearly all e - strings are steel and react with large changes in pitch to very little change in string tension . for this reason , most instruments have a mechanical fine tuner mechanism attached to the tailpiece to accomplish the small changes in tension needed . some viola a - strings are steel , and react with large changes in pitch to very little change in string tension . for this reason , some instruments have a mechanical fine tuner mechanism attached to the tailpiece to accomplish the small changes in tension needed . |
find your prime practice time . pick a good , quiet location . bring everything youll need with you . get yourself comfortable , too . dont worry about a length of time for right now . warm yourself up . determine todays purpose . be open to problem - solving . record yourself . think of your musicality . work on your improvisational skills . build up your stamina . make your practice time count . write down your progress . end with some fun time . | how to practice violin | whether its violin , basketball , or teaching yourself how to speak klingon , everybody has a time during the day when theyre at their peak . when do you feel the most awake , energized , and capable of taking over the world thats when you should be practicing your violin . this is different for everyone . it could be right when you wake up , in the middle of the day , or even at midnight . it could last 2 hours or it could last 25 minutes . when is it easiest for you to practice clear your schedule for that time . you need a practice space thats away from distractions . no tv , phone , or friends or family members barging in and out . and if the acoustics are good , thats a plus , too . it should be a place you feel comfortable practicing in as well . ideally , its open and uncluttered and a space where you feel like you can actually get things done in . whats more , it shouldnt be somewhere that bothers others , either . in order to even get started , youll need your music , a pencil and paper , and your music stand for starters . did we mention your violin that , too . what else helps you get going for some its a certain chair or a recording device . youll be in there for a few hours most likely , so its best to come prepared . in addition to taking care of the things you actually need , take care of the things that just make it easier , too . a bottle of water , a comfortable pair of pants , a snack , whatever . feeling good will make your practice time more productive and make it easier to concentrate . being ready and raring to go is part of the battle for productive practicing . if youre not in the mood , youre practice time is going to be dull and , well , a waste . but if you feel good physically , practice will just come that much easier . you know how lots of people believe that you dont really become a master of something until youve done it for around 10 , 000 hours well , its true and its not . its 10 , 000 hours of deliberate practice – meaning that if you practice for 20 , 000 and youre not focused , you still wont be any good . so dont really worry about the duration of your practice . as long as youre focused , youll improve . well talk about this a bit more in depth later , but for now just worry about every minute being mindful and focused , not just racking up the minutes . after all , practice doesnt make perfect , practice makes habits . and not all habits are good . you wouldnt run a marathon cold , so dont go marathon practicing cold , either . start by limbering up your fingers with scales , arpeggios , exercises , and trills . even the most seasoned of violinists has to start with a warm - up . depending on how much time you have , your warm - up session should be about 20 to 30 minutes in length . its a good idea to work in the key of the piece youre working on , too . every time you walk into that practice room , have a purpose in mind . and it shouldnt be to practice violin , either . it needs to be something specific – a goal you can work toward . whether its fixing a problem spot , polishing a piece , or starting on a new one , have that lined out at the start . and then at the end youll know if you accomplished it or not . youll note that with every session , your purpose likely changes . one by one , each little goal will get crossed off , until youre working on more and more skilled issues . this will give you a sense of progress and accomplishment , too , aiding in your motivation to keep going . too often when anyone is practicing anything they just go over it again and again and again until theyre exhausted and need to put it down . this isnt good practice – this is practicing your mistakes . every time you run into a problem , be willing to stop , take a look at this issue , and then do it differently . itll take more time , but itll help you reach your goals . take a problem spot and stop . section it off into the bit that you find challenging . then concentrate on only that part . start by playing it slowly until it starts sounding better . when it does , gradually up your tempo until you have it down . when were in the heat of the moment , whether its violin or otherwise , our brains are so focused on getting the job done that we often dont realize what were doing wrong . our foot went too far to the right on the dismount , we sang a note a third too high , or we didnt notice the music in front of us indicated a full rest , and not a half . but if you record yourself , youll be able to look back and hear where you went wrong , even if you didnt notice it in the first place . if you keep flubbing up on a fast passage , break it down . play the series of notes , only repeat each note three or four times before moving on d - d - d - d - e - e - e - e - a - a - a - a , sort of like a bowed tremolo . as you get used to it , youll have the pattern down and can take out the extra notes . imagine handing a computer a piece of music and having it play it . technically , itd be correct , but it wouldnt be good . your musicality is your ability to interpret and play the piece with feeling . if your notes are lacking something , this very well could be it . to get started finding this , experiment with different phrasings and variations in tone , style , and intensity . and once its memorized , youll be even freer to explore . once its ingrained , youll be able to make it your own . to be really good at playing the violin , youve got to be able to hear the music youre playing and improvise with it , much like a jazz musician . this skill makes you and the music one and the same . you can hear it still going in your head even though youre playing different notes . once youve got a piece down , try adding your own flair to it and seeing what happens . to experiment , start by playing the bassline of a song you know well . then continue playing the line in your head while you improvise on top . it takes the piece to a whole new level and can be very liberating . playing violin can be surprisingly strenuous on a person , especially if you mentally get into it . in the beginning , youll find that getting through a movement is difficult and takes its toll on you . start by just doing a piece full out and adding in passages from there . when you start feeling worn out , make note so you know what to aim for in tomorrows session . sometimes its a good idea to practice like youre performing . theyre two very different levels of energy , and its good to know where your stamina lies . go through the entire movement , if possible , and see how it makes you feel . remember in the beginning of this guide how we talked about not worrying about how much time you put in its good to practice every day , but beyond that , its sort of up to you . after all , 5 hours a day of mindless practice wont do you nearly as much good as 1 hour of mindful , focused practice . so when youre there , focus yourself and aim to not repeat your mistakes . youll be grateful you did later . mindless practice is what makes people stop because you get nowhere in your progress and its dull and boring . you wont like it , youll lose your motivation , youll cease practicing , and youll just get worse . avoid this by keeping your head in the game and youll be golden . make it count . in short , never trust your memory . youll end up thinking to yourself , i think yesterday i stopped somewhere around here . and i had an issue with this bit , but i cant really remember what it was . clearly thats not going to do you much good . instead , bring a notebook with you and after youre done , write down a summation of the days practice . then tomorrow you can pick up exactly where you left off . write down anything that you think will be useful , whether its a problem youre having or a method you found around the problem youre having that you dont want to forget . you could even log your time and plan out the weeks schedule , too . at the end of each session , you deserve a reward . spend your last ten minutes or so having fun . take an easy piece and play it however you like . turn it into a dirge , speed it up , and see just how different you can make it sound . play a piece that makes you smile . odds are youll notice that it , too , is sounding better and better . practicing something every day becomes a drag before long . this 10 minutes may seem like a bit of a waste , but in the long run , it could keep your spirits up . ending on a high note will make it that much easier to come back to it tomorrow . and the day after that , and the day after that , and the day after that . |
gather the wood . prepare the wedges of wood . start with the form and the corner blocks . start bending the maple veneer into the ribs . start carving the front and back plates . carve the neck . pry the blocks and ribs away from the form with a chisel or a flat - bladed screwdriver . glue the top plate to the finished ribs . glue on the back plate . put on the peripherals . | how to build a violin | most of a violin is usually made from spruce and maple . the back plate , the ribs the bendy sides , and the neck are all made from maple . the front plate , usually spruce . youll need a wedge of maple for the back , a block of maple for the neck , lots of strips of maple veneer for the ribs , and a wedge of spruce for the front . youll also need to get hold of a form and some smaller spruce blocks - the form is a block of wood curved like the shape of the violin body , to bend the maple around to form the ribs . the small spruce blocks go in the corners of the violin , to keep the ribs together and provide support . to get hold of all of these , ready - prepared , try luthier supply websites , such as for the uk , or for elsewhere . use google to your advantage . they have to be fully sawn down the middle , so they are split into two pieces that are only half as thick . they then have to be glued together at the ends so that they represent a plate of wood that can be cut out for the back and front plates . this must be done for both the front and back plates . view for more details . glue the small spruce blocks to the block - shaped orifices in the edge of the form . use a file or a large gouge to file down these blocks so that they follow the curves of the edge , and form the corners of the violin shape . you can shell out a fair amount of money to buy a bending iron - a tool designed to bend the ribs , or you can use a household iron instead , though results will be inferior . youll need 6 different bent parts , one for each space between blocks - top left , top right , middle left , middle right , bottom left and bottom right . if youre using an iron , you can use old pens or bits of wood , and rubber bands , to hold one end of each strip in place , as you iron the rest of the wood around it . this will take some time . careful with the middle bits , they will need to be bent before you put them on the form . when thats done , glue each strip to the block at each end , and trim the edges to that its neat and tidy . do not glue any of the ribs to the actual form , the form will be removed later . this step will probably take a long time . start by using some templates you can draw around an existing violin , or look online for some templates and measurements and roughly saw around your outline to get the general shape . you can file or sand down the edges to fit your lines . from there you have to carve it to the right shape and curve . the bottom of each plate must always remain perfectly flat , and the very edge must always be the same thickness all the way around about 0 . 5cm . use that as a guide line to gouge or file down the edges to the right thickness , and from there work down the outside of the plate to a pleasing - looking curve . the insides of each plate must also be gouged out , and must follow the contours of the outside . you can use a drill to help you with this , you can cut out most of the wood much faster . you must follow this whole process with both the back and the front plates . cut out the f holes from the front plate with a drill and a small hacksaw - you should use a diagram for this . more experienced violin - makers will also embed purling into the front and back plates around the very edge . you will also need to put a bass bar in the front plate - a bar of wood glued to one side of the inside of the plate , that follows the line of the lowest string . this is for better bass response . you should use some diagrams to help you with this . the wrong length of neck could have disastrous effects on the intonation . spend time smoothing and curving the scroll perfectly . you can use a drill to help you cut out the peg - box . make sure it is perfectly smooth . file or gouge down the insides of each block to create a smooth curve with the rest of the inside of the ribs . use your bending iron or household iron again to bend some very thin and narrow pieces of maple veneer , and use them to glue to the top and bottom of the inside of the ribs . this is for structural support , and to give the front and back plates something to glue on to . cut out a small section shaped like the end of the neck from the front block of the ribs and top plate for the neck to slot into . keep working at this until the angle of the neck is just right . , youll need a soundpost , tailpiece , fingerboard , pegs , bridge , and strings . youll also need a bow to play it with . |
find students . start with the basics - all of them . bowing is more important than many people want to make it . precise intonation is also overlooked too often . be picky about rhythm as well . ask them to set goals for their own practice time , and check that they stick to it . | how to be a violin teacher | advertise using flyers laminated to prevent soggy pages when it rains . volunteer to assist with an orchestra , and make friends with the school orchestra teacher . even check out local string stores to see if theyre hiring or if theyll let you advertise . knowledge of music theory is extremely important and often overlooked . teach them the basics of conducting . sing with your students . be patient dont assume they know anything unless theyve proven it . only move on when they can reteach you what theyve learned . make proper bowhold and straight , full bowing a priority . be pickier than you want to be its easy to let approximation go but its hard to retrain the ear once thats gone on for years and they want to move to a higher level . use the process of tuning the violin to test your students ear have them do it themselves as soon as its possible , and have them tune in 5ths to their other strings . teach them to count everything . insist on a consistent tempo in études and scales . if they dont , or if their goals are unacceptable , have them fill out practice records . |
find time to practice every day . prior to starting clarify the goal of each practice session . practice with a metronome . dont try to learn new songs all at once . focus on your technique as you play . | how to practice piano 1 | it is much easier to learn piano if you practice every single day , building off your prior successes and lessons . even practicing for 20 - 30 minutes each day is better than only practicing once a week for a few hours . everyday practice helps cement what you are learning . create a practice chart with the time during the day you will practice and mark off each day you do . place on a wall you pass often to remind you and dont forget to add a reward onto it when you have completed a certain amount of days . the more frequently you practice , the faster you will improve so dont take weekends off . any practice everyday is better than no practice . start with a warm - up . just like athletic practices , your body and brain need 10 minutes to get going and reach their full potential . some ideas for warm - ups include run up and down your scales 3 - 4 times . play 2 - 3 songs that you already know well , focusing on making them perfect . play along to a song you know , or improvise some notes while listening to another instrument . metronomes keep a constant rhythm for you , helping you stay in time as you practice . most musicians will unconsciously play parts they know faster and slow down for parts they dont like . this may seem fine when you are on your own , but if you try to do this with a band the entire group will fall out of sync . start slow , around 60 bpm beats per minute if you are not used to using a metronome . some music charts will list a bpm on the top , so set your metronome to this number to practice the song correctly . instead , focus on learning one section at a time , anywhere from 10 - 15 seconds , and perfecting it before moving on . this allows you to confidently play the entire song well , as opposed to rushing though it and missing your mistakes . if you come across a difficult section , stop and work on it before moving on . it is difficult to lose bad habits once they are engrained . your goal should not be to get through a piece , it should be to play it perfectly . practicing is the time to make mistakes , not take shortcuts , so try to find your mistakes and work on ways to fix them . if you struggle with a particular scale , make that a part of your daily practice until you have it . if you cant play a fast piece completely , play it slow and add speed over time until you nail it . |
hire a teacher for personalized , hands - on lessons . learn to read music . learn the basics of music theory . buy a chord and scale book . | how to practice piano 2 | usually , the fastest way to learn how to play the piano is with a teacher . they not only know the scales , songs , and chords that you need to practice , but they can give you specific advice on how to improve your playing . make sure you like the teacher to a fixed term . when looking for a teacher , be sure to discuss the following your goals in playing the piano songs , bands , career , etc . what genres of music you want to practice the teachers qualifications and experience the teachers cost and availability most piano music is written on charts in musical notation , and it is rare to find a piano player who cannot read music . purchase a book , watch videos online , get a music learning app or ask your teacher to help you learn so that you can play any music you can get your hands on . practice reading music each day so that it becomes second nature . you can try to play pieces by sight , bring charts with you on the bus , play songs frequently or play musical games online . music is built on a set of rules and relationships between notes , and knowing music theory allows you to see the patterns in your favorite songs and learn them more quickly . you can always take a course , but there are also a variety of books and online tutorials meant to teach people music theory , from the basics to complex arrangements . available at every music store , these books are relatively cheap glossaries of every piano chord you could play . they are usually grouped together by note , but frequently they come with sections detailing which chords sound good together and the right scale to play for each note . |
purchase a violin . check the accessories . purchase other items . tighten the bow . rosin the bow . tune the violin . grip the bow . hold the violin . perfect your hand position . play the strings . practice playing open strings g , d , a and e in order from top to bottom string . practice playing other notes . practice scales . practice every day . | how to play the violin | if youre just starting out with the instrument , theres no need to spend an excessive amount of money on a violin , but like most instruments , the quality of the violin generally rises as the price goes up . expect to spend a few hundred dollars on a decent beginners violin . buy full size or 44 , if youre an adult . the violin is a small instrument , but there are specially designed smaller sizes available . these are generally only intended for very young children , so be sure the violin youre buying is full size unless youre very small . you can ask the shop for a recommendation if you arent sure . you can also ask the shop to measure your arm length to see what size violin you need . when holding the violin in the playing position , straighten your left arm and the tops of your fingertips should be near the top the violin scroll . if your arm is way past the top , the violin is too small . buy from a reputable seller . music stores stake their reputations on selling solid instruments that are free of obvious flaws and damage . as a beginner , you wont be able to coax a very pleasant sound from your instrument for some time , so flaws in privately sold violins might not be apparent to you until it is far too late to complain . only buy from a store or individual you can trust . unless you have purchased the instrument only , your violin outfit should come with a violin with four strings , a bow , and a carrying case and most of the time a chin rest and rosin for your bow . in most cases , the person who sells you the violin will be happy to string it for you , which has the added bonus of double - checking to be sure the tuning pegs the knobs at the scroll , or top , of the violin are properly fit to the scroll . a hard case is important because violins are such delicate instruments . strings come in three basic varieties gut , which is expensive and difficult to take care of , but which offers a complex range of sound steel , which is loud and bright but can sound scratchy , and synthetic , which is smooth , clear , and not as unpredictable as gut . each types name refers to the core material around which metal wire is wrapped to create the string . most beginners should go with synthetic core strings , such as nylon core . the bow should be new , or newly re - haired . you can check this by looking at the hair of the bow the fine , white or off - white fibers and ensuring that the color is uniform and bright along its entire length . the hair of the bow should be a uniform width from end to end . bows wear down over time . you can get your bow re - haired for a small fee at most music shops . nearly all violinists use a chin rest , which is a cheap , ergonomic piece of usually black plastic that clamps near the base of the violin and allows it to be held securely by your chin . this is usually attached to the violin when the violin is built . aside from that , be sure you have some rosin coagulated sap for your bow , a music stand , and a book of beginner lessons or songs , preferably in a format that will open flat . some violinists , especially beginners , also purchase a shoulder rest , which is a violin - width pad that sits on your shoulder underneath the violin and makes it easier to hold . many people start with a shoulder rest and eventually remove it after a few years . if the violin seems to dig into your shoulder when you play , consider purchasing one . fiddlers , if they sing while performing , often hold the violin in the crook of an arm while playing , with the butt resting against their shoulder . for them , chin rests and shoulder rests are generally pointless . once youve set up your music stand and sheet music , open the case and remove the bow . the hair of the bow should be limp . tighten the bow hair by turning the end screw clockwise until the space between the hair and the stick is big enough to pass a pencil through cleanly from tip to tip . the hair shouldnt be too limp , or too tight . the hair should not be parallel to the wooden part of the bow , but with the wooden part curving slightly toward the hair . dont use your pinky finger as a gauge because the oil from your skin will transfer to the hair , which needs to remain oil - free to get the best sound from the strings . rosin comes in two types , dark and light either is fine to use , and neither is expensive . in warmer climates , light is preferred , dark is recommended in more northern areas . if you live in an unpredictable climate , it is advisable to have both . its usually a rectangle of hard , translucent material in a paper or cardboard casing thats open on two sides . grip the rosin by the papered sides and gently but vigorously rub it up and down along the length of the bow hair three or four times . the goal is to transfer some of the rosin dust onto the hair , making it stickier . you will need to rosin your bow about every time you practice . if you dont think the rosin is producing any dust , take a key , sandpaper , a coin , or any other sharp object , and lightly scratch the rosin . you will see some light streaks if you scratched hard enough . too much rosin will cause the bow to grip too well , producing a scratchy sound . if you over - rosin your bow , its fine itll just take a few hours of playing to bring it back down to the correct level . if this is a newly haired bow , it may need more rosin than normal . draw the flat side of the bow hair across a string to see if it makes a clear sound after three or four strokes of rosin . if it doesnt , add a couple more . set the bow aside for a moment and take the violin out of the case . the strings , in order from lowest tone to highest , should be tuned to g , d , a , and e . you can usually purchase an electric tuner from 15 to 20 dollars depending on the quality and brand . major adjustments can be made with the tuning pegs in the scroll of the violin , but if the tone seems only a little bit off , use the tiny metal dials near the bottom , called fine tuners , to make your adjustments instead . once youre satisfied , return the violin to the open case for a moment . you probably would like to have a professional tune your violin first . heres a mnemonic to remember the tuning order from lowest to highestgood dogs always eat rely on a tone whistle to find the correct notes , or simply look sound files up on the internet . not all violins have fine tuners , but they can be installed by a shop . some violins may have only one fine tuner , on the e string . some violinists can make do with just that one fine tuner , while others may prefer to get the rest . use the balance point to learn to hold the bow and even out the weight . when you think you are ready to grip the bow like a professional , start by gently laying the middle part of your index finger on the grip the slightly padded part of the stick , usually a few inches above the tightening knob . place the tip of your pinky on the flat part of the stick near the base , keeping it slightly curved . the ring and middle fingers should rest with their middle parts in line with the tip of your pinky , and their tips on the side of the frog the black piece that connects the tightening knob to the hair . your thumb should rest underneath the stick , at the front of the frog , near or on the bow hair . it might feel a bit uncomfortable at first , but over time , it will form into a habit . your hand should be relaxed and loose , and somewhat rounded as if holding a small ball . dont let your palm close or rest on the bow . this reduces the control you have over the movement of the bow , which becomes increasingly important as your skill increases . stand or sit with a straight back . pick it up by its neck with your left hand and bring the butt of the instrument up to your neck . rest the lower back of the violin on your collar bone and hold it in place with your jaw . to learn notes , however , you should hold it guitar style and buy a music book . it helps a whole lot . your jaw , just under the earlobe not your chin , is supposed to be resting on the chin rest . this helps prevent the instrument from sliding off your shoulder . this is also why violinists on tv always seem to be looking down and to the right . place your hand under the top part of the neck and support the violin so that the scroll is pointing out away from you . hold it steady by resting the side of your thumb on the neck , and allow your four fingers to arch over the fingerboard , which is the black plate covering the front of the neck . beware of the wimpy wrist where your left wrist is touching the fingerboard . this , too , could turn into a habit if you dont fix it . as a beginner , your hand should be as far up the neck as possible while still allowing your pointer finger to come down on the fingerboard . eventually , youll learn to slide your hand up and down to reach higher notes quickly . place the flat side of the bow hair approximately halfway between the bridge the flimsy - looking wooden stand 34 of the way down the strings that keeps them tented and the fingerboard , so that its directly over the belly front body of the violin . pull the bow along the string as straight as you can , parallel to the bridge , applying a small amount of pressure . a sound should emanate from the violin . also , tilt the bow hair towards bridge at a 45 - degree angle . more pressure equals louder sound , but too much pressure makes it scratchy . light pressure should produce a continuous tone from end to end of the bow if there are gaps , the bow needs more rosin . if you play too close to the bridge , it may also sound scratchy . tilt the bow slightly toward the scroll and your tone will be more focused , producing a more professional sound . open strings are simply strings played without fingertips on them . rest the neck of the violin in the space between the left thumb and first finger . hold the bow with your wrist , elbow , shoulder and contact point on the string within one plane . change strings by raising or lowering the elbow to bring the bow to the proper height . try short strokes of 6 inches 15 . 2 cm or so in the middle of the bow at first , then try half strokes from the frog to the middle and back again . work your way up to full - length strokes . short and long strokes are both important techniques for playing the violin , so dont feel as though youre wasting time practicing with short strokes . continue practicing until you can play one string at a time without touching the other strings . its important to develop control so you dont accidentally play a note you didnt want to play . it takes a lot of practice to master the pressure and positioning required to get your fingers to produce clear notes on the fingerboard . start with your strongest finger , the pointer finger . using the tip only , press down firmly on the highest string the e string . you dont need to use as much pressure as you do with guitar strings a modest but firm amount is enough . draw the bow across the e string to produce a slightly higher note . if you are holding the violin properly , your finger should naturally come down about half an inch below the nut the top of the fingerboard , producing an f note . add notes . once youre able to produce a clear note , try putting the tip of your middle finger down a little ways below the pointer finger on the fingerboard . keep both fingers down and play another , higher note . finally , set the ring finger ahead of the middle finger and repeat the process . the pinkie is also used , but takes considerably more practice to master . for now , just worry about the other three fingers . add strings . try playing four notes open , pointer , middle , and ring on all four strings . pay attention to the amount of pressure you need to produce a clear note on each one . a scale is a series of notes that ascend and descend in a pattern of steps usually 8 , sometimes 5 that starts at one note and ends at a higher or lower version of the same note . an easy and useful scale for beginners is the d major scale , which starts on the open d string . from there , place your fingers down in order as described above and play each note d open , e , f sharp , g which should be produced by your third , or ring , finger . to complete the scale , play the next highest open string , a , and then repeat the pattern on the a string to play b , c sharp , and finally d with your third finger . when properly played , the d major scale and in fact , every major scale should match the sound of the famous do , re , mi , fa , so , la , ti , do singing scale . if you dont know what that is , look it up online or watch the musical film the sound of music , which features a memorable and well - known song called do re mi that explains it . if you cant seem to get the sound right , remember place the first finger a fingers width from the nut , the second finger a fingers width from the first , and the third finger touching the second . if you prefer , ask your music shop or teacher to tape the finger positions for you with white tape , so you have a visual guide . other scales , such as minor , harmonic , and even pentatonic 5 - note scales exist , but those can be studied , practiced , and internalized later . start with a short time 15 or 20 minutes and work a little longer every day until you reach an hour , or you cant find any more time to play . serious violinists often practice for 3 or more hours per day then again , many violinists at that level get money for playing . practice as much as you reasonably can , and keep at it . even sounding good enough to play a few simple songs can take months , but eventually , things will begin to come together . |
remove each string and replace it individually . orient the new string properly . insert the string through the tuning peg . seat the string at the base . start tightening the string by turning the peg . straighten the string and let it rest . | how to put strings on a violin 1 | to keep the violins bridge adjusted properly and to keep the tension from slackening too much , its important to change each string individually , rather than taking all the strings off at once and replacing them , as is common on guitars and some other stringed instruments . if youve broken a string , put a new one on before removing the others . to remove old strings twist the large tuning pegs toward you , so the string becomes loose . if you have fine tuners , remove the small metal ball attached to the strings from the tuners . if not , pull the string in the tailpiece toward you and pull up to release the string . continue twisting the large tuners until the string is completely loose , and remove it from the tuning peg . remove the appropriate string from the package and find the tip of the string , which should be inserted into the tuning peg , and the bottom of the string , which should anchor the string in the fine tuner . the top will typically be colored on the end to distinguish it from the other strings , and the bottom should have a small metal ball on the end to seat it in the fine tuner . the color depends upon the particular brand of strings you purchase . holding the violin with the chin - rest facing you , find the correct tuning peg to orient yourself and locate the tiny hole in it . this should be inside the scroll . insert the top of the string through the hole , far enough that about half an inch hangs out on the other side . on almost every violin , the tuning pegs should be oriented in the same way . make sure you insert the string into the correct peg g string on the bottom left d string on the top left a string on the top right e string on the bottom right if you have fine tuners , place the small metal ball in the appropriate slot . it sometimes has a tendency to pop out while youre tuning , so check with your thumb regularly while youre tightening the string to make sure the base is still seated in the fine - tuner snugly . turn the large tuner away from you , so the string wraps itself around the peg , tightening and taking up some of the slack . it can be kind of a balancing act , because you want to make sure the base of the string stays seated pop it back in if it pops out and make sure that the string wraps around the top peg as straight as possible , which will make it easier to tune . to keep the string wrapping straight , use one hand to turn the peg and the other hand to pull the string back away from the violin , so it stays tight against the peg . make sure it wraps around the half - inch sticking through the other side , to hold it in place as you turn . make sure the string is in the appropriate notch in the bridge and continue tightening the string until all the slack is run out . it takes a while for a new string to settle in , so dont waste time fine - tuning until youve let the violin sit , sometimes for as much as several hours , before tuning it closely . get it in the neighborhood and let the violin adjust to the new string . |
put on all the new strings and leave them slack . place the bridge . use the f - holes to align the bridge . let the violin rest . after a rest period , pull on the strings to stretch them . | how to put strings on a violin 2 | if youre putting strings on a new violin for the first time , youll have to seat the bridge , which takes some care and measurement . the first step , though , is to put all the new strings on and leave them slack enough to slide the bridge under them and stand upright . following the basic method for changing a string , letting them stay somewhat looser than you normally might . hold the bridge facing down , and place it under the strings . after that , line the strings in the appropriate crevices are push the bridge up , into standing position , securing the strings into the notches before adjusting the bridge . the back of the bridge , facing the tailpiece , should be perfectly perpendicular to the violin . lots of bridges will be stamped with manufacturing information , which indicates the flat side that should face the tail . the other side should have a slight but noticeable slope . the d string second to the left , second thickest string should be on the taller side of the bridge the a third to the left , second thinnest string should rest on the slightly lower . the bridge should be horizontally centered on the instrument so that there is an equal amount of space between each string and the edge of the fingerboard . use the small nicks on the insides of the f - holes to square the bridge to the center - line of the strings . to center the bridge , use the curve of the f on the interior side as a guide . it should align equidistant between them . you can tighten the strings somewhat to reduce the rest of the slack when youve positioned the bridge , but let it rest for at least 24 hours before attempting to fine - tune the instrument . its possible to snap the bridge and ruin all your hard work , and also to pop it out and flatten it against the violin . let it rest and settle . when youve first strung any stringed instrument , its common for the strings to periodically slacken and go quickly flat . a common exercise to get the tension correct and let the strings settle is to firmly but gently pull the strings away from the neck of the violin , pulling out that slack to flatten the strings , and then tuning them again . itll likely take several tunings before you can get the violin into a reliable tune . stick with it and give the violin the appropriate amount of time to relax . |
experiment with different gauges . consider steel core strings . take the next step with rope core steel . go old - school with gut strings . step into the future with synthetic strings . think about your high e . most players will put the variety of string on the instrument , while some experienced players like to use particular strings in the e slot for tonal reasons . | how to put strings on a violin 3 | you can buy strings in a variety of thicknesses , tensions , and styles . experiment some with different sizes to get a sense of what sounds best with your particular style of playing and your wishes for your sound . thicker strings put out more volume , resonating with a thicker vibration , while thinner strings tend to be brighter and sunnier . try a set of each and see what you like . the most basic form of strings used on violins are made of steel alloy , often wrapped in nickel . the higher e string is usually plated with some other metal . they tend to have less stretch and durability than other strings , but are by far the cheapest and most widely available strings you can buy . theyre most recommended for beginners and if youre changing a string for the first time . with a warm sound a quick response , the next step up in the market is rope core steel , which is similar to steel core strings , but braided from more material , giving the player a bright , clear attack on the strings . these strings are commonly used by fiddle players . it doesnt get any more visceral than this gut strings are made of the intestinal tissue of sheep or lambs . while somewhat gross , these strings feature an incomparably warm and lively sound . gut strings are somewhat fussy , requiring lots of tuning adjustment . theyre greatly affected by weather and temperature as well , making them more useful for very experienced players . combine with a traditional horse - hair bow and youll be playing with the same basic ingredients as the old masters . since playing on the colon of a dead animal isnt everyones bag , manufacturers went about the business of replicating the sound and response of gut strings , but with a much less fussy and reliable . theyre also somewhat expensive . violin companies hill and westminster make e strings available separately from their respective sets and are popular inexpensive choices to experiment with . |
listen to as many recordings as you can find . memorize the piece . notice that the opening section is repetitious . be aware of when the orchestra has the melody and when you have the melody . understand that tchaikovsky was a master of harmonics . practice the octave passages carefully . perfect the prestissimo in the second movement by using a metronome and tearing each measure apart . notice that in the third movement it is important for the grace notes to be heard in the right hand . take care about the rhythm in the ending passage the measures where the piano starts with the 8th rest . | how to play the tchaikovsky piano concerto no . 1 | be prepared to gain insight on the style of playing . dont feel as if you are copying the way professionals play this piece - you will inevitably play passages similar to how they play them . note if you do this frequently , you may depend on this method , in other words , playing by ear . this is not professional and is looked down on . thats right . do it before you even lay your hands on the keys . this is very easy to do . just listen to it and think about how it sounds . learn how to place your hands correctly and learn about the chords you are playing . once you can play the notes , moving your hands one octave up becomes easier . as with any piece , you must play so the melody is obvious to the audience . take advantage of this . put some meaning into the main theme when this applies this means not using 5th fingers on each hand during practice . steady hand motion will result in perfect octave performance i . e . the 5th fingers will follow the 1st fingers if the 1st and only the 1st fingers on each hand are practiced . do not practice these at full speed . your arms will surely become tense very quickly . practice with a metronome with the notes on the 1st fingers initially . one word for the entire second movement excluding the prestissimo dolce this can be very challenging to play at full speed and there is a lot of room for error . dont practice the dynamics when learning the notes in this section . it will delay your progress . when you can play this part to tempo , incorporate the dynamics . again , hands separately . it will be important to practice your scales and thirds in both hands while preparing to play the third movement since there are a few pages of continuous runs in both hands . it is extremely important to practice these very slowly until you can play them absolutely perfectly . practicing the runs with both hands simultaneously may be beneficial here . buying the music minus one disc should help you find out when to come in and practice good timing and flexibility . be sure to apply your own style of playing here |
practice . listen . pay attention to the little things . play through it slowly . slowly increase speed . | how to play the solfeggietto on piano | as with anything , practice is the key . practice often - even if you only have time to play it through once , that one time will help . look up the piece online , and listen to someone professional playing the piece . listen to it over and over again . this will help you by letting you hear what its supposed to sound like . you will get a better understanding of the music . if you listen to several recordings , you will find that different people render the piece slightly differently . thats their style . some people cannot play as fast as others . thats okay . just do the best you can while doing c . p . e . bach justice . read the details in the music . tempo . the tempo is marked as prestissimo . that literally means as fast as possible . obviously , you will have to work up to that , but it is important to know ahead of time . dynamics . the volume of the piece is extremely important . you dont want to pound . pounding is obnoxious , and it will slow your fingers down . a light hand moves faster . dont play too softly either . make sure the sound varies . in this piece , the music can be forte loud for one measure , and then instantly change to piano soft in the next . these dramatic changes are what make the piece . pedal . less is more keep your foot light . dont hold the damper down forever - that muddles the notes . bounce up often , but dont allow the piece to sound choppy . the music has to flow . fingering . when your fingers need to hit this many notes , you have to have your fingers at the right place at the right time . if the music says that your fourth finger needs to be on e - flat then make sure its there . this is something you will have to watch closely and practice slowly until youve trained your hands to automatically do the right thing . you will never get all the notes in , you will never master the piece unless you practice the song through in slow mode . it may seem boring , but its essential this helps you get each note , keep an even tempo , have accurate fingering , and put in dynamics . once you get the piece down in slow - mode , begin to speed it up little by little . as you master each speed , make it a little bit faster . it will take time , but eventually you will be able to let your fingers fly over the notes . soon , you will be playing the fastest you possibly can . |
always place your fingers on the keys before you play them . either lift the finger from the key while keeping contact with the keys with the other ones , and let it drop on the key , or use slight arm pressure , with very relaxed fingers to press the keys . after the key has been pressed , slide the fingers to the right or left . in places where the fingers need to go far i . e . | how to play the piano to amateur concert level status | that way you will always know that youre hitting the correct key . you dont have time to look at them all when youre playing fast . it will also ensure that you dont hit the keys too hard , which you should never do . , the fingers should not stick , but glide across the keys . that way you dont lose contact with the ivory as josef hofmann said , and you dont need to look at the keys again to re - set your hands in the proper place . 2 - 3 octaves , you may need to look at the keys to see where theyre at , but still , you must touch the keys first before playing them . this ensures accuracy very important at high speeds , a soft touch very important for expression , and not hammering the keys , and very little effort or work to do for your fingers , which makes it easy to play long , fast passages without errors , and without fatigue . |
look at the keyboard . notice there are 2 different kinds of keys black keys , and white keys . look at the keyboard again . find the next c up on the keyboard . find the c closest to the middle of the keyboard . play a song . learn keyboard your way . get some sheet music . train your ears . learn the art of solfège . try it . practice intervals . when this starts to feel comfortable , try it with a simple song . think of the keyboard as having 3 kinds of brains . the first type of brain is called a sound brain , or more commonly known as a tone . the 2nd type is known as the rhythm brain . the 3rd kind of brain is where all your musical creations can be recorded . decide between keyboards versus a regular piano . a piano has 88 keys . classical music sounds far better played on a piano than a keyboard . the digital keyboard is easier to play . the digital keyboard is a very versatile instrument . ultimately , although keyboards may never make the world of classical music , in the world of popular music jazz , rock , reggae , pop , punk , etc . get familiar with your instrument . learn the terminology . now you know . once youve learned the basics , try taking it up a notch . get a couple of friends who can play drums , guitar , and bass . work through the song until it sounds the way you like it . | how to play the keyboard | whether youre playing an ipad recreation of a vintage synth , a monster digital workstation keyboard , or a full - fledged concert grand piano , they all have exactly the same key layout , and may differ only in the number of keys . it may look confusing at first but here are a couple things that will make it easier . there are only 12 basic notes . every set of 12 notes is the same as every other set of 12 notes , only higher in pitch , or lower in pitch . every single white key is part of the c major scale . every single black key is either called a sharp or a flatb . notice the pattern , starting from the c on the left side of the picture . it has a tab pointing to the right . the next note , d , has little tabs on each side , and the next note , e , has a tab to the left . notice the pattern of 2 white keys bracketing 2 black keys and a white key in the middle . notice the next group up has the same type of grouping , only with 3 black keys and 2 white keys in the middle , between the notes f and b . notice that the same pattern is there . this is the same for every octave on the keyboard . this is middle c , or c3 . the c notes above it are c4 , c5 , c6 , etc . the c notes below it are known as c2 , c1 , c0 . yes , thats right . its that easy start on c3 , imagine yourself walking normally , and for every step you imagine , play the next white key up , until you reach c4—then stop . okay , its not much of a song , but all the basics were there—playing specific notes in a specific order for a specific amount of time . this is what you played looks like on sheet music play it again . just like before , imagine yourself walking , and for each step , play the next note up the keyboard . this time , look at each note , reading from left to right , before you play it on the keyboard . now youre not only playing a song , youre reading music there are a couple basic ways to learn how to play the keyboard or piano . learn to read music . you can teach yourself this invaluable skill , you can take lessons , or you can do both . its a great skill to learn , and its a skill you can take with you should you wish to learn to sing , play the bassoon , the guitar , or the saxophone . learn by ear . in some ways , this is easier . you just listen to a song , and then figure out which keys on the keyboard make the same notes . its hard at first , but with a little ear training it gets easier . plus , you dont have to be bothered with learning what all those little black dots mean . go to your local music store , and explain to them that you are just learning to play the keyboard , what style of music you want to play , and if they can recommend a good book for beginners . they will be able to recommend the right method for your style of learning . they might also recommend a piano teacher . if you want to become a skilled player , take their advice . when first positioning your fingers , be aware that some sheet music has little numbers to help guide you . these numbers represent your finger placement for the notes on the score . these correspond to 1thumb , 2index finger , 3middle finger , 4ring finger , and 5little finger . no method of learning is instant , and learning by ear is no different . remembering the sound of a song and finding which notes on the keyboard to press is a skill that takes some practice to develop . the good news is that every great improviser in the world knows how to do it , so its a skill that will never be wasted . here is how you can start . its pronounced soul - fezh , and it means sight singing . you already know the basics , if you know how to sing do re mi . the notes of the basic solfège scale are as follows do , re , mi , fa , sol , la , ti , do . in the key of c the white keys , this corresponds to c , d , e , f , g , a , b , c . on your keyboard , play the c scale we covered above . for each note you play , sing the next note in the solfège scale . dont worry if your singing wont get you on american idol . the idea is to connect the sounds with the notes . but what about the black notes here is the scale , including the black notes in italics do - di - re - ri - mi - fa - fi - sol - si - la - li - ti - do . try that on your keyboard now , and see how it sounds . youll notice that the do - re - mi parts are starting to sound familiar . instead of just singing do re mi , try singing them in little jumps do - mi - re - fa - mi - sol - do . make up your own combinations , write them down , and sing them . then match them to the keyboard , and see if you were close . it may be a song you already know well , or a childrens song thats very familiar . only this time , instead of singing , for example , mary had a little lamb , sing mi - re - do - re - mi - mi - miiiiiiiii . when you develop the ability to do this , you can learn the solfège words to any song , anywhere you might be , and then when you get back to your keyboard , play them back . the more you do this , the better youll get . each of these brains has a type of memory . these are sounds like pianos , strings , flute , or new and unusual sounds that you can create yourself . this section might be called rhythms on some keyboards , or styles on others . the keyboard may include drum kits , bass guitars , pianos and other combinations using preset patterns . its like a backing band you control with your left hand , and with your right hand , you play the melody . for instance , if you played a left hand bass guitar part , you could record that , save it , and later play accompaniment with that . you could then play something entirely new , like a piano or synthesizer melody , to fit together with what youve originally recorded . consider the following factors . its big , its heavy , and its loud . and you cant plug in headphones to your piano to practice at 2 in the morning a digital piano is comparable to a piano , but remember , the process by which a digital piano is sampled from a real piano causes a small loss in sound quality . next time youre near a piano , press down on the lowest note . then press down on the highest note . feel the difference its heavy and firm on the lower end , and light and easy on the higher end . now try the same thing on most keyboards . unless theyre made to emulate a piano keyboard , the keys on a synthesizer or workstation all feel the same . the action , as its called , is very light and fast , and much easier on the hands to play for long hours . many keyboard players do not need the full range of the piano . the notes youre playing can be moved up and down the keyboard electronically . for example , the note that is currently at middle c—c3 , can become c4 , or c1 , or any other octave at the touch of a button . its also more practical if you are playing in a band . rhythm guitarist late for band practice the keyboard player can call up a guitar sound patch or take the rhythm guitarists role in the band by playing chords in the background with a piano patch . they are coming into wide usage . whether you want to be a concert pianist or the keyboard whiz in a rock band , the basics are the same . the instrument has many names and variations that all use the same interface . lets take a non - comprehensive look at the history of the keyboard . organ . this would be among the earliest keyboard instruments with some of the earliest being played with one hand while the other hand operated the bellows . harpsichord . these were some of the earliest keyboards , and made their sounds by plucking the string like a guitarist would do , only the plectrum was attached to the key . the resulting sound had little dynamic range , but the dynamics were mainly achieved using stops which added or subtracted the number choirs of strings on the larger instruments . when the harpsichord was played as usual , it wasnt too noticeable that the instrument wasnt capable of sustaining any note for long . piano . this refined the process of making sounds , using a hard - felt hammer rather than a pick . the hammer was activated by the keyboard , and the pianist was given control of full range of dynamics , from very soft to very loud . electric piano . while a piano sounds incredibly rich and beautiful , its really hard to carry around to a gig . when musicians started plugging in back in the 50s , they wanted something at least as portable as a drum kit . the electric piano and organ were born . synthesizer . after 300 years of harpsichords and pianos , musicians were very familiar and comfortable with the layout of the keyboard . when electronic sound synthesizers came along , it made sense to use the same key layout , but there was a subtle shift in terminology . until then , people who played the keyboard were generally called pianists or organists . however , for an instrument that has a keyboard like a piano , but can sound like anything from a symphony orchestra to singing kittens , the word pianist just didnt fit any longer , and the keyboard player was born . its time to practice . play in a band learn to play a song you all love . when youre done , learn another song . dont stop until kanye is your opening act . |
place your thumb first finger on the g note , which is three notes to the left of middle c . play the a note with your second finger , and b with your third . then , place your thumb first finger on middle c , your second finger on d , and your third on e . then , place your fourth finger on f sharp . keeping your fourth finger on f sharp , place your thumb first finger on g , your second on a , and your third on b . place your first finger on c , your second on d , your third on e , and your fourth finger on f sharp . | how to play the g major scale on piano 1 | the black key to the right of the f note . if you want to play one octave only , place your fifth finger on g , and you have finished the scale . if you want to do two octaves , then go to the next step . , then , place your fifth finger on g . |
locate a virtual piano keyboard online . experiment with your virtual piano . observe the keyboard . identify the groups of keys . learn about different keys . play them together . teach yourself a song . use the program to add different sounds that will enhance your music playing experience . change the octave of the virtual piano keyboard . use the apps teaching function to learn a song , if it has one . | how to play the piano online | there are a wide variety of virtual pianos online . browse the internet and find a few . make sure to spend some time messing around with a few of them so you can find one that you like and are comfortable with . the advantage of online virtual instrument applications is that there is no need to download or install any additional software programs . to find virtual piano applications , search the internet for virtual piano keyboard or play piano online . the first thing you need to do is experiment a little with the virtual piano youve chosen . feel free to play it a little , hit random keys , or otherwise just mess around . remember that the virtual piano keys on the screen usually correspond to the keys on your computer keyboard . see if the app has a guide to your keyboard so you can find out which of your keyboard keys trigger the piano keys . if you have a touch screen , youll be able to just touch the screen to play . if you want , use your mouse to touch the piano and to play some notes . after experimenting a little , you should take the time to really get to know your keyboard and the specific online piano application . by doing this , youll be able to discover features and gain more familiarity with the app . notice that the keyboard is broken up into two colors , black and white . identifying and using the black and white keys will form the basis of playing an online piano . identifying the groups of keys will help you learn how to play the piano and eventually play whole songs . remember that black keys in groups of two are c sharp and d sharp or d flat and e flat . the three white keys around groups of two black keys are c , d , and e . black keys in groups of three are f sharp , g sharp , and a sharp or g flat , a flat , and b flat . white keys around groups of three black keys are f , g , a , b , and c . different keys are associated with different notes and make different sounds . knowing which keys make which sounds will help you play and compose music . touch the white keys . the white keys represent different notes in an octave . use the black keys . the black keys represent half steps between the notes played by white keys . after youve familiarized yourself with your black and white keys , you should begin playing them together . by playing them together , youll get a hang of the sounds the online piano creates . youll begin to grow more comfortable with the online piano over time . experiment with different combinations of notes . use or create chords with hot keys or macros . many online pianos have the option to use pre - programmed chords or to design your own with hot keys . check to see if the application youve chosen has this feature . your goal in learning to play the piano online should be to play a song on your own . make sure to use all of the information youve gathered to slowly learn a song of your choice . pick a song that is simple , like twinkle twinkle little star . print off sheet music , if that will help . use what you learned about the black and white keys and the notes they represent . spend an hour a day or so practicing it until youve got it perfected . many online piano applications allow users to adjust the sound of the virtual instrument to mimic a variety of different instruments or other sounds . by experimenting with these features , youll see that an online piano has a lot to offer in terms of creating innovative new sounds and music . add an accompaniment or a drum track or other instrument . some online piano websites include pre - programmed accompaniments that you can play along with . changing the octave of the piano keyboard will alter the sounds of the music it produces . by changing the octave , youll take your piano playing to the next level and take advantage of the full abilities of an online piano . the virtual piano keyboard usually consists of only 8 keys , or a single octave . however , many online piano playing sites provide the option of changing to a higher or lower octave . change the octave settings on the virtual piano keyboard to access the full range of notes found on a real piano keyboard . many online piano apps have a feature that will teach you to play a particular song . use this feature to learn a pre - programmed song . some virtual piano web applications can teach users how to play a specific song . typically , the keys on the virtual keyboard will light up to signal when a note should be played . press the key that corresponds with each highlighted key as it appears on the virtual piano keyboard . |
memorize using all your senses sight practice both with and without your sheet music . establish landmarks and footholds analyze and memorize the keys , scales , chords , and progressions that make up your piece , identifying them as you practice . outside factors and nerves can have surprising effects take into consideration the time of performance , weather and lighting conditions , clothing does your outfit inhibit your range of motion , audience proximity and size , etc . get used to listening to yourself perform record yourself playing , but dont forget to rewind and listen , slow down , no last minute procrastinating practice consistently for weeks or even months before the performance . eat a banana , whats the worst that can happen | how to practice for a piano recital | when playing without , visualize the line and page youre on to stay on track . touch muscle memory is an astonishing thing sometimes your fingers remember your music better than you do . practice until you can play your piece without having to think about it , but make sure not to rely entirely on this . hearing do you know how the melody goes from start to finish go back and pick out the melody lines from your piece and play these alone . try humming the melody the entire way through . taste and smell practice breathing with musical phrases while you play . just as singers time their breaths during a song , musicians should practice breathing as they play their instrument . when your adrenaline is rushing , its important to get a healthy flow of oxygen to your brain so you can perform at your peak . practicing the harmony parts i . e . left hand separately will strengthen your knowledge and memory of the piece . increase your sight - reading skills by playing random notes on flashcard or using a sight - reading workbook like notebusters that also builds muscle memory retention . do your best to practice your performance in as similar conditions to the real deal as possible . know what you sound like , and make sure you like what you hear . more often than not , the first time people pay attention to what they actually sound like is during their performance adrenaline always makes you play faster . practice slower than you would ever actually perform , but with all the dynamics and emotion that you use when youre playing at full speed . dont try to cram in practice the day of your performance - it wont do you any good . calm your stomach with potassium bananas are known to have beta - blocking effects that will calm your nerves and reduce the shakes . when the day arrives and youve done everything possible to prepare , just relax . as my father always used to ask me , whats the worst that can happen |
place your fifth finger on g , which is the tenth key to the left of middle c . place your fourth finger on a , your third on b , your second on c , and your first on d . place your third finger on e , your second finger on f sharp , and your thumb on g . if you want to play just on octave , you have done it . place your fourth finger on a , your third on b , your second on middle c , and your thumb on d . place your third finger on e , your second finger on f sharp , and your thumb on g . you have now played the g major scale in two octaves using your left hand . | how to play the g major scale on piano 2 | to do two , go to the next step . , |
decide what kind of concertina to play . procure a concertina . learn about the fingerings for your particular concertina . get a book of simple songs , or even a specific book for your concertina . learn how to use the bellows . learn a few simple songs with melodies that you know in your head . practice . get a friend who plays the guitar to play chords for you while you play melodies . study the history of the concertina so that you can be a proud concertina player search youtube for concertina . | how to play the concertina | anglo - german or english are the two most available . buy , rent , or borrow one . the website www . concertina . com is a good place to start . del reys deluxe concertina book is older , widely available , and good for the anglo concertina . the concertina a handbook and tutor for beginners on the english concertina can be found on the concertina . com webpage . gently pull the bellows or push the bellows while holding down individual buttons . dont worry about playing specific chords when you start . concentrate on first making a scale from c to c . if you arent able to get the basic 8 note scale , or octave oct8 you will have a difficult time learning songs . if you cant read music you can learn how to play by ear as well . practice . practice if you can download sheet music on the internet you can find notes and chords to match . most songbooks or facebook have simple melodies with chords . , there are quite a few good tutorials there , as well as talented performers to help give you an idea of what can be played . |
learn the pattern of two and three black key fingering before trying to play the scales . start with your thumb on b . place your index and third fingers on the c and d . press on both c and d at the same time , while lifting up from b . place your thumb on e and press while picking up the fingers on the black keys . place your fingers in the same manner on the three black keys grouped together f , g , a and press down on all three at the same time while lifting the thumb from e . play the b while lifting up the three fingers . continue up the keyboard until you are familiar with the pattern . | how to play scales on the piano using two and three black key fingering 1 | the pattern below is similar to the b scale . the c and f scales work the same way . the only differences are the starting keys and the white keys in - between . , your left hand fingers will have to cross over the thumb while ascending after playing every white key . if you are descending , your right hand fingers will have to cross over . your right index finger will be on c your left index finger will be on d . , your right index finger will be on f . your left index finger will be on a . you have just learned the pattern |
start with your thumb on b white key . place your fingers in the correct position over the c and d . play the c and d in succession . play e white key with your thumb . place your fingers in the correct position over the f , g and a and play them in succession . place b with your thumb again . place your fingers in the pattern position over the f , g and a . play them in succession . play b white key with your thumb . play the c and d as you did in the b scale . play the f key white key . end with the f . place your fingers in the pattern position for the c and d keys and play them in succession . play the f key white key . place your fingers in the correct position over the f , g and a and play them in succession . play the c key white key . end with the c . simply reverse the process . | how to play scales on the piano using two and three black key fingering 2 | , this is equivalent to e . , this is equivalent to e . , this is equivalent to b . , remember , on the way down , your right hand crosses over your thumb . |
diminished chords like all chords , diminished chords and diminished 7th chords are formed from the intervals of the major scale , which is . a diminished chord is the root , the flatted third , and the flatted fifth . diminished 7th chords the notes in a diminished 7th chord are the same as those in a diminished chord , the root , flatted third and flatted fifth . there are only three diminished 7th chords each ascending note in a diminished seventh chord is the minor third a whole step followed by a half step of the one preceding it . every diminished seventh chord is really four chords , containing four evenly spaced notes each . the c , ebd , gbf a bbb diminished seventh chords all contain exactly the same notes . the cdb , e , g , bb cbb diminished seventh chords all contain exactly the same notes . the d , f , abg b cb diminished seventh chords all contain exactly the same notes . | how to play diminished piano chords | root , whole step , whole step , half step , whole step , whole step , whole step , half step . for purposes of this example , lets use the c scale , which is c , d , e , f , g , a , b , c . so the notes in a c diminished chord are c , eb , gb . it is like a c minor , c , eb , g with the fifth , g , also flatted . a c diminished chord would typically be denoted either c dim , c dim and occasionally as c - . c dim c , eb , gb then the doubly flatted seventh is added bbb . yes a double flatted seventh is the same note as the sixth , so a bbb is also an a . —however , since the chord is called a diminished seventh , the seventh tone of the scale must be present and a is the sixth tone of the c scale , not the seventh . to be any type of seventh chord , the seventh tone of the scale must be present in some form . therefore , to be theoretically correct , the note must be called a b double flat , —not an a . so , the notes in a c dim7 chord are c , eb , gb , bbb . up a minor third from c is eb , up another minor third is gb and up another minor third is bbb which is also a so , c dim7 is one chord , c dim7 or db dim 7 is the second chord , and d dim7 is the third chord , - - - and when you reach eb dim7 d dim7 , you will be playing the same note that are in a c dim7 . eb , gb , bbb also known as a and dbb also known as c since only twelve notes and their octaves exist and since 12 ÷ 4 3 , there are only three diminished chords possible before you are playing a different inversion of the same chord again . , and |
know the names of the notes on the keyboardpiano . mentally know the names of the c harmonic minor scale forward and backwards . know the numbers that indicate fingers on each hand . memorize the corresponding fingers to the scale now . play the right hand first . the second finger , which is the pointer , will play the d note . the third finger , which is the middle , will play the e♭ note . slowly put your thumb underneath and play the f note . the pointer finger will hit the g note . the middle finger will hit the a♭ note . the ring finger will hit the b note . were on the second octave now , for the last c use your pinky to end the scale , start the left hand . the ring finger hits the d note . the middle finger hits the e♭ note . the pointer finger hits the f note . the thumb hits the g note . slowly slide your middle finger to hit the a♭note . use your pointer finger to hit the b note . were on the second octave of the right hand . slowly move your hand and hit the d with your ring finger . when you reach the last c after the b . | how to play the c harmonic minor scale on the piano | make sure you know this by heart to guide you through the tutorial . the notes are c d e♭ f g a♭ b c notice that there are two flats e♭ and a♭ . they are both black keys . write the notes down forward and backwards mentally for memorization . say them out loud forwards and backwards . well start with the right hand . the thumb is number 1 . the pointing finger is number 2 . the middle finger is number 3 . the ring finger is number 4 , and the pinky is number 5 . know the numbers that indicate fingers on the left hand . its the same as the right hand . the thumb is number 1 . the pointing finger is number 2 . the middle finger is number 3 . the ring finger is number 4 . the pinky is number 5 . here is the diagram , which illustrates this here is a diagram that will help you memorize what keys each finger is supposed to press . for the right hand , the fingering is 123 1234 123 12345 . now say this , thumb , pointer , middle , thumb , pointer , middle , ring , thumb , pointer , middle , thumb , pointer , middle , pointer , pinky . make sure to remember the numbers corresponding to the fingers . thumb is number 1 , etc . for the left hand , the fingering is 54321 321 4321 321 . now say this pinky , ring , middle , pointer , thumb , middle , pointer , thumb , ring , middle , pointer , thumb , middle , pointer , and thumb . remember , the fingering is 123 1234 123 12345 . the first finger , which is the thumb , will play the c note . , remember , were on the second set of numbers 1234 in the 123 1234 123 12345 fingering . , slide your thumb under to hit the c note again , and repeat the same pattern again for this octave except the last c remember the 123 1234 123 12345 pattern . the pinky indicates number 5 . you finished the right hand this will be different , because the pinky will start off . the pattern is 54321 321 4321 321 . the pinky hits the c note . , your fingers will get use to this and youll get faster . guaranteed . just do everything slow were on the 2 of the second 321 in the 54321 321 4321 321 fingering pattern . always keep track of the fingering . hit the c note with your thumb . the rest of the notes should be self - explanatory . the d is the ring finger . the ring finger is number 4 of the 4321 set of numbers . the 3 is the middle finger , so use the middle finger to hit the e♭ note and continue the fingering until you reach the last c . strike it with number 1the thumb youre finished with the left hand now practice this with both the left and right hand until its memorized by heart . then you can put both hands together or practice it backward . |
learn the basic chords . learn the right hand placement . understand the structure of the song . get the right feel . | how to play piano man 1 | while it takes technique and rhythm to play the song the way it is meant to be played , youve got to start by learning the basic chords . there are a few basic chord patterns , the intro , the versechorus , the little riff that he uses to transition between the instrumental parts and singing , and the bridge . the chords to the intro are d minor 7 d diminished 7 the chords to the versechorus are c major c diminishedb a minor a minorb f major d minorf g major 7 the chords to the transition riff are c major f major c major 7 g major the bridge chords where he sings la la la are a minor a minorg d majorf f major g major in this song , the chords are mostly played with the right hand while the left hand follows them in a basic bass descending bass accompaniment marked above with the note after the . throughout the singing part , play the chord with your right hand and follow along providing bass with your left about an octave down . the bridge is the same . a big part of the song is the descending bassline , which moves the song forward . in the verse , for instance , the right hand will basically hand on the c chord position , but the bass will descend from c to b play me a song… . listen to the song to get the timing right and practice some to get the right bass notes . the intro lick and the riff between the verses is chorded with the left hand and while the right hand plays melodic flourishes on the basic chord . when youve got the chords down , playing the song itself isnt too complicated . the song features several short verses of four lines each , and features the distinctive harmonica break between some of them . before each chorus sing us a song , youre the piano man… he plays the bridge chord sequence to build up the dynamics , and after each chorus , he plays the harmonica break and the transition chord sequence . the most complicated part is that some of the verses involve more 4 - line sections than others , and he also varies the pattern some , so it takes some practice to get the whole thing right . the basic structure of the song is as follows intro riff verse harmonica break verse bridge chorus harmonica break transition verse verse bridge verse harmonica break verse piano solo chorus harmonica break transition verse verse bridge chorus harmonica break transition the song is a bar - room ballad in 34 , which means it should be played as a wistful waltz . it should also be played loosely , like a drinking song that might be hammered out on an out - of - tune piano in the corner of a smoky bar . practice with a light touch on the keys , listening closely to get the right dynamic shifts that joel uses in his version . the verses are basically played straight , without many right - hand frills , following the descending bassline and the right - hand chords , while the intro fill , which repeats periodically throughout the song , is more dynamic . listen to the song repeatedly to get a sense of the nuances . even sheet music cant quite capture the feel of the song and the little licks joel throws in to improvise . the feeling of the song is more important than getting all the notes right . |
get a c harp . get a harp rack . put your lips to the harmonica correctly . play the melody during the harmonica break . | how to play piano man 2 | if you want to really kick your performance of the song into high gear , youve got to strap on a harmonica . and you cant just play any song on any old harmonica . make sure you get a harmonica in the key of c or itll sound off . in general , most starter harps that you get will be in this key , so play along to a song you know is in c and see if it sounds right to check whether or not youve got the right kind of harp . marine band harmonicas can be upward of 30 , but are durable and have a high - quality sound , while other cheaper started harps can be much less . following in the footsteps of joel , neil young , and bob dylan , put your harmonica in a harp rack around your neck to free - up your hands to play piano and harmonica at the same time to complete the song . typically , harp racks are available at guitar stores and other music stores and only cost a few bucks . theyre cool tools to have on hand to add a little harmonica color to your songs . purse your lips together as if you were going to whistle , and place them on the center - most hole of the harmonicas keyholes , which should be the fifth from the left . by blowing through exhaling this hole only , you will create the note e . experiment a bit to learn how to make different sounds on the harmonica . by inhaling through this or any keyhole , you will create a sound one note higher than the blown note . the notes follow standard piano formation , meaning the blown notes to the right of the e are , in order g , c , e , g , and c , while the inhaled notes are f , a , b , d , f , and a . billy joel would be the first one to tell you that it doesnt take a rocket scientist to play the harmonica part . since the harps in c , you wont be able to really blow a bad note , so its mostly about experimenting with blowing and inhaling in the proper positions to get the melody close . basically , youll play e , g , e , c , alternating sucking in and blowing out . listen to the song and youll be able to get it after a few tries . |
note the number of strings . examine the position of the strings . | how to tune a dulcimer 1 | dulcimers can have anywhere from 3 to 12 strings , but the vast majority have three , four , or five strings . the tuning process is fairly similar for these common dulcimers , but there are a few differences worth noting . a three - string dulcimer has one bass string , one middle string , and one melody string . a four - string dulcimer has one bass string , one middle string , and two melody strings . a five - string dulcimer has two bass strings , one middle string , and two melody strings . when there is a set of strings two bass strings or two melody strings , all strings in that set should be tuned in the same manner . if you have a dulcimer with more than five strings , you should take it to a professional to have it tuned since there are too many variations in string placement and sound . before you can tune a string , you need to know which knob adjusts which string and where each string lies . when the front of the dulcimer faces you , the knob or knobs on the left are usually your middle strings . the lower knob on the right is usually the bass , and the upper knob on the right is usually your melody . if in doubt , adjust the knobs carefully and observe which string is tightened or loosened as you make the adjustment . if you are still unable to determine which knob adjusts which string , ask an expert to help you . note that the bass string is usually referred to as the third string even though you will tune it first . similarly , the melody string is usually referred to as the first string even though you work on it last . this is because the bass string is the furthest from you and the melody string is the closest to you . |
tune the bass string to the d below middle c . pluck the open string and listen to the sound it produces . adjust the middle string . tune the melody string to the same note as the middle string . | how to tune a dulcimer 2 | play the correct d note on a guitar , piano , or pitch pipe , then adjust the bass knob until the sound the plucked string produces matches the d note you played . on a guitar , the d below middle c is the same note as the open fourth string . if you do not have an instrument to tune the bass string to , hum a note with your voice that feels as natural and comfortable as possible . this may not be a d note , but it will come close enough for most purposes . note that the ionian mode is the most standard and can also be called the natural major mode . most traditional american songs are considered natural major songs . press down on the bass string just left of the fourth fret on your dulcimer . pluck on the string to produce an a note , then use the middle tuning knob to adjust the middle string until the sound it produces matches the same pitch when the middle string is open plucked . this step and the step prior to it are the essentially same no matter which tuning method you use . pluck the melody string . use its tuning knob to adjust it until the melody string produces the same sound as the open middle string . this sound is the a note , and it is also the same sound produced when you pluck the bass string after pressing the bass string down to the left of the fourth fret . the ionian mode scale begins on the third fret and runs through the tenth fret . you can play additional notes both below and above this scale on your dulcimer . |
tune the bass string to the d below middle c . without pressing down on it , pluck the bass string and listen to its sound . work on the middle string . adjust the melody string based on your middle string . | how to tune a dulcimer 3 | immediately after , play the correct d note using a pitch pipe , guitar , or piano . use the bass knob to adjust the string until plucking it produces the same note . if using a guitar , pluck the open fourth string to hear the correct note . when you do not have a pitch pipe or other instrument to tune this bass string to , you can informally tune the dulcimer by humming a note that feels natural and comfortable . match the string to the note you hum . the mixolydian mode can also be called the slightly minor mode . typically , this mode is heard most often in neo - celtic music and songs written for the irish fiddle . press down on the bass string , positioning your finger a little to the left of the fourth fret . pluck on the string . the note you produce should be an a note . use the appropriate tuning knob to adjust the middle string until an open pluck on the middle string matches that a note . note that this step and the one before it are identical in each tuning method , so if you master these two steps , you can use just about any tuning method . press the middle string down at the third fret and pluck it to produce a high d . adjust the melody string using its tuning knob until plucking the open melody string produces the same high d sound . this high d is one octave above the open bass string . note that tuning to d - a - d or mixolydian mode puts more tension on the melody string . the mixolydian mode scale begins on open melody string also called the zero fret and runs through the seventh fret . there are no notes below the octave on your dulcimer , but there are notes above it . |
tune the bass string to the d below middle c . pluck the bass string without pressing it and listen to the sound it makes , then play the correct d note on a piano , guitar , or pitch pipe . adjust the middle string based on the bass string . work on the melody string by using the bass string . | how to tune a dulcimer 4 | adjust the bass knob to adjust the bass string until the sound it produces matches that d note . the open fourth string on a guitar will produce the correct d note . if you do not have a pitch pipe , guitar , or piano , you can tune this bass string using your voice . hum a note that feels as natural and comfortable as possible and tune the string to that sound . this method of tuning is not as exact , but it will usually produce passable results . the dorian mode is more minor than the mixolydian mode but less so than the aeolian mode . it has been used for a variety of tunes , including scarborough fair and greensleeves . produce an a note with the bass string by pressing it just to the left of the fourth fret . pluck on the middle string without pressing it , then just the appropriate tuning knob to adjust the middle string until it produces that same a note . this step and the one immediately before it are the same for each different tuning method described here , so mastering these two steps is a crucial effort . press on the bass string at the third fret and pluck it to produce a g note . adjust the melody string using its tuning knob until plucking the open melody string produces this same note . you will need to loosen the tension of the melody string to lower the pitch . the dorian mode scale begins on the fourth fret and runs through the eleventh fret . there are additional notes on the dulcimer below the octave and a few above it . |
tune the bass string to the d below middle c . leave the bass string open and pluck it to hear the sound it produces . tune the middle string accordingly . use the bass string to tune the melody string . | how to tune a dulcimer 5 | play the correct d note using a pitch pipe , piano , or guitar , then use the bass tuning knob on your dulcimer to adjust the bass string . continue tuning the bass string until the sound it makes matches the d note played by your other instrument . when using a guitar , play the d below middle c by plucking the open fourth string . if you do not have an instrument that you can use when tuning this bass string , use your voice . hum a natural , comfortable note and tune the string to that sound . the results may not be quite as precise , though . note that the aeolian mode is also called the natural minor mode . it has a tendency to weep and wail , and it works well with many traditional scottish and irish songs . produce an a note using the bass string by pressing it down a little to the left of the fourth fret and giving it a pluck . pluck the open middle string , then adjust it using its tuning knob until you can produce that same a note . note that this step and the bass tuning step are essentially the same for each method described in this article . press the bass string at the sixth fret and pluck it to produce a c note . tune the melody string using the appropriate tuning knob until it produces a sound that matches this c note . you will usually have to loosen the melody string a little when making this adjustment . the aeolian mode scale begins at the first fret and runs through the eighth fret . there is one additional note on the dulcimer below this octave and many additional notes above it . |
tighten the bow first , then apply the rosin . hold your rosin in your left hand . take your bow in your right hand and do normal bow strokes across the rosin . stroke it across 5 - 10 times . | how to rosin a bow 1 | just stroke the bow back and forth across the rosin . tighten the bow until its about the width of a pencil . but dont tighten it until it appears straight . there should be a natural curve to the bow . dont touch the bow hair or bounce it on your arm , as this will make the bow hairs greasy , and harder to play it doesnt matter if you are right - or left - handed , as you always hold the bow in your right hand . make sure that both the tip and the frog ends of the bow are more heavily rosined than the middle . there is such thing as rosining too much . |
scrape the rosin and apply it to the bow . go quickly back and forth 2–3 inches 5 . 1–7 . 6 cm at a time on the bow . | how to rosin a bow 2 | this ensures that the rosin residue goes on more thickly than just going from frog the place where you hold the bow while playing to the tip . it is best used when you are playing in a concert over 40 minutes in duration , or for playing a piece that is relatively fast . |
prepare your piece . perform your piece in low - pressure settings . do a dress rehearsal . warm up . arrive early . stay calm backstage . step onto the stage confidently . forget about everything . | how to play in a piano recital | learn it thoroughly with careful attention to establishing consistent fingerings , dynamics , articulation , and any repeats . once youre familiar with your piece , memorize it . memorize measure by measure or line by line . even after youve learned and memorized it , continue to practice diligently at slow tempos to fix any new problems that develop . practice with the understanding that you wont be able to make changes at the last minute , and your performance will sound much like your practice . if your piano is at home , play for your family and guests . find pianos in public places and play your piece for passersby . if you practice in a music school , play for other students . evaluate each performance for its good and bad moments , and develop a plan for fixing the mistakes . pick out the clothes youll be wearing and make sure they dont restrict your movement or look awkward when you play . knowing you look great gives you one less thing to worry about on the day of the recital . on the day of the recital , play your piece slowly with the music . pay attention to troublesome spots , but understand that its too late to make major changes . once youve looked over your piece , play something that you love to play , gets you excited about sharing your music with others , or relaxes you . if possible , test out the instrument youll be performing on . evaluate its soft and loud dynamics , tonal control , relative loudness of the octaves , and pedals . you should arrive early even if youre not able to play on the performance instrument few things contribute to performance anxiety like arriving to your recital late . be confident in your thorough preparation . the green room is no place to change fingerings or correct memory slips , so reassure yourself that you have it down . if you feel the need , review the score and play the piece in your head , but not more than once . as you do , smile at the audience and think to yourself , i have prepared my piece and i feel confident roll the bench up or down to the proper height for you , and take your time to get it right . once youre done , put your hands in your lap and vividly imagine the beginning of your piece , paying attention to tempo , tone , volume , and the sensation of playing the first notes . immerse yourself in the music . enjoy the audiences captivation . revel in sharing your hard work . |
verify that your sound postis properly installed and in the correct position . verify that the bridge 1 and bridge feet 2 are in line with the f notches 3 in the f holes 4 on the top of the instrument 5 . if the violin , fiddle or viola bridge feet need to be re - positioned , place the instrument in your lap with the scroll and peg box pointing away from you be careful to not let it fall . violin , fiddle and viola firmly grasp the bridge feet with your thumbs and first fingers near the bottom of each side of the bridge . gently coax the violin , fiddle or viola bridge feet in the direction needed to align each foot with their respective f notches . if the bridge feet dont easily move , slightly loosen the strings and try again . hold the violin , fiddle or viola up to eye level with the neck in one hand and sight across the top of the body looking between the bridge and tailpiece to see if the bridge is perpendicular to the body . if the violin , fiddle or viola bridge top needs moving , grasp the bridge with thumbs and first fingers just under the strings and carefully move the top until the back side of the bridge is perpendicular to the violin body top directly behind the bridge area . when the bridge feet are properly aligned with the f notches , and the bridge back is perpendicular to the violin body top , re - tune the strings . | how to position the bridge on a violin , fiddle , viola , cello or upright bass | , cello and bass place your instrument in a stand or have someone carefully hold it while you face the instrument . cello and bass place as many fingers as you can comfortably fit on the bridge feet at the bottom of both sides of the bridge . see first image . cello and bass if both feet together do not move easily , carefully move one bridge foot at a time . repeat if necessary until you have success be aware that the sound post and bridge can dislodge if the strings become too loose . wait to re - tune . cello and bass carefully lay your instrument over on its side to sight between the bridge and tailpiece . cello and bass place as many fingers as you can comfortably fit on each side of the bridge , just under the strings and carefully push or pull the bridge top into position . if needed , slightly loosen the strings to facilitate moving the bridge top . be careful to not move the bridge feet while adjusting the bridge top . start with the d 3 string , then the a 2 string , then the g 4 string and lastly the e 1 string . please note during returning the bridge may tilt slightly forward . readjust if necessary |
if youre a beginner , familiarize yourself with the keys . start by focusing on just your left hand . play the keys in this order with your left hand c , a , f , g . play each key once then pause for a second , then play the next , repeat this . now its time to focus on your right hand , practice until you understand the rhythm of the song and are capable of playing it without much hesitation or concentration . remember to keep your left hands tempo slower than the right ones . remember , this piece is very simple but takes much practice . | how to play heart and soul on piano 1 | one helpful way to do this is by placing a piece of tap on all the keys and labeling them . you will be using the keys f , g , a and c of the lower side of the piano . in order to do this , you could follow these arrangements for your left hand place pinky on the f key . place ring finger on the g key . place middleindex finger on the a key . place your thumb on the c key . continue practicing playing these keys smoothly until you are able to without much concentration . start by pressing the middle c three times . wait after a second , hit the c again and continue playing by descending down . play the keys left of c b and a . now ascend again by playing b , c , d and hit the e three times . hit the e once more , then play the two descending keys of it d and c . continue by playing the ascending keys d , e , f and g . after playing the key g , pause for a second and play the c you initially started at . now youre going to wait another second before playing the a key right of the c . descend from a by playing g , f , e , d , c , b , a , g , f . finish by ascending from f , playing f the black key to the right of f , g , a , b , and stopping at c . once youve mastered both the keys of your left and right hands , you will be able to play the melody . your left hand should play each of the four notes only after a second passes play c , pause for a second , play a , pause for a second , play f , pause for a second , play g , pause for a second , and repeat . your right hands tempo is quicker than the left hands and only slows down for a second after specific keys . begin by playing both hands simultaneously . dont feel discouraged if it seems hard to get at first . you can do it |
if you are a beginner and need to familiarize with the keys , place tape on the keys and label them . now you and your partner should pick your sides . lets focus on the person on the lower side . now once youre able to play the keys with your left hand smoothly , place your right hand on the set of keys adjacent and above your left hand . your right hand should play this , consecutively after your left hand double hits the key c , your right hand should double hit the keys c and e . after your left hand double hits a , the right hand double hits a and c . after your left hand double hits f , the right hand double hits f and a . now lets focus on the person playing on the higher set of keys . you and your partner should begin by playing exactly at the same time . | how to play heart and soul on piano 2 | since this piece will be played as a duet , one person should focus on the lower side of the piano and one on the higher side . using your left hand , you will be playing the keys c , a , f , g in this rhythm double hit c , pause for a second . double hit a , pause for a second . double hit f , pause for a second . double hit g and repeat until your left hand can play this smoothly . after each key is pressed twice with the left hand , your right hand should play the the same key that the left hand presses with the one ascending it by two keys . left hand double hits g , the right hand double hits g and b . keep practicing with both your hands until you play it smoothly and it sounds right you will only need to use your right hand . start by pressing the middle c three times . wait a second , then hit the c again and continue playing by descending down . play the keys left of c b and a . now ascend again by playing b , c , d and hit the e three times . hit the e once more , then play the two descending keys of it d and c . continue by playing the ascending keys d , e , f and g . after playing the key g , pause for a second and play the c you initially started at . now youre going to wait another second before playing the a key right of the c . descend from a by playing g , f , e , d , c , b , a , g , f . finish by ascending from f , playing f the black key directly to the right of f , g , a , b , and stopping at c . then repeat good luck |
position your hand . grip the harp . position it in your mouth . curl your lips . | how to play the jews harp 1 | use your non - dominant hand right hand for lefties to grip the jews harp . make a c shape with your thumb and index finger . this will be where you hold the frame of the harp . align the circular portion of the jews harp with your hands c shape . the harp is composed of a circular frame and two long arms that secure the reed . use a light grip with your thumb and index finger around the frame . make sure that the trigger is facing away from your face . the trigger is the part of the harp that protrudes from the reed in the center . if your harp is rounder than your grip , use your middle finger and index finger to grip the shaft . then hold the frame secure by using your thumb . open your teeth about ⅜ apart and insert the arms of the harp against your teeth . again , position the harp so the reeds trigger is facing away from your face . the key is to rest the beveled edge of the harp firmly against your teeth . do not put your teeth on top of the beveled edge . press the jews harp firmly against your teeth . it is essential , for the sake of your teeth , that you use firm pressure . if you do not position the harp in the right position , you could chip your tooth . to get a good sound out of the harp , the harp must be touching your teeth . the opening must be clear for the reed to produce tones . curl your lips slightly over your teeth and onto the frame . be sure to keep the pathway of the trigger clear . |
practice plucking . open your throat . change the shape of your mouth . move your tongue . modify your breathing . practice your repertoire of sounds . play notes on the harp . | how to play the jews harp 2 | use your dominate hand to pluck the trigger lightly . it is essential that you do not use a powerful pluck in the beginning . this is when youre the most susceptible to chipping a tooth . to avoid damaging your teeth , keep a firm pressure between the harp and your teeth . pluck the trigger inwards or outwards depending on your preference . an inward pluck is when the trigger is plucked in the direction of your mouth . an outer pluck is when the trigger is plucked away from your mouth . find a comfortable pluck . some jews harpist use their index finger to pluck while others use their whole hands . figure out what is comfortable for you . try plucking a rhythm and repeat that rhythm . this will help you develop your comfortability with plucking . to get the most amplified sound out of the jews harp , you must open your throat . its common to open your throat if you are chugging a liquid . do this same technique with your throat while playing the jews harp . try modifying the shape of your throat . you do this in everyday speech . imagine youre saying the vowels a , e , i , o and u . these shapes will all give you different tones . practice a consistent pluck while changing the shape of your mouth . you can reach a higher pitch by widening your mouth . similarly , you can reach a lower tone by narrowing your mouth . your tongue also plays a part in altering the sound of a jews harp . experiment with different positions for your tongue . try flickering your tongue to the back of your throat for a nice effect . different breathing variations will modify your tone . breathing out while playing will create a loud and buzzy sound . breathing in will create a softer buzzing sound . use these techniques as accents . breathe through your nose during normal play . continue to experiment with different combinations of the above techniques . once you begin to feel comfortable with different sounds , try to develop a melody out of the jews harp . it will take a lot of practice to play cohesive melodies on the jews harp . you wont be able to play distinct melodies until youve mastered all the basics . try something experimental on the jews harp . try whispering words while playing . play around and try to have fun with it . differentiating notes on purpose is difficult for both players and listeners . the particular note you produce depends on the quality and make of your jews harp . play notes by playing open and closed sounds . open sounds are all the sounds youve produced thus far . closed sounds are achieved by closing your throat , or your glottis . then use air pressure to open your glottis by saying a . this will produce an overtone which is essential for playing different notes . use a tuner while you are practicing to see if you are able to hit a perfect note . then practice the other techniques and adjust your mouth till those sounds create a different note . again , playing intentional notes is difficult for the jews harp . |
seek out recordings . watch videos . purchase a good jews harp . | how to play the jews harp 3 | there are plenty of recordings that feature a jews harp . it is typically used in old time folk and country music , but it is native to eastern european folk music . listen to these popular recordings featuring a jews harp were allowed by the odd tones bumblebees can fly by gorgon frazier mouthing off by wayland harman , search through the internet for a wide range of different players with unique styles . watch the videos with your jews harp in hand to try out new techniques . videos of other players can inspire you to become a better harpist . youtube . com has plenty of videos by pros and amateurs . there are even how to videos that can help improve your sound . a common reason for a lack in interest in playing a jews harp is playing a cheap harp . the popular snoopys mouth harps may be cheap and the most accessible , but they dont sound good . spend an extra ten dollars on a better jews harp . some harps are even sold by the key like a , c or d . |
verify that you have a greek bouzouki . count the strings . match the strings to the tuning pegs . know the pattern . | how to tune a greek bouzouki 1 | before you tune your instrument , make sure that it is actually a greek - style bouzouki and not an irish - style bouzouki . the two versions are typically tuned to different patterns , so its important to know which version you have . the easiest difference to identify is the shape of the instrument . a greek bouzouki has a bowl - shaped back , but the back of an irish bouzouki is flat . scale length is another major difference . the greek bouzouki has a longer scale measuring to 680 mm , while the irish bouzouki has a scale length around 530 mm . the most traditional greek bouzoukis have three string courses with two strings each , giving you a total of six strings . other versions of the greek bouzouki have four string courses with two strings each , or a total of eight strings . six - string bouzoukis are called trichordo models . eight - string bouzoukis are called tetrachordo models . note that most irish bouzoukis have eight strings , but it is also possible for an irish version to have six strings . the modern tetrachordo version is believed to date back to the 1950s , while the trichordo version dates back to ancient times . it should be easy to determine which tuning pegs adjust which string courses , but you should check the instrument before you begin to make the process as effective as possible . face the front of the bouzouki . on the trichordo , the 2 knobs on the lower right adjust the highest - pitched strings . the 2 knobs on the lower left adjust the lowest - pitched strings , leaving the 2 end knobs on each side to adjust the middle strings . on the tetrachordo , the 2 knobs on the lower right adjust the highest pitched strings , the 2 knobs on the upper right adjust the next lowest strings , the 2 knobs on the upper left adjust the next lowest strings , and the 2 knobs on the lower left adjust the lowest pitched strings . each string of a course is attached to its own tuning peg . you will adjust both strings of a course to the same pitch or octaves , as is often the case for the lower pitched course or courses . trichordo bouzoukis are usually tuned to the pattern of d - a - d . tetrachordo bouzoukis are traditionally tuned to the pattern of c - f - a - d . individual players may choose to use an adapted tuning for a specific tune when playing on a trichordo bouzouki , but doing so is fairly uncommon and only done by experienced players . many contemporary players choose to follow a d - g - b - e pattern for tetrachordo bouzoukis due , in part , to the similarity between this pattern and the pattern used for tuning a guitar . when playing irish music on either an irish or greek tetrachordo bouzouki , a pattern of g - d - a - d or a - d - a - d is typically used . these tunings make the instrument easy to play in the key of d . if you have a short - scale instrument or large hands , it might be easiest to tune a tetrachordo bouzouki to a mandolin - style pattern of g - d - a - e . this tuning should be one octave lower than that used for an actual mandolin , however . |
buy new strings . familiarize yourself with the way the mandolin operates and the names of its parts . lay the mandolin on your lap , face up . loosen one of the old strings on your mandolin by rotating the tuner knob on the peg head of the mandolin . remove the tailpiece cover , if your mandolin has one . detach the string from the bottom of your mandolin . detach the string from the tuner knob . hook the loop on your replacement string to the correct hook on your tailpiece . pull the string up , along the fretboard and up towards the peg head . stick the end of the string through the hole in the post . pull the string tight through the hole then wrap the string around the post . tighten the string by turning the tuner knob associated with the post its attached to . clip off any excess string sticking up off the tuning post . repeat these steps for each of the strings you are replacing . stretch your new strings just a little bit . tune your mandolin and enjoy . | how to restring a mandolin | you can buy a complete set of 8 strings or buy individuals if you are only wanting to replace specific strings . different brand strings sound different , so if you like the sound of your current strings , buy the same exact strings . you should be able to find great mandolin strings at your local musical instrument store or from an online retailer . choose the strings that will be suit your purposes . remember that a higher price doesnt always mean the strings will be better . do not use strings for another instrument on a mandolin . mandolin strings are made specifically for the instrument and thus other strings will not work the same way . this will help you get through the steps of replacing your strings without confusion . a mandolin at its simplest has only a few basic parts , the body , the neck which contains the fretboard , the headstock , and strings . the strings are secured onto the mandolin at the top with tuners on the headstock or peg head and at the bottom with a tailpiece , as well as being held up off the body by a bridge , located near the sound holes in the middle of the body . have enough room around you so that you can move it around freely . you will also need to have your new strings near by , as well as a pair of wire snippers to clip the ends of the new strings once they are attached . have these easily accessible . look at the way the old string is wrapped around the post and turn the tuner knob in the direction that will loosen the string . the tuner knob and the post that the string is attached to should rotate in the same direction , so you just need to pay attention to which direction the post needs rotate . loosen the string quite a bit . it should be loose enough so that there is no tension on it and it can be easily slipped off the hook its attached to at the bottom of the mandolin . this cover will be attached to the tailpiece at the bottom of your mandolin . it covers the area where the strings are attached to the tailpiece and protects your forearm while playing . this cover should just pop off the tailpiece by pulling up on it a bit or sliding it down toward the bottom of the mandolin . the tailpiece at the bottom of your mandolin has at least eight hooks on it , where the strings attach . mandolin strings usually just have a loop at the end that attaches to one of the hooks on the tailpiece . you will just need to pull the loop off of the hook on the tailpiece to detach the string . with the other end of the string loose , twist the string off around the post of the tuner and pull the end of it out of the hole in the middle of the post . the string should come off easily . be sure you are attaching the correct string , one that matches the one you just removed . once hooked on , keep the string taut so that it doesnt come off the hook . make sure that the string is seated properly in the bridge and the nut , which is located at the top of the fretboard . these two pieces hold the string centered in place , as well as off the surface of the body and fretboard . this is a small hole but should fit the string easily . you want to lock the string in place , so put a kink in it right where it comes through the hole in the post . then wrap the string around the post , locking it in place . you do not need to tune it yet , just make sure the string is taut and wont slip out of place . check once again the the string is seated correctly in the bridge and the nut . if not , loosen the string slightly then hold the string in place while you retighten it . simply clip the string as close to the post as you can , making sure not to knick any other strings in the process . remember , its best to remove one string and then immediately replace it , instead of taking them all off at once . removing a single string , and then immediately replacing it , allows you to keep track of your strings , making sure that you are replacing each string with the same type . another reason for this is that the bridge and the tailpiece of your mandolin may be held on solely by pressure from the strings and thus may fall off if all the strings are removed . its simply easier to keep them in place than to put them back in place . if you take off all the strings and your bridge or tailpiece fall off during string replacement , dont be surprised or worried . you will just need to put them back in place while you attach the new strings . because new strings will stretch out naturally , forcing you to retune repeatedly , you can speed up this process by intentionally stretching new strings out a bit when you put them on . this should be done by over tightening them just a little bit . be careful not to break them , especially the thin ones they are more delicate . after they are just a bit overtightened , leave them to stretch out for at least 5 hours . |
work with one course at a time . play the correct note . pluck the string . adjust the strings . match the strings in a course . double - check your work . | how to tune a greek bouzouki 2 | you will need to tune each string course separately . hold the bouzouki as you would while playing it . begin by tuning the course sitting at the bottom of the instrument , while you hold it in this manner , which are the highest pitched strings . after finishing your adjustments to the bottom course , move to the course above it . keep moving up , one course at a time , until you reach and tune the top course , which are the lowest pitched strings . play the correct source note on a pitch pipe , piano , or other stringed instrument . listen to the way the note sounds . the bottom course should be tuned to the appropriate note above middle c . for both trichordo and tetrachordo bouzoukis , this would be the d just above middle c d or d4 . the remaining courses should be adjusted accordingly to the bottom course . for instance , on the tetrachordo bouzoukis , the lowest - pitched course has one string tuned to the middle c c or c4 and one string tuned to the c an octave below it c . pluck one string of the course you are presently tuning , keeping the string open as you do . listen to the way the note sounds in relation to the source note . keeping the string open means that the strings is free and not pressed down at any fret along the course of the instrument . after being plucked , the string should vibrate without interference . turn the corresponding tuning peg to tune the string . test the string after each adjustment until it matches the source note , such as played on your pitch pipe . if the tone sounds flat or lower , tighten the strings by turning the tuning peg clockwise . when the tone sounds sharp or higher , loosen the strings by twisting the tuning peg counterclockwise . you may need to play the correct note several times on your pitch pipe or tuning instrument . keep the sound in your mind for as long as possible and replay it each time you feel uncertain of how much further to adjust the course . each string in one course should be in harmony with each other . adjust the other string in the course to sound either the same as , or an octave of , the string you just tuned to the source note . strum them together to hear any differences and adjust if needed . after tuning all three or four courses , strum through the open strings again to check each . for best results , double - check each course one at a time . pluck one string , while you tune it to that note on your pitch pipe , then harmonize the other string to that string . after tuning each string , and each course , strum all three or four courses together and listen to the sound . everything should flow and mingle naturally . once youve double - checked your work , your instrument has been properly tuned . |
set the tuner . work with one course at a time . set the tuner for each course . pluck the string . watch the monitor . turn the tuning peg to tune the strings . double - check your string courses . | how to tune a greek bouzouki 3 | most electronic tuners are already set to 440 hz , but if yours is not set to a frequency yet , you will need to do so before you use it for your bouzouki . the display may either read 440 hz or a 440 . each tuner will need to be adjusted in a different manner , so read the instructions that come with yours to determine how to make an adjustment to the frequency . usually , you will do so by pressing a mode or frequency button on the device . set the frequency to 440 hz . if you must set the frequency by instrument , choose a bouzouki or guitar setting . each course will need to be tuned separately . start with the bottom string course and gradually work upward . hold the bouzouki as you would while playing it . after you tune the bottom course , tune the course directly above it . work upward until you reach and tune the top course . unless you have a bouzouki setting on your digital tuner , you may need to set the desired note on the digital tuner when tuning each course . the exact method for setting the note will vary based on the digital tuner you use , so you should check the manufacturers instructions for help . usually , however , you can change the note by pressing a pitch or similarly labeled button . the bottom course will need to be tuned to the corresponding note just above middle c , so that is the initial note you will need to set your tuner to . for both trichordo and tetrachordo bouzoukis , this would be the d above middle c d or d4 . the remaining courses should be adjusted accordingly to the bottom course . for instance , on the tetrachordo bouzoukis , the lowest - pitched course has one string tuned to the middle c c or c4 and one string tuned to the c an octave below it c . pluck one string of the course you are presently tuning , keeping the string open as you do . listen to the way the note sounds and watch the screen of your tuner for a reaction . the string should be open as you pluck it . in other words , do not press the string along any fret of the instrument . the string must vibrate without interference after being plucked . as you pluck the string , watch the reaction of the monitor and indicator light of your digital tuner . the device should tell you when the instrument is in tune or out of tune . when the course is out of tune , a red light will usually flash . the display screen of your tuner should indicate which note you just played . depending on the type of digital tuner you have , the display screen may also indicate if the note is flat or sharp . once the string is in tune , a green or blue indicator light will usually flash . make adjustments to the string pitches of the present course by rotating the corresponding tuning peg . test the string after each adjustment . tighten the string of a flat or low note by rotating the peg clockwise . loosen the string of a high or sharp note by rotating the peg counterclockwise . repeat the tuning procedure for the other string in the course . repeat the tuning procedure for each string in all the other courses . after tuning all three or four courses , check each one again . you will need to check each course one - bye - one . set the note on your tuner , strum the open strings , and watch for the blue or green indicator light . if the course is out of tune , check each string within that course . after tuning all of the strings and the courses , play them together and check the sound with your ear . the notes should flow together naturally . the completion of this step finishes the entire process . |
keep your hand perpendicular to the strings and your thumb at a 50 - 60 degree angle with the string youre slapping . remember , its all in the wrist . first , to position your right hand . now , using a hitch hiker or flopping fish action , bring your thumb down slowly and hit the string , when you hit the string try to hit the bottom half of it , the bottom of your thumb should end up on the next string . keep practicing that action until you get good hits , the ideal sound is a solid thump . now , try adding some popping to the technique . with either your middle or index finger , which ever is most comfortable put your finger underneath the string lets use the g string , pull up your finger until the string eventually snaps back down on the fretboard . now lets try putting both of those into one technique | how to play slap bass | you will need to have your arm at a particular angle . think of a traditional scarecrow with rigid upper arms . this may ache after a long period of playing , but youll get used to it . for a basic slap exercise , you can slap and pop an octave - an octave is 2 frets up and 2 strings up . play an octave with your first and third fingers on your left hand . you need your thumb parallel to the string , lets use the e string first . , popping is where you pull up on the string . , |
start by making sure your bass is the correct height for you . with the bass standing upright , rest the back - right edge of the bass on your left inner hip or pelvis area . place your left thumb on the back of the neck , a few inches from the scroll , keep your left elbow up , parallel to the floor . make sure the strings are in tune . the strings can be sounded in two main ways using a bow arco or plucked pizzicato . find an f on the lowest string by hearing a major 2nd interval from the open string meaning 2 half steps . move to the other strings in the same position , and get those notes in tune as well . on the a string , indexb middlec pinkycon d string , indexe middlef pinkyfon the g string , indexa middle b - flat pinkyb , by this time , you can work on 12 position f , f , g on the e string and shifting between these first two positions . work your way up the fingerboard , learning all the finger positions and their corresponding notes . | how to play string bass | adjust the end pin length . test this by playing g on the e - string - your finger should be level with your eyes . gently place your left knee on the back of the bass . your feet should be in an l shape with your left foot parallel with the back of the bass . keep your palm off of the neck , and let your fingers form a claw shape , hovering over the strings , with only flat fingertips touching the strings . like squeezing a ball between fingertip and thumb , you can use a tuning fork or an electric tuner , or use tuning harmonics explained elsewhere . the lowest thickest string is e , then a , d , and g . classical music primarily uses the bow , while jazz , bluegrass , and other contemporary styles use pizzicato primarily . to pluck the bass properly , align your index finger pointing downward , pulling the string away with as much of your finger from tip to middle knuckle as possible . proper bowing technique starts with a proper grip for your style of bow , and a relaxed body and hand . keep the bow perpendicular to the strings , halfway between the bridge and fingerboard . the feeling should be of pulling the sound from the string rather than pressing down on the string , although significant pressure is required for clear sound . if you lay the rest of your fingers down , you naturally rest in first position . that is f on your first finger , g on your second middle finger , and g under your pinky . work with these intervals until you get them in tune . half position begins a half step lower in tone than first position on all strings . |
pick up your lyre lets assume a 6 - string in c for the sake of argument and tune it to a standard diatonic major tuning c - d - e - f - g - a . to form a c major chord use your left - hand fingertips to muffle the second , fourth , and sixth strings . to form a d minor chord block the first , third , and fifth strings . | how to play chords on an anglo saxon lyre | chord formations for other tunings are given in the sections following in tablature , this would be o - x - o - x - o - x , with the o representing an open string , and the x representing a blockedmuffled string as youre looking at the face of the instrument . this leaves you with c , e , and g , which are the notes of a c major chord . now just strum your right hand across all the strings , much like playing the guitar . like this x - o - x - o - x - o . this gives you the notes d - f - a , which form a dm chord . |
learn a little about the types of harps . determine the type of music you are most interested in playing , as this will influence the type of harp you choose . obtain a harp . sit at the harp correctly . tilt the body of the harp between your legs and lean the harp onto your right shoulder . position your hands appropriately . tune your harp . engage a harp teacher if at all possible . take a look at the strings . most lever harps and pedal harps are played with the soft part - sides or tips - of your thumb and first three fingers the little finger is too small and weak to pluck with . on pedal harps , all pedals in the middle position is c major . on a lever harp , raising the sharping lever will raise the note a half - step . now , with your right hand hold out your first finger . congratulations , keep learning the basics thoroughly , then branch out and develop your skill range . | how to play the harp | when most people think of a harp , they either picture a large , golden pedal harp in an orchestra or some type of lyre being played by angels on a christmas card . actually , the two most common styles of harp are lever harps and pedal harps . lever harps have sharping levers at the top to change the notes . pedal harps have seven pedals that can make notes flat , natural , or sharp . there are also wire - strung harps , double - strung harps , triple harps , aeolian harps and other less common styles . remember a person who plays a lever harp is a harper a person who plays a pedal harp is called a harpist . while you can play celtic music on a pedal harp or a classical piece on a lever harp , these styles of harps are really different instruments for different purposes . the pedal harp is loud enough to be heard in an orchestra and its pedals allow it to more easily play classical music . it is big , relatively heavy , and has a complicated mechanism that needs periodic adjustment . the lever harp is often softer and warmer in tone , and is lighter and more portable . people who like celtic music often choose celtic - style lever harps , or wire - strung harps . people who perform at renaissance fairs may choose a high - headed gothic harp . those who like classical music often choose a pedal harp or a lever harp with concert tension and spacing so that the change to a pedal harp will be easier . people who travel or do harp therapy sometimes choose a smaller instrument , while professional wedding harpers and harpists may want a decorative harp . some people like more unusual double - strung harps . even used pedal harps will usually cost close to 15 , 000 . if you arent sure , purchase or rent a lever harp . with fewer strings and a smaller investment , a lever harp will allow you to get a feel for the instrument without spending an immense amount of money or having to deal with pedalsfoot movements . if you want to play celtic music , a lever harp may be your best choice anyway . but if you want to be able to play on a more advanced level , you should consider buying or renting a pedal harp since it is much easier to play when on a higher level . while it is best to be able to play an instrument before purchase , harps can be ordered from reputable harp - dealers on the internet . be wary , however , of some of the inexpensive 300 - 400 harps that are made in pakistan and only buy antique or used harps with the advice of an experienced harperharpist . a cheap antique harp may need thousands of dollars of repairs before it can be played . sit in a comfortable , solid chair that is the correct height for your harp . you need to be able to easily play the middle of the harp - strings . you will need the shortest strings closest to your body and the longer strings will be further away from you . if you have a lap - harp , you may have to rest its base on a box in front of you . it shouldnt feel too heavy if it is balanced correctly . the harp doesnt have to be straight in front of you you can turn it sideways a bit so that you can see the strings . you should be seated so that your arms are a little below 90 degrees angle with your body , parallel with the floor and in the middle of the strings . at this point , your feet should rest on the floor . hand position is a much - debated area among harpersharpists . some instructors follow one technique and other instructors prefer other styles . there is no one technique that is right for all harpers and harpists . there are some similarities , however , such as relaxing the hands as often as possible , that are good common sense and will help prevent injuries . most teachers also emphasize being sure to close the fingers and thumb into the palm after playing a note . this will help you get more sound out of your harp , as well as minimizing injury risk . if you have not acquired a strong ear for music , you can use an electric tuner . using the tuning key that came with the harp , you can carefully tighten or loosen the strings to change the notes . this is an area where an experienced musician will be of great help to you . if you have a pedal harp , you will be sure that all pedals are disengaged before tuning . place each pedal in the flat key , which is the top notch . if you have a lever harp , be sure all levers are disengaged . with your lever harp , you will probably first tune to the key of c major . that is , a strings will be as , the b strings will be bs , cs will be cs , etc . later you can tune your lever harp with some notes flat to make it easier to play songs in other keys . you may also purchase a self - teaching method , although this is not a complete teacher replacement . in looking for a teacher , try to find one who respects the style of music that you wish to play , and who can teach you the appropriate technique for your style of harp . they are like the keys on a piano a , b , c , d , e , f , g repeated over and over again . the red strings are cs , the black or blue strings are fs . if you can already play the piano , the strings will come more naturally to you and you will most likely get used to the strings much faster than non - piano players . when playing a lever or pedal harp , fingernails must be kept short . wire - strung harps and certain advanced techniques for other harps are played with the finger nails . raising a pedal will drop the note to a flat and lowering the pedal will raise the note to a sharp . if the string was tuned to a flat , then raising the lever will raise the note to a natural . if the string was natural , then raising the lever will make the note a sharp . the e , a and b levers should always be up . everything else should be lowered , unless a piece requires a c , etc . place it on the harp strings as far as you can reach and pull it quickly toward you so that it slides and makes each string ring out . be careful not to let your knuckles collapse as you do this , as that will decrease the sound quality . youve just done your first harp glissando for example , do not try doing complicated glissandos glisses until you have mastered the basics . and remember to develop hand positioning too , two fingers , then three , then four . do not try to master harmonics until you have reached a higher level . take it gradually and the more advanced learning will become easier if youve mastered the fundamentals fully . |
put the first mallet between your pointer finger and thumb . put the second mallet between your ring finger and your middle finger . repeat steps one and two for the third and fourth mallets , which go in your other hand . play the mallets that are between your thumb and pointer finger , you simply hold onto the mallet with those fingers and move it up and down . playing the mallet between your ring finger and pinkie is slightly harder . | how to play four mallet marimba | the end of the mallet should reach to the center of your palm . the mallet is kept in place by your palm , pointer finger and thumb . the end of the mallet should reach to about the first line in your palm . , try not to move your hand at all while doing this only the mallet and the two fingers should move . to make the movement , imagine that youre opening a doorknob . in fact , a good way to practice this movement is by turning a doorknob a couple of times and paying particular attention to the rotation that occurs . you want to duplicate this rotation . your wrist should twist slightly away from you , bringing the top of the mallet downward . with practice , this movement will become minimal – you wont have to move your wrist very much at all to make the mallet move downward . as you play youll teach yourself how to roll just imagine a doorknob you cant open and your twisting and turning it . |
determine the quality of the marimba you need . purchase a marimba . purchase marimba mallets . learn the notes and where they are located . find middle c as a starting point . memorize the keys . hold the mallet between your thumb and pointer finger . stand directly in the middle of the instrument . strike a bar gently . practice scales . learn to read sheet music . you will need to learn how to read sheet music in order to go beyond scales to play solo and ensemble pieces . learn to hold four mallets at once . practice often . take marimba lessons . clean the wooden bars with furniture polish . purchase a cover . clean and lubricate the resonators every two weeks . take it to a professional . | how to play the marimba | marimbas come in hundreds of varieties from orchestral models to vibration control , to practice models . the standard size of a professional marimba comes in a 5 octave model . if you are looking to become a professional marimbist , you will want to invest in a high - end , 5 octave marimba , preferably with high - quality bars made of honduras rosewood as these will have a richer and more authentic sound . these models tend to be on the more expensive side , but will save you the trouble of upgrading to a more professional instrument later . if you are a beginner , or simply looking to learn the marimba for recreational or educational purposes , you may find it easier to learn to play on a smaller 4 13 or 4 octave model . high - end marimbas can run anywhere from 2 , 000 - 5 , 500 . however , marimbas with synthetic bars rather than wooden bars are much less expensive . be aware that they may lack a bit of sound quality , but can still be used for learning purposes . practice marimbas as well as rentals are also available at monthly rates . purchase a new or used marimba from percussion shop , or outlet which regularly sells percussion instruments . try to get an appraisal from any legitimate percussionist who may be able to search the instrument for cracks and other defects . if youve decided to purchase one from an online retailer such as amazon . com or ebay , be sure to purchase from sellers with good reputations . to learn the basics , any marimba will do , but a more advanced instrument may be necessary later on , such as different sounding mallets or a larger marimba . the height of the marimba can be adjusted and should generally stand at or right below the hips . adjustable marimbas are recommended for growing children who are learning to play . the marimba can be played with anywhere from 2 - 4 mallets . beginners should start with two . you will want to purchase marimba mallets made with either birch , wood , rattan or fiberglass handles or shafts and rounded heads made of yarn with a rubber core . mallets typically range from 15 - 45 per set , and vary in color and weight . lighter weight mallets are more useful for beginners . go to a local percussion shop and get a feel for different mallets to determine the best weight for you . the mallets should feel light enough to gently go from bar to bar in rhythm while playing , as opposed to feeling heavy . the notes on the lower row go as follows c d e f g a b c d e . the upper row starting at the note directly after c is c d f g a c d . you can find it by looking at the notes on the upper row the sharps and flats and finding a pair of two bars not three on the right end . the note directly to the left of this pair , on the lower row , is c . middle c is the c closest to the center of the marimba . the layout of a marimba is much like the layout of a piano where the sharps and flats the black keys are represented by the upper row . the grouping pattern is the same 3 , 2 , 3 , 2 . marimbas have graduated bars , meaning that the size of the bars change with each note . thicker bars will be found on the left side of the marimba and are lower in pitch . thinner bars will be found toward the right side and will have higher pitches . learn exactly which bars play each note so that your mallets know where to go while playing . this is a great way to enhance muscle memory and helps to gain familiarity with your instrument . it should be held at the point where the mallet feels balanced . next , you should rest the end of the mallet in your palm . hold the end in place with your other three fingers . then repeat on the other hand . the mallets should be held , with your palms down , and with the mallet heads hovering over the bars . hold the mallet close to the fleshy part of the palms so the mallet can easily be lifted after strikingthe mallets should meet into a near ‘v shape over the bars . this ensures that your weight is distributed evenly while striking each bar . the lower bars should be closest to you , while the upper bars require a very slight extension to reach them . the marimba is larger than the average xylophone so a small step may be needed to the left or right . be sure not to turn the body or lean toward out of reach keys . merely take a small step to the left or right while ensuring that your body is directly facing the instrument . to play a note , hold the mallets over the note you wish to strike . raise the mallet up with your wrist instead of your arm . then quickly strike the mallet against the note and quickly lift . use your other hand to strike the same note and quickly lift . continue to alternate strikes onto one bar only . remember to keep your grip loose and your wrists relaxed . the mallets should hit the note directly in the center of the bar on top of the resonator for the best sound the resonators are the tubespipes under the marimba that help to project and sustain the sound of a mallet strike . there are twelve major scales that can be played on the marimba which are the same as those played on a piano or keyboard . you can begin by playing a c major scale by striking the following bars in order c , d , e , f , g , a , b . be sure to utilize both hands . start with the left hand and strike the c note , then use the right hand to strike the d note , use the right hand to hit the next note , e and so on . start at a slow speed , hitting approximately one note per second . then build up to a faster speed , repeating the scale with alternating strikes until you are comfortable . continue with a d major scale d e f g a b c d . percussion shops often have beginner sheet music available , as do many online retailers . the majority of professional marimbists use four mallets while playing . if you wish to become an advanced percussionist , this is a grip that should be practiced . grab one mallet with your right hand and wrap your ring and pinkie finger completely around the mallet near the bottom . pick up the other mallet and place the very bottom tip of the mallet in the middle of the right palm . then wrap your middle finger around the mallet to grip it . use your thumb and index finger to steady the second mallet . place the index finger on the back , then point the index finger like a gun . repeat these steps on the left hand . the most effective way to become a better marimba player is to practice . designate time to play scales and other pieces on a regular basis . introductory workshops and lessons are widely available for beginners where one can learn to play new music and learn playing techniques and improvisational skills . use a cloth to wipe dust , fingerprints and dirt . synthetic bars can be cleaned with a bit of soap and water . if you plan to travel with your marimba , or plan to use it in a school environment , make sure you have a cover . some companies offer a cover as a standard option , others have to be purchased separately . a marimba cover will protect the instrument against outdoor debris , scratches , dust and spills . covers usually come in flannel material or denim . be sure to remove any objects or debris that may have fallen inside of the resonators and use a natural oil lemon oil works well to polish them and protect against rust . broken bars , rusted resonators , heat damage repair and tuning should all be handled by a professional . percussion shops and instrument restoration shops are best equipped to handle these issues . tuning marimba bars can be particularly tricky and may require carving and checking its pitch using a chromatic tuner . bars must also be sanded and attuned with its corresponding resonator . |
understand the different parts of the tabla . learn how the tabla is made . learn how to sit while playing tabla . position your hand on the dayan , the smaller drum on the right . practice hitting the daylan . position your left hand onto the bayan , the larger drum on your left . practice hitting the baylan . learn how to follow tabla bol wordings . indian percussionists follow a system of wordings , as opposed to a western system of musical notation . practice playing the tabla . increase the rhythm gradually after you have mastered the basic stroke of playing the tabla . play around with different sounds you can make on the drum . | how to play tabla | the tabla consists of two separate wooden drums , one smaller and one larger . the smaller drum , positioned on the right , is called the daylan or tabla and the larger drum , positioned on the left , is called the baylan . each drum makes a different tone but together they make the distinctive sound we associate with the tabla , a sound that is central to classical indian music . in order to play this drum well and keep your instrument in good working condition , it is important to understand how it is made . the daylan is made of wood , usually from a neem or shisham tree . the baylan is made out of metal or clay . the two drums are made of different materials so that each has a distinct sound all its own . both drums are covered with a goatskin drum heads . the drum heads are attached to the drum with long leather strips that attach to a leather ring at the bottom of the drum . in order to tune the drum , tabla makers insert wooden blocks between the drum body and the leather strips . moving the wooden blocks up and down along the drum adjusts the tightness of the drum head and tone of the drum . an element that is unique to the tabla is the application of the sinai , a patch of iron fillings mixed with rice paste applied to the surface of the drum , right on the goat hide , which allows for further tuning of the drums . before starting to play , you need to learn how to position your body correctly , as posture and body position are very important to playing the tabla . sit cross legged on the ground . this will position your body on the same level as your tabla . place the drums in front of you , close enough to almost touch your legs , with the space between the drums right at the center of your body . the larger drum , on your left , should sit flat , with the top of the drum facing straight up . the face of the smaller drum , on your right , should be facing away from you , at approximately 35 degrees . the position of your waist should straight . keep your posture upright . you should put one hand on each drum . make sure that each of your hands can comfortably reach the drums in front of them . the placement of both hands should not be stiff . it should be in comfortable position , so that playing tabla is easy . the three fingers starting from the right of your hand , your middle finger , ring finger and little finger , should be positioned on the sinai at the center of the drum . make sure that your index finger is raised up away from the head of the drum just a little bit . rest the heel of your hand on the edge of the drum . keep your contact with the drum centered on the sinai at the center of the drum head . lift your hand just a few inches and then bring down your middle , ring , and little fingers onto the center of the drum . this is a stroke called te . lift your hand just a few inches and then bring down just your pointer finger into the very center of the sinai . this is a stroke called teh . place the palm of your hand on the drum , so that your hand covers up the syahi and your elbow is bent . if you are in the correct position the heel of your hand will be just covering the syahi and your forearm will be resting on the edge of the drum . the sinai on the baylan is positioned off center . make sure your drum is positioned so that the sinai is at about 2 oclock , if the top of the drum was a clock . this makes it comfortable for your palm to cover it and your forearm to rest on the edge of the drum . keep your forearm resting on the drum and simply lift your hand up , flexing at the wrist , and bring it down gently . this stroke is called ke . each word in a bol stands in for a sound you make on the drum , for example the strokes te and teh that you have already learned . a series of these words will create a bol . while practicing , keep the rhythm slow so that you can focus on hitting the drum and combining sounds correctly . dont try to practice more than one tabla bol at a time . repeat the practice of same bol at least one hour a day . while practicing , avoid talking with others . concentrate on tabla playing . your goal should be to increase speed but not at the expense of losing accuracy . once you have mastered the basics of the tabla , feel free to experiment with your own style . for example , use the force of index finger on the edge of tabla to create a nice tone . |
grip the sticks properly . keep your stroke style closed rather than open . play confidently yet softly . | how to play percussion instruments 1 | for playing the concert snare drum , the accepted grip is the matched grip . pinch each stick between your thumb and pointer finger about a third up from the butt . wrap the other 3 fingers loosely around the butt for control . when learning elementary strokes or playing marching percussion , the tendency is that rolls , flams , and drags are played in an open style , meaning that each stroke is distinct . when playing concert snare drum , however , strive to close your multi - stroke rudiments as much as possible . this style of playing is more lyrical and blends better with orchestral or symphonic music . because the snare drums sound is such a tight , percussive crack , it projects well even when played softly and can easily overwhelm fellow musicians if played loudly . for this reason , listen to fellow musicians and play at a slightly lower dynamic level than you think you need to . you can produce a softer sound from the snare drum by playing near the edge of the head . |
prepare a range of different mallets . get into the proper playing position . pull the sound from the drum . follow through on each stroke . | how to play percussion instruments 2 | unlike the snare drum , the concert bass drum requires a range of mallet densities for different passages and styles of music . at the least , keep 1 soft bass drum mallet and 1 medium - hard mallet . ideally , the bass drum should be slanted so that the head is at about a 45 degree angle to the ground . hold the mallet with your dominant hand and place your other palm gently onto the head of the drum . strike the head just off - center with the mallet and vary the pressure with your other hand to muffle the drum as needed . when playing a concert bass drum it is important that the sound properly resonates and fulfills its roll in a piece of music properly . in order to convey the low - pitched sound of the drum to the audience try striking the drum in a scooping motion as if you are pulling the sound from the drum . because the bass drums head is loosely tensioned and does not provide much rebound , the tendency is to strike it and leave the mallet against or near the head . instead , make a conscious effort to follow through on each stroke just as you would on a snare drum or tom , returning the mallet to its playing position as quickly as possible . |
grip the mallets properly . develop an ear for tuning . use only open - style , single - stroke rudiments . never strike a the drum in its center . | how to play percussion instruments 3 | the timpani is alone among percussion instruments in that the standard grip is the french grip . this grip is similar to the matched grip , except that the palms are at right angles to the floor . studying and using this grip will facilitate quick and graceful changes between each drum with minimal arm movement . perhaps even more important than playing the correct rhythms on timpani is tuning the drums correctly . timpani heads are tightened and slackened using foot pedals , and you will need to be able to retune drums silently during a piece of music . this can be done by quietly humming into the drum head - when the drum is tuned to the pitch you are humming , you will hear it resonate back . a major error in novice timpani technique is playing closed - style buzz rolls like you would on a concert snare drum or playing double - stroke rolls or diddles . all rolls and ruffs played on the timpani should be single - stroke , where you alternate your left and right hands evenly . you want a timpani to resonate . if you strike the center you will simply hear a thud in contrast to the full sound the timpani is known to produce . it may seem unimportant but the timpani is an integral part to many classical pieces and needs to be heard . |
develop a rear - fulcrum grip . use the appropriate mallet for each instrument . blend with the section you are accompanying . | how to play percussion instruments 4 | the proper grip for mallet percussion instruments like the marimba , the xylophone , and the glockenspiel is a variation on the matched grip . instead of pinching the mallet between your thumb and forefinger to create the fulcrum , squeeze the butt of the mallet gently with your ring finger and pinky . your other 3 fingers are then wrapped loosely around the mallet to provide extra control . each mallet percussion instrument requires a different type of mallet to sounds its best and remain undamaged . the marimba is played with soft yarn mallets , the vibraphone with hard yarn mallets , the xylophone with rubber or plastic mallets , and the glockenspiel with plastic or brass mallets . unlike other percussion instruments , whose parts are not duplicated in the rest of the ensemble , mallet percussion parts often duplicate passages that are being played by wind or string instruments . for this reason , it is important to listen carefully to the ensemble and try to blend well with the other instruments playing your part . |
opt for a hard , well - padded case . if you can , attach a hygrometer to monitor the humidity of the inside of your case . always loosen your bow after you have finished using it . always wash your hands before playing or handling your instrument . wipe rosin off the stick of the bow and off your instrument after each practice . always be gentle with your instrument when you lay it down or pick it up . avoid putting your instrument in places where people could kick it . dont leave your instrument out of its case for long periods of time unless it is properly covered . dont leave your instrument in the sun or other places like a car for long periods of time where it could get hot . dont leave your mute on the bridge if youre not using it . try not to let your friends touch or play your instrument as this could damage it . take care when tuning . spend time with your instrument . | how to care for a stringed instrument | when taking your instrument out and about , a hard case and good cushioning will reduce the risk of damaging the instrument . good cases come with one already attached . tightness over a long period of time will damage the curved wood of the bow and the horse hairs . this will prevent fingerprints , oil , grime and other general dirt from building up on your instrument . common places where rosin accumulates are between the fingerboard and the bridge , on and under the fingerboard , under the bridge and on the strings . use a gentle cloth . , your instrument could become unglued . , a played instrument is a happy one . |
fill the tub with lukewarm water . soak the cymbal . dry the cymbal . apply the polish . rinse off the polish . | how to polish cymbals | the tub has to be able to fit the cymbal in it . if the water in your tub is too hot or too cold , it will ruin the cymbal and possibly crack it . make sure that the water in your tub is nice and warm . a good mix is 13 of cold water and 23 of hot water . to test the water , stick your hand in the tub . your hand shouldnt get cold but it shouldnt burn either . it should feel like a relaxing bath . take your cymbal off its stand and gently lay it down into the tub . it should be face up like youd have it mounted on your stand . the cymbal doesnt have to be soaking in the tub for hours , just leave it in there for 1 - 3 minutes . this will help loosen visible dirt and will help with the rest of the polishing process . leaving the cymbal in the tub for too long can damage it so be sure to not leave it in there for longer than three minutes . to dry the cymbal , take it out of the tub and lay it on a dry towel . with another separate , small cloth , pat the cymbal dry . dont hit the cymbal really hard , a small and light pat will do . for one or two minutes , focus on getting the cymbal dry by patting it . never scrub the cymbal as this can completely ruin the sound and looks of it . put some cymbal polish whatever one youve chosen on a small , dry , clean cloth . clean a small area of the drum cymbal and wait for the polish to soak in . if you try to clean the whole cymbal in one go , the polish will dry and become very hard to remove . if youre not sure about what way to clean the cymbal i . e , clockwise or anti - clockwise just keep in mind that you need to follow the grooves engraved in the cymbal . keep repeating this step until youve cleaned the whole cymbal . dip another small , clean cloth into the lukewarm water tub and gently wipe the polish off . you still want to follow the grooves in the cymbal and you should avoid scrubbing the cymbal too hard . every time you rinse off a small part of the cymbal , dry it using the same technique described in step 3 . keep repeating this step until the whole cymbal is rinsed and dried and youre pretty much done . enjoy your shiny , new cymbals |
clean a large aluminum coffee can . secure a piece of felt over the coffee can . create mallets for playing the drum . | how to make percussion instruments with household items 1 | remove the lid from an aluminum coffee can and rinse out the inside . the can will form the body or shell of the drum . you can remove the label and decorate the outside of the can if desired . cut a circle of felt about 2 inches 5 cm bigger in diameter than the opening of the coffee can . place the felt over the opening and secure it using rubber bands . this will form the head of the drum . an easy way to construct mallets for the coffee can drum is by sharpening the ends of 2 wooden dowels and then sticking them into 2 small rubber balls . hold the dowels along their shafts and strike the drum head with the rubber balls . |
spread some dried beans onto a paper plate . fold the plate in half . staple the edges of the plate closed . | how to make percussion instruments with household items 2 | another simple percussion instrument can be made by sealing some beans into a plate . begin by placing a small handful of the dried beans onto the center of the plate . while keeping the beans from falling out , fold the plate over onto itself so that it forms a half - moon shape with the beans sealed inside . use a stapler to seal the two edges of the folded plate closed . you can now shake the plate in different rhythmic patterns to produce a maraca - like tone . |
punch holes around the edge of a plastic plate . string some twist ties through jingle bells . affix the jingle bells to the plate . | how to make percussion instruments with household items 3 | use a single hole punch to punch 5 or 6 evenly spaced holes around the edge of a plastic or paper plate . if you use thin paper plates , you may want to stack 2 plates together for added stability . for the tambourine , youll need as many jingle bells and twist ties as you have holes . run the twist tie through the middle of each jingle bell and bend both ends towards each other to prevent the bell from falling off of the tie . run the twist tie of each jingle bell through a hole in the edge of the plate . tie each bell on tightly by twisting the twist tie around itself . you can now play the tambourine by either shaking it or by striking the plates surface with your palm or fingers . |
choose the right size castanets . determine handedness for each castanet . put on your castanets . swap sides with your castanets if left handed . test the tightness of your castanets . hide your castanets in your hands . choose mounted castanets for orchestral performances . practice a simple roll in the right hand . add rhythm with your left hand . create the pi sound in your right hand . drill the pam sound using both castanets . learn the finishing sound pan . practice different strikes in different patterns . use mounted castanets for orchestral performances . | how to play castanets | this is largely a matter of preference , as the string connecting the shells of your castanets are adjustable . the size of your castanets will also influence the tone you create . generally , youll want a pair that fit comfortably in your hand and can be hidden easily from view in your palm . sizes range from three , which is usually for children or to achieve high pitches , up to nine for larger hands and deeper tones . each castanet is made of two shells tied together with the hollow side of each shall facing inward . one set will have a higher pitch this is your hembra which means female in spanish castanet and is worn on your right hand . your other castanet will have a lower pitch this is the macho meaning male in spanish and will be worn on your left hand . many times there will be a marking , like a small letter r , on the hembra right pair of castanets . now that youve determined the hembra right castanet from the macho left one , take the string connecting the shells of your hembra castanet pull it so two loops emerge from either end of the castanet . then put your thumb through both loops , being sure that for both hands the loops of your castanets rest on either side of your knuckle . run along the bottom of your thumbnail and base of your thumb . the knot of the string is on the bottom loop and faces toward your body . since the melody and the majority of the complex rhythms are going to be in your right hand , left handers might have an easier time playing if they wear the macho left castanet on their right hand . however , many left handers still play right handed , as this is the traditional way of playing castanets and makes group instruction , where the traditional way is most frequently used , easier . if your castanets are too loose , the sound you create wont be bright or clear . additionally , loose castanets can fall off while performing or practicing , so you may want to start with your castanets tight , tap your fingers on the shells to check tone , and then loosen your knots as needed . adjust the length of your castanet string by sliding the knot tighter or looser . aim for a string length that feels stable , comfortable , and snug . castanets are often coupled with dance , like in zambra flamenco dancing . showing your castanets to the audience while performing a dance can detract from the aesthetic , where the trills and clacks of the castanets appear linked with the motions of the dance . professional percussionists in an orchestra often have to coordinate many instruments at once , and to save time during a performance taking castanets on and off , performers might make use of mounted castanets . these can be bought at some music stores , and can also be found through online retailers . start with your pinkie finger and tap the top of your castanet . then follow your pinkie with your ring finger , and do the same for the rest of your fingers until you reach your pointer finger . this is a simple castanet roll in your hembra right castanet . this sound is sometimes called rri by castanet teachers . your macho left castanet will punctuate the bassline of your castanet sound , creating the rhythm . use your middle finger and ring finger to tap your macho castanet at the end of every right hand roll . this will create a slightly heavier , deeper toned rhythm . this sound is sometimes referred to by experts as ta . this move will be nearly identical to your approach to making the ta sound , only instead of using your left hand , youll use the ring and middle fingers of your right hand to make the sound . alternate between this and your roll to acquaint yourself with the different sensations . this sound is also sometimes referred to as chin , for its clashing quality . this sound requires you to collide the castanets together while they are in front of your body . while each pair of castanets are unique , semi - professional castanets and higher quality pairs are built to withstand this strike . perform this move sharply . this powerful sounding clap is often used to end a sequence , as it has a tone of finality to it . use your pinkie , ring , and middle fingers to strike both castanets at the same time . be sure you strike your castanets at the same time , otherwise the powerful effect will be staggered and weak . while it is generally true that the complicated rhythms of the melody should remain in your hembra right castanet , you should experiment with different finger strikes used in different patterns . alternate between trills and bassline ta strikes , clap back and forth with ta and pi , then finish strong with pan . mounted castanets are played with the hand , drumstick , or mallet . the castanets are attached to a piece of wood and connected in such a way that leaves space for the castanets to come together to make noise . shake mounted castanets back and forth in smooth , regular motions to create clickingclapping sound . ricochet the clapper between your knee and hand for a fast roll . use drumsticks on the castanets to further sculpt the sound . |
cut the dowels to about 14 - 17 in length . stick one end of the scissors into the hole in the ball knob , twisting it to shave the inside until to hole is large enough for the dowel to fit into it snugly . make sure the dowel will slide about half an inch into the ball knob . wrap a few rubber bands around the mallet . tie a clove hitch around the bottom of the rubber core . wrap the mallet once around the shaft over the clove hitch then wrap it over the core . turn it around the shaft and make a perpendicular prime meridian to the first one you made in the previous step . turn it around the shaft again and follow the previous 2 steps to make another x . at the top of the mallet there should be a little nipple where the lines overlap . keep wrapping the same way and keep count of how many times you wrapped it . when done with the number of desired wraps , there should be a little hole at the top . with the needle , stitch the top of the mallet . repeat this pattern tightly . using the same donut stitching technique , stitch a bottom ring with the 3 inches of slack left in the beginning . repeat the steps before this again to make an identical second mallet . sand down the dowels to the exact same length and smooth out the bottom if you might use them in a 4 mallet grip . | how to make marimba mallets | ensure they are cut to the exact same size . , take it out , put a few drops of wood glue in the hole , and push the dowel back in . you can put a little more glue around the base of the ball knob to secure it . for extra rebound and a bigger mallet . not extremely necessary leave about 3 inches of extra yarn for stitching the bottom . by over , imagine the mallet core as a globe with the north pole at the top and the south pole where the mallet shaft is inserted . outline a prime meridian of the globe with the yarn . not the equator . looking at the mallet from the top there should be an x this x should be a 45 degree turn compared the first x . now from above it should like 4 lines intersecting at the middle . kind of like a pizza pie with 8 slices . start wrapping over the mallet slightly off - center . when coming over hook the yarn tightly around the nipple , not directly on top of it . remember not directly over the intersection of the first 4 wraps that made the pizza looking pattern or overlapping xs pattern you can wrap anywhere from 100 - 275 wraps . the hardness of the mallet depends on the type of yarn , the core , and the amount of wraps . try it occasionally to see if its the sound you want . be careful though because it might unravel . leave about 3 inches of slack and cut the yarn . thread the end of the yarn into the needle . to do this think of a donut . imagine wrapping a donut with yarn . through the middle , pull from the bottom , and do it again . using this technique might fill the hole if using a thick enough yarn . right when there is no more slack cut the yarn and any remaining slack should be tucked in the hole at the top and can be glued tight . if the mallet ever loosens from the bottom , restitch it quickly . if the clove hitch shows and the slack gets too long , the mallet might unravel . wrap the yarn the same amount of times to get the closest sound possible . |
blow up 2 balloons the same size . tape cardboard tubes to the base of the balloons . tear old newspaper about 2 centimeter 0 . 8 in wide . take 2 cups of all - purpose flour and pour it into a pot . add 4 cups of cold water to the pot of flour . dip the newspaper strips into the gluethe pot of flour . use your fingers to slide off the excess . place the strips around the balloons remember to leave a tiny opening . leave the paper - mache to dry overnight . when completely dry add dry beanspebblesrice . use strong tape to seal the hole . use your imagination to decorate the maracas with paint andor pens . your maracas are ready | how to make maracas | , |
learn the finger names . start with your right hand . practice playing up and down this position . learn a few chords . learn some basic songs . get your grade 1 . get into more advanced pieces . keep going until you reach grade 8 . | how to play fast on the keyboard | your thumb is finger 1 your index finger is finger 2 your middle finger is finger 3 your ring finger is finger 4 your pinky finger is finger 5 place all of your fingers in the middle c hand position . this means finger 1 is on c , finger 2 is on d , finger 3 is e , finger 4 is on f and finger 5 is on g . to find this position quickly , just put your thumb on c and let the other fingers fall into place , one finger to one note . so you should play 1 , then 2 , then 3 , then 4 , then 5 , and then back down 5 , 4 , 3 , 2 , 1 . remember to count out loud . count 1 2 3 4 5 4 3 2 1 as you play that finger . keep a steady pace . play this very slowly and gradually speed up . most keyboards come with a built in metronome , this will help you greatly . set the speed to 80 bpm beats per minute to start with , then speed up until you can play 110 bpm . if the tempo is ever to fast , just slow it down . this exercise will get you used to moving your fingers around . a good one to learn is the c chord . every time you count 1 , play and hold the c chord . this will get you used to playing with chords and you will need that to play in the future . once youre used to moving around with chords , learn some easy keyboard songs . you could just buy a grade 1 music book that comes with songs because they are very easy . take a trip down to your local music shop and speak to the people there about easy songs to learn . they will be willing to help you . they could also show you some tips on how to play faster . remember to practice very slowly so you can speed it up and still be accurate . if you have a keyboard tutor , speak to them about getting your grade 1 in keyboard . this will keep you motivated and you will have something to show for your hard work in the future . if you dont want the grade , skip this step . if you do , take another trip to your local music store and ask them about it . once you master the easy stuff , master some more advanced songs . the best thing to do is get your grade 2 . the grade 2 is very similar to grade 1 so its not that hard . now you have truly mastered the keyboard . you should be able to play pretty fast by now too . if youre not fussed about the grades , just keep learning until you can play very well . do not aim to play fast when starting out , just aim to play well . speed will come with time . |
find a piano or keyboard that you can use . place stickers with notes written on them on the keyboard . print out the sheet music . commit to learning the song . | how to play chopsticks on a keyboard or piano 1 | obviously you need the instrument in order to learn how to play it . however , if you want to practice you can draw out piano keys on a piece of paper and play that . if youre having trouble remembering what note is which it might help to put little circular stickers on each key . you can write the note of each key inside the sticker . make sure you dont damage your keyboard dont write on the keyboards . place the stickers on the notes that you are going to play for this song . you can find the sheet music for chopsticks many places online . youll want to be able to refer to the sheet music as you play while you are learning . once you memorize it you can get rid of the sheet music . you dont have to do this , but it will help you have something to refer to . if you cant read music you can just write down the notes to play on a piece of paper . youre not going to be able to play it perfectly immediately , so go into it with that knowledge . it will be a fun experience but youll have to practice and work at it . dont get frustrated this is part of the joy of learning . |
learn the basic notes . position your hands . place your fingers on the keys . get your timing . | how to play chopsticks on a keyboard or piano 2 | use the video above to help you learn the basic notes on the keyboard . you can also use any internet research that you find helpful . make sure you start with the notes that you see on the sheet music for chopsticks . the easiest way to learn notes is to get a few basic ones down and then learn to play a song using them . , you want your hands to be turned sideways over your home keys . make sure that your pinky fingers are the ones closest to the piano . the idea is that the movements or your hands will imitate a chopping motion in someways . thats why its called chopsticks for example , imagine that you were almost karate chopping the piano keys . your left pinkie goes on the f key , and the right pinky on the g key . consult your note sheet if necessary , or use the stickers on your keys if you chose to put them on . , this might be the hardest part . try to think of a clock ticking—tick , tock , tick , tock . now for each tick and tock , count to six 1 , 2 , 3 , 4 , 5 , 6 , and repeat that to yourself 1 , 2 , 3 , 4 , 5 , 6 , 1 , 2 , 3 , 4 , 5 , 6 . each time you get to three , thats when you switch to the ‘tock . |
play the first measure . prepare for the second measure . play the e and g notes . move your fingers to the d and b notes . play the d and b notes . move your fingers to c , one octave apart . play the c notes only four times . start from the top . practice and practice | how to play chopsticks on a keyboard or piano 3 | once you have that beat in your head , play the first two notes 6 times . refer to the image if you would like to see what the music looks like . if you wish to practice this measure , go ahead you dont need to rush ahead . try to master this before you more forward . make sure you have mastered the first measure before moving on . now move your left pinky to the left , over to e the next white key . keep your right pinky right where it is , on the g . see the piano notes in the accompanying picture . br using the same rhythm you started above , play the e and g notes 6 times . try to keep that tic tock rhythm in your head . now try to see if you can move from the first measure to the second measure seamlessly . put your left pinky on the d key , and your right pinky on the b key , as shown in the accompanying picture . this is the next part of the song and slightly more complex , since youll need to move both fingers at the same time . take your time and practice . once again , with the same rhythm , play the notes six times . stick to the tic - tock rhythm as you play or it wont sound right . this time , they both go on the note c , one octave apart . if youre lost , refer back to where the notes on the piano are . this will help you reorient yourself . , after you play those four notes , you still have 2 left in your rhythm remember that youre counting to six . for those last two notes , move each finger one note at a time back towards the starting point . the left pinky plays d , then e , while the right pinky plays b , then a . the accompanying picture will provide a visual . br practice and repeat those four measures . take it slow and split it up into parts if you need to . youll get comfortable with it quickly as long as you dont rush . there are many more variations , so as you get more comfortable you can consider giving those ones a try . have fun . |
familiarize yourself with the keys on the piano . find the a key . continue depressing each consecutive white key to the right of the original a until you reach the a key an octave 12 half steps above . once you have played every note in succession , and have reached the octave a , you have played an a minor scale . | how to play an a minor scale on the piano | you may notice that the piano keys follow a pattern . one should note that there are groups of both two three black keys . directly to the left of every group of two black keys is the note c . we will use this as a reference in finding the first key of the a minor scale . using the c key as a reference , descend 3 half steps 3 keys , including black keys . you have found the a key . depress this key with your 1st finger thumb . you have played the first note of the a minor scale . the proper fingering for the rest of the scale in order is 4 - 3 - 2 - 1 - 3 - 2 - 1 , with your index finger being 4 , and your pinkie being 1 . congratulations if you wish to do so , you can repeat the pattern to go any number of octaves higher that your piano or keyboard permits , or reverse the pattern and play a descending a minor scale . |
decide the root note . t he root note is the lowest note of the chord , the note you would like to build upon , like a foundation for a house . after choosing the root note , choose the 3rd note and 5th note by counting from the root note . for example , if c is the root note , the 3rd note is c , d , e . and the 5th note is c , d , e , f , g . after getting the root1st note , 3rd note and 5th note , if you know how to write notes you can write them down one on top of the other because the three notes are played at the same time . in a major chord , the major 3rd is used5 frets higher on a guitar counting from a root note . | how to play a root position piano chord | , notice that if the root note is a line note , the 3rd and 5th notes also lie on a line . if the root note is a space note , the 3rd and 5th notes also lie on a space in a minor chord , the minor 3rd is used5 - 1 4 frets higher on a guitar counting from a root note . the 5th is the same for both major and minor chords8 frets ahead on a guitar counting from a root note note - if you imagine all the black and white notes as frets , you can follow the steps above . follow it a few times and you will understand it better by trying to play it . |
learn how to read sheet music . make sure that you have proper posture and develop a good playing technique . | how to play classical piano 1 | as a classical pianist you will rely heavily on your books filled with classical masterpieces from all manner of famous or lesser known composers . it is a general belief and unwritten rule that when you play a classical piece you want to stay true to its composers intent , so it is very important that you dont rely on your ear to learn a classical piece , because it is extremely unlikely that you will be able to pick out every note played by a pianist performing the piece you aim to learn . due to this , playing classical music and being able to read sheet music goes hand in hand . this is especially important for fast and technically challenging pieces that require dexterity , control and endurance . the easiest way to do this is to have a teacher than can give you professional tips and ideas to help you find a technique that works well for you . relax your shoulders and dont tense your forearms . use your arm weight . rather than just pressing the keys using your fingers , relax your arms and use the joints in your fingers to keep your wrists straight . remember that your forearms should not have tension in them while playing . the weight of your arms should be able to rest on your fingers . try having your hands rest on your knees or thighs while sitting down . this is the same relaxation you should feel playing the piano . gravity is your friend . watch videos of acknowledged skilled pianists to get inspiration . ask a teacher or friends with knowledge in the area for pianists with excellent technique . |
realize the challenge behind playing well quickly . be harsh on yourself . practice crossing your fingers evenly . dont go faster than you can handle . follow the notated fingering , if any . | how to play classical piano 2 | if you listen to professional pianists that play , for example , mozarts piano sonata no . 16 in c major or a fugue by bach , generally make it sound extremely simple , but it is far from it . while you can learn a piano sonata or sonatina fairly quickly , as they generally may not be that complex , the big challenge comes in playing them well . it is very common for sonatas to have a lot of fast scales going up and down , and these are difficult to play evenly and precise . because of this , proper technique is extremely important . if youre playing a quick piano piece , listen carefully to what youre playing . if you find it difficult to listen and play simultaneously , record yourself . listen for areas where quick sixteenth notes werent completely even , or where you pressed a key much harder than the rest making it stand out even though it shouldnt . if you have a teacher , he or she will pick up on this . know where you need to improve and of course listen to your teacher . one of the most difficult things to do quickly and evenly is crossing fingers over each other , for example thumb under middle or ring finger , or ring finger over thumb . practice these kinds of transitions slowly . the general idea is that if you have to for example cross the thumb under your ring finger , your thumb should be in contact with the key that it is going to press when youre pressing your ring finger down on its own key . once you press down your thumb , your other fingers have to quickly go back over the thumb and be ready at their next keys to press . doing this flawlessly will help those quick scales to be played smoothly and evenly . ask for help from your teacher or look up instructional videos to help you on your way if you get stuck . this is very important never start playing a fast piece in its intended tempo . you will have to stop continuously and correct yourself often , and that is detrimental . start slowly , using a metronome can help to make sure you dont increase the tempo unwillingly . starting slow and then gradually increasing the tempo will make sure that once you get up to a satisfactory speed , you will still have control of what youre playing . but dont be too ambitious and increase the tempo too quickly . if you increase too much you will start making mistakes again while playing . if you do this , go back down to a manageable tempo . practising fast pieces requires patience and discipline , but once you finally get it up to speed , they will be all the more fun to play if youve practised well . many pieces will have fingerings written down to help you play the piece efficiently , and while they will not always make sense and seem strange , try using them anyway and they might make more sense once you get familiar and comfortable with the piece . fingerings have often been picked out and suggested by professional pianists , but simultaneously , different editions and translations of the same piece can have different fingerings suggested . if all else fails and you really cannot make a suggested fingering work , then it is okay to create your own that fits you better . every pianist is different . |
learn the piece while playing it with a strict tempo . make your own interpretation . make sure the melody stands out . | how to play classical piano 3 | a lot of romantic pieces will allow for expressive tempo changes , ritardandos and accelerandos , but your first priority should be to learn the piece while playing with a strict and constant tempo . once youre comfortable with a piece and know how to play it , you can add ritardandos , accelerandos , crescendos and diminuendos where you see fit . there is no right or wrong here . a lot of the time things like this will be written down in the sheet music to guide you , but it is up to you to what degree you want to do each expressive suggestion . look up different recordings of , for instance , debussys la fille aux cheveux de lin and you will notice that no recording is the same . thats because each pianist has made their own interpretation of it . you can use recordings as inspiration , but ultimately it can be more fun to create your own idea of the piece , and to tell your own story while playing it . this might even attach you to the piece on an emotional level so that it is more than a mere piece of paper with notes written on it . when people watch you play it they will feel that personal energy flowing through your fingers into the piano keys . romantic pieces usually have a lot of chords and notes played at the same time , but in the end only one of those will be the melody . if youre not careful that melody will be lost in the cluster of tones created by the chords . always make sure that you can make out the melody while playing . you should be able to sing along with it in your head . to do this , make sure that you put more of your arms weight on the fingers playing the melody . it can also help to do your best to play the melody with legato unless otherwise instructed by the sheet music . this can be difficult when playing chords at the same time , but a lot of the time the sheet music will have suggestions for fingerings that can help you on your way . if not , try to figure out your own , or ask your teacher or a friend for help . |
find the key and accompanying chords . play the root of each chord with your left hand . invert the chords . hop octaves . combine these approaches . experiment with more complex basslines . insert other chords in the same key optional . adjust to your genre . | how to play bassline when playing the piano | determine which key the piece is in , and learn the basic chords for each key signature . in a major key , the one , four , and five chords are always major , and together they make a common chord progression . for example , in the key of c major , you can play the c major , f major , and g major chords . the root of the chord is the note the chord is named after . play this note with your left hand on any lower octave as you play the rest of the chord with your right . for example , cycle through the c major , f major , and g major chords in order , playing the c , f , and g on a lower octave with your left hand . you can play the root note on your right hand as well , if you like . this just means playing a different note of the chord in the bassline . so instead of playing the c in a c major chord with your left hand , play the e as you play the c and g with your right . try play the same chord progression c , f , g as you alter which notes are played on the bass . now youre changing the melody and the bassline at the same time . heres as an example of a simple chord progression , with the steadily rising bassline in bold c e g d g b e c g f a c g b d c e g if you like , you can play the f an octave lower . so far , youve stuck to a walking bassline , meaning it changes on each beat . now try a bassline with some rests , and that covers more than one octave . heres another example in the key of c with four beats per measure . once again , the bassline is in bold low c e g hold chord for two beats c one octave higher e g low c e g repeat this pattern in second measure with g b d repeat with f a c combine the chord progression and the change in rhythm to construct more variations with the same basic tools . heres a simple combination of the examples above c e g hold for two beats d g b e c g heres a progression that emphasizes the bass line play a c chord c e g on each beat of the measure , or hold it down . play c , d , d , e with your left hand sequentially . if youd like to make your bassline a bit less predictable , throw in a chord that belongs in the same key . sticking with the key of c , try adding an a minor chord a c♮ e . each genre has its own rules of music theory , and traditional ways to construct basslines . theres a lot more you can learn by listening closely to songs and talking to other musicians . try a simple experiment emphasizing different beats of the bassline to see how it affects the piece . classical piano basslines tend to emphasize the second and fourth beat of a 44 measure , while rock music and rhythm blues emphasize the first and second beat . in triple time signatures such as 34 , the first beat is usually emphasized . |
purchase a sheet of gum rubber for your pads practice surface . cut your plywood in the shape of your desired pad . sand the plywood . trace the shape of the pad on your rubber sheet . cut the rubber to fit your practice pad using a precision blade . liberally apply strong glue to the top of the plywood . press the mouse pad onto the wood and leave it to dry for 1 - 2 hours . make the pad thicker and quieter by covering the top in duct tape . use a mouse pad to practice your rudiments anywhere in the house . use pillows to focus on stick control and speed without the benefit of a rebound . cover hard surfaces with 2 - 3 sweaters or pieces of fabric for a quick , quiet playing surface . try hitting on an old basketball . play on your own thigh . | how to make your own drum practice pad | you have several options , depending on your style and needs . thinner rubber , around 18 , is generally the standard thickness . but you can go thicker for a quieter , less bouncy practice surface . usually , youll need to buy a sheet of gum rubber online , which will allow you to choose your thickness and length . if , however , you cannot get a hold of rubber , you can try out an old mouse pad . foam rubber rubber soles from old shoes 12 thick cork board . make sure there are no cracks or splinters in the wood before beginning . you can make the pad in any shape you want - - circular , square , oblong - - as long as you have enough room to practice . while sawing unique pads let you choose the shape , you can also cut the rubber , not the wood , to fit a bit of pre - existing wood if you already have a usable slab of plywood or pine . if youre cutting the pad to a pre - existing shape , like a mouse pad , trace the shape of rubber on the wood and then cut to that . you dont have to use plywood , though it is easily worked and light enough to carry around . any wood will do . using the roughest sandpaper you can find , sand the corners of the wood so that the edges are rounded . take your time with the center of the pad as well , making sure it is smoothed over without splinters or jagged bumps . you dont want the wood to rip up your rubber pad , forcing you to build a new one . whatever youre using for rubber , lay it down flat and place your plywood on top . trace out the shape of the plywood on the rubber . an x - acto knife , box cutter , or another precision knife can be used to finely cut the rubber into the right shape . work slowly , pulling the knife in one long , fluid motion , not sawing with it . you want superglue , gorilla glue , krazy glue , or some other multi - surface adhesive . make sure to read the bottle to ensure it sticks to both rubber and wood or whatever other surface , like fabric , is on your pad . generously apply a thin line of glue across the entire surface of the pad , stopping roughly 14 away from the edges . do not go any further until the glue is completely dry . if you want to make a thicker pad , wrap the whole thing carefully in tape . go slowly , overlapping the lines of tape carefully so that they dont wrinkle and bunch up , ruining your playing surface . a mouse pad , usually between 14−12displaystyle 14 - 12 inches thick , can be used to practice sticking on just about any hard service . while you cant work on fills or drum solos , you can work on essential rhythms , your stick speed , and control . you want the fabric coated pads , not the plastic ones . glue two pads together and to make a quick practice pad that you can bring anywhere . a pillow has none of the pop of an actually drum set - - when you hit the stick down , it will stay there until you pick it back up . but this can actually be a good thing , forcing you to focus on your technique and wrist movement with every hit . you might not be able to practice drum rolls , but your stick control will go way up , as will speed and strength . it will take time , but world - famous drummers like tony royster jr . are blazing fast because they the grew up practicing on pillows . the tighter you can stretch the fabric across the surface , the better . all you really need for a practice pad is a soft , slightly rebounding surface - - so hit blankets , sweaters , old shirts , and comforters . you can , with some patience , even wrap these around your actual drum heads , pots , or pans , allowing you to quietly play your kit . in time youre more than likely to rip the fabric to shreds . use old or discarded sheets and clothing that you no longer car for . while the rounded surface takes getting used to , it forces you to aim accurately when landing the stick . you can also add or leak out air to make drumming easier or harder . less air will require more wrist strength , much like playing on a pillow . it will take some getting used to , but your legs have good rebound for your sticks . and they come with you everywhere . if youre looking to be the best drummer you can be , you need to practice all the time . your thighs may be just the place in a pinch . |
gather your equipment . set up the drums . fill the cymbals with rice . glue the drums in place . grab your drumsticks and have fun . | how to make drums using paint cans | to make this drum kit , you will need a cardboard box , three small paint cans and two large paint cans . try to make the large paint cans tall rather than wide . if you cant find any tall paint cans , make the small paint cans much shorter . make sure theyre not too short though or it wont make any sound . also , the cardboard box needs to fit all five paint cans on like the picture below . to set up the drums , put the three short paint cans black circles in a row towards the bottom of the cardboard box . these will represent the snare drum , mid tom and floor tom . next , put the two tall paint cans red circles in between paint cans one and two , and two and three . these will represent the high hat and another cymbal such as a crash , splash or ride . when you strike the drums , the rice will rattle inside making it sound like a cymbal . put about an eighth of rice in the high - hat cymbal can and about a quarter of rice in the other cymbal paint can . other things you can fill the drum with include broken up spaghetti , crushed pasta and something similar . make sure the spaghetti or pasta is uncooked otherwise it will go bad and smellsound awful to glue the drums in place , put a layer of hot glue yellow line on the edge of the drum . be sure to take the lids off the drums before gluing them so the sound echos better once youre finished . also , using hot glue will secure the drums fully to the box whereas any other glue might come off after time . if you dont have hot glue , use other glue at your own risk . be sure not to bang too hard otherwise the drums will crack . if they do crack , tape them up with duct tape to repair them . |
find a pot to use . get the right size balloon . cut off the mouthpiece of the balloon . stretch the balloon on the pot and secure it . play your drum . | how to make drums for kids 1 | find an old pot to use as the body of the drum . a pot with a diameter of less than 12 inches works best . the balloon is going to be the head of the drum so it needs to be tight but large enough to fit around the top of the pot . if the balloon is too small , it might be too tight ad break when you drum . a 24 inch balloon works best for pots 10 to 12 inches in diameter . a 16 inch balloon works best for pots under 10 inches in diameter . use scissors to cut the mouthpiece off of the balloon . make sure you only cut the mouth piece and not the body of the balloon . secure the pot in between your knees or ask a friend to hold it securely . put the balloon over one side of the pot and carefully stretch it over the entire top of the pot . secure the balloon on the pot by stretching several rubber bands onto the pot sitting on top of the balloon . use lightweight wooden sticks to play your balloon drum . chopsticks , small wooden dowels , or pencils work great for drumming on a balloon drum . |
glue construction paper around the coffee tin . attach fabric to the top of the coffee tin . replace the lid . decorate the drum . find sticks to drum with . | how to make drums for kids 2 | start by removing the lid and label from the coffee tin . use the label as a guide to cut a piece of construction paper to fit the can . glue the construction paper onto the coffee tin using craft glue . if you cant use the label as a guide , use a ruler to measure the width of label area on the tin . draw a rectangle on the construction paper that is the same width and as long as the piece of paper is . you can cut off any overlap . use a hot glue gun to glue a square of fabric to the top of the coffee tin . trim the excess fabric leaving about one to two inches of extra fabric past the glue . the square of fabric should be about double the size of the top of the tin . for example , if the lid of the tin is about 3x3 inches , the fabric square should be 6x6 inches . put the lid to the coffee tin back on to secure the fabric in place and create a solid surface for the child to drum on . you can hide the edge of the lid by gluing on a ribbon over it . use markers , stickers , feathers , or other decorative material to decorate the drum . you can draw designs on the paper around the drum or hang feathers down from the lid to the coffee tin . use your imagination and have the child make the drum unique . find lightweight wooden sticks to use as drumsticks . use wooden dowels , chopsticks , or unsharpened pencils to drum on your new drum . |
get a cardboard carpet tube and plastic flower pot . find a beach ball to use . cut the carpet tube . cut a square from the beach ball . put the plastic square in an embroidery hoop . attach the drum head to the flower pot . attach the flower pot to the carpet tube . decorate the drum . | how to make drums for kids 3 | this drum is made from a cardboard carpet tube with a plastic flower pot stacked on top . you can get a cardboard carpet tube free from any carpet store . the carpet tube should be three to four inches in diameter . the bottom of the flower pot should be four inches in diameter . you need thick , pliable plastic material to make the head of this drum . a beach ball works perfect , but any thick and flexible plastic material will work . a balloon is too thin . use scissors or a small hand saw to cut the carpet tube to be 12 inches long . make sure you cut the tube straight and not at an angle so it will attach flat to the flower pot . start by using scissors to cut the plastic blow tube off of the beach ball , and then cut the ball open so it can lay out flat . cut a square out of the beach ball that is as wide as the beach ball is . this will give you enough to cover the top of the flower pot and have extra around the sides . get an embroidery hoop the size of the top of the flower pot . take apart the embroidery hoop and stretch the beach ball square onto the bottom of the embroidery hoop , stretching as you go . put the top of the embroidery hoop back on the bottom , and make sure the beach ball is very tight in the hoop . this is the drum head put the drum head on the top of the flower pot and secure it using packing tape . use enough tape to securely fasten the drum head to the flower pot . set the flower pot onto the top of the cardboard tube . use packing tape to secure the flower pot onto the cardboard tube . use decorative material to embellish your new african drum . you can use yarn or twine to wrap around the packing tape to hide it . attach feathers and beads for a unique , traditional look . |
use pvc pipe for the drum body . cut the pipe to length or have the hardware store do this for you . for the drum head , cut a round piece of leather about two inches larger than the end of the pipe . measure 8 pieces of twine that are a little more than twice as long as the pipe . using leather scraps , sew 8 reinforcements onto the drum head , spacing them evenly around the edge . fold the twine in half and sew it onto the reinforcements . place the drum head onto the prepared end of the pipe and use a marker to mark where the strings hang . drill holes where you just put the marks . put the drum head back on , pass the strings through the holes , and tie them together on the inside of the pipe . take 8 small pieces of dowel and put one through two strings and turn it to tighten the drum head . | how to make a pvc pipe drum | green drain pipe about 9 inches 22 . 9 cm long and 6 . 5 inches 16 . 5 cm wide . or 6 idinside diameterworks nicely . making sure that the cuts are straight and smooth . use a file to smooth it and slightly round the end that will be where the drum head will be mounted . this will ensure that it doesnt tear and will sound smoother . make a slightly angled bearing edge . , you should have a round piece of leather with 16 strings hanging from the edges . just a dot , near the bottom edge of the pipe . make sure the holes are big enough to pass the string through . , do each one until the drum head is nice and tight . |
gather your supplies . glue the cups together . cover the cups in masking tape . add shoe polish . | how to make an african drum 1 | you can make a simple african drum using disposable cups . this is an easy and non - messy activity that is great for very young children . first , youll need to gather the necessary supplies . youll need styrofoam , paper , or plastic drinking cups . you can wash used disposable drinking cups and use them for crafts . you will also need glue , masking tape , shoe polish , a paint brush , rags , and permanent markers . the first step is to glue the cups together . apply a generous amount of glue to the bottom of each cup . stick the bottoms together , hold until secure , and then let dry . if youre doing this activity with kids , they should be able to manage this step on their own . however , if youre working with a large group of children it may be easier to prepare the cups yourself ahead of time . young kids especially may be impatient waiting for their cups to dry and want to hurry into to the decorating process . once you have the cups prepared , cover them in masking tape . this creates a surface on which children can color and decorate the cups . use strips of masking tape 4 to 5 inches in length . if youre doing this activity with kids , you can allow them to tear off their own masking tape . coat the drum in small strips of masking tape , overlapping as needed so the whole drum is covered in a layer of tape . now , youll add the shoe polish . this will give your project a color similar to a traditional african drum . use your paintbrush to brush a layer of shoe polish over the masking tape . then , take a clean rag and wipe off excess polish . allow the drums to sit until theyre dry to the touch before use . if youre working with kids , use your judgement regarding shoe polish . if you feel your kids are old enough to handle applying it on their own , allow them to do so with supervision . very young children , however , may make a mess when using shoe polish . if you decide to let your kids apply the polish alone , have them wear old clothing or provide them with smocks . shoe polish can smear easily . |
get together the essential elements . prepare the board . fasten the cookie or cake tin to the stick with screws , about two feet from the bottom . fasten the wire at the top and bottom with eye screws , which go across the cookie tin , and tighten these with a turnbuckle . bolt a bracket onto the cookie tin , and fasten a piece of bent coat hanger at one end of the wire , with the other end resting lightly against the cookie tin . create a threaded wooden rod , about 2 1⁄2 feet 0 . 8 m long which is drawn like a bow across the braided bailing wire . attach other sound - making items . | how to make a pogo cello | they are listed in the things youll need . fasten a bolt to the back of the board at the bottom with two eye screws . surround this bolt with an outward - coiling spring . when you bang the board on a wooden stage or other hard surface this contraption helps it to make a thumping , bass sound . you dont lift it up - it springs up on its own - - like bouncing pogo stick - hence the name pogo cello . , many interesting things can be attached to the stick to give some percussive variations tin can lids , jingle bells , bottle caps , a cow bell , a wood block , perhaps a tambourine . |
gather your materials . criss - cross strips of tape over the top of the container until it is completely covered . measure the paper by wrapping it around the can . decorate the drum . make a pair of drumsticks . test the drum . | how to make a homemade drum 1 | for this method , you will need an empty cylindrical container , electrical tape or masking tape , construction paper , crayons or colored pencils optional , two pencils optional , and tissue paper optional . for the container , you can use a coffee container , a popcorn tin , or an aluminum can . this is going to be the base of the drum , so look for a container that is clean and in good condition . this is going to form the top of the drum , which needs to be sturdy and firm . try to put at least one to two layers of tape on the top of the can and criss - cross the tape tightly to make the drum more durable . then , cut the construction paper so it will fit around the container snugly . tape the paper in place and trim away the excess paper . or , let your little one decorate the drum using markers , crayons , or paint . you can also cut out shapes from other construction paper and attach them onto the side of the drum . crumple up a piece of tissue paper on the end of a pencil . wrap masking tape or electrical tape around the tissue ball so it is secured to the pencil . repeat this method on another pencil . now it is time to have some fun with your drum or let your toddler play with it to make sure it will withstand a drumming session . |
design your drum kit . separate the percussion instruments from the cymbals to the drums . place the stands , equipment and accessories in each part . prepare a rubber or cotton matcarpet on the area where you will place your drum set . first to place , is the bass drum together with the foot pedal . second , put the low tom on the top left corner of the bass drum and the high tom to the right one . third , place the snare drum to the left corner beside the bass drum . place the cymbals w stand on your desired position . if you had other percussion instruments e . g . finalizecustomize it according to your music type , genre , specifications , rather events or gigs or the factor of being left - handed or righthanded . the most important and final step is , tune it | how to build a drum set | before buying any parts or putting anything together , make a complete plan for your kit . first , decide how many drums you want , along with the depth and diameter of each drum . at the least , you will want a snare drum and a bass drum , but adding a few toms will round out your kit . you will also need to decide on the color of your drums shells and hardware , and the wood used for the shells . maple , birch , and beech are all common choices for drum shells . you will need to decide on how any toms will be mounted if you mount any toms to the bass drum , you will need the appropriate hardware to do so . , tighten it to the ground . theres a hole that will guide you on where you will insert the toms . half of the edge of the snare must be exposed and the other part is hidden at the back of the bass . place also the floor tom at the right side counter - parting the snare drum . the crash and the hi - hat cymbals will be on the left side and the rest is on the right area including the ride , china and crash - ride cymbals . cowbell , tambourine , synthesizer , metronome , pipe bells , place those on your desired positions but remember that they must not affect or disturb your main kit . , place some mufflers or auto - tune equipment on the skin or inside of the drums . if youre not able or doesnt have the skill to tune it , lend your way to the professionals and ask for help . |
gather your supplies . make a zig - zag pattern around your terra cotta pot using twine . add the top of the drum . paint the plastic container . create the base of the drum . | how to make an african drum 2 | for a sturdier drum , you can use a garden pot or planter pot . this activity requires a bit more skill . it might be fun to use with slightly older children . to begin , gather the necessary supplies . you will need a garden pot or planer made with a terra - cotta covering . it should have a seven inch diameter . you should be able to find this at a local gardening or craft shop . you will need a plastic lid big enough to fit over the pot . you can use a disposable food storage lid . you will also need another lid that goes with a sturdy plastic container . the pot should be able to sit comfortably on this container . you can buy a plastic container at a local craft shop . however , you can also use a deli container or a takeout container for soup . you will also need dry beans , twine or string , medium weight twine , a glue gun , craft glue , and brown acrylic paint . to start , loop the twine around the planter in a zig - zag pattern . to do this , use the glue gun to add a dab of glue to the top and bottom of the string on the points forming the zig - zag . press down on the string for a few seconds after applying glue to make sure it stays in place . if youre working with a child , help him during this process . it can be helpful to show him zig - zag patterns online to get a sense of what he should be creating . a child should not operate a glue gun without supervision . if your child is very young , its best to operate the glue gun yourself . once the zig - zag pattern is created , you can add the top of the drum . to do this , youll need your plastic lid . apply a thin line of glue running along the rim of the storage container lid . you can have your child do this as well , with your supervision . press the lid onto the top of the planter . hold for a few seconds . the plastic container will form the bottom of your drum . this should be painted brown to match the pot . you can have your child paint the container or you can do so yourself if your child is too young . allow the container to dry completely before continuing . how long the drying process takes depends on how much paint you used and the specific brand . once the paint is dry , you can create the base of your drum . to start , apply glue to the bottom of the planter . use a generous amount . press the bottom of the plastic container against the bottom of the planter . hold until secure . from here , fill the container at the bottom with dry beans . this will weigh down the drum , allowing it to be more stable when played . seal the container with the lid when youre finished . |
learn about the appearance of a djembe drum . familiarize yourself with symbolic decorations . provide markers and paint . use stickers . consider construction paper . throw in other craft supplies . | how to make an african drum 3 | a djembe drum is typically goblet shaped . the top is usually made with goatskin and traditionally made from wood . ropes usually tie the goatskin in place , holding it down in a somewhat zig - zag pattern . the shoe polish on the cup design and the terra cotta pot and painted containers in the pot design both imitate the wood covering of a djembe drum . if you did the terra cotta design , youll already have made some zig - zags . if youre using cups , you can draw or paint on zig - zags to mimic an authentic design . this will get you started in terms of making realistic designs . there are certain carvings you may find on traditional african drums . these can represent different aspects of life and culture in different parts of africa . you can try adding such designs using stickers , paint , or other craft supplies to make your project more authentic . various animals may represent different things on a drum . a crocodile is considered one of the first creatures on earth in some african cultures , for example . a python is often associate with divination and fortune telling . chickens can represent possibility and sacrifice . fish can represent wealth and happiness . a padlock can represent power and control . some occupations also hold significance . drawing a blacksmith , or a blacksmiths tools , on your drum can symbolize transformation or fire . keep in mind symbolism varies from culture to culture . you might want to get a sense of how symbolism is used and then use symbols from your own personal life and culture on your drums . for example , if a particular animal has special symbolism to you , you could put that on your drum . you can add decorations by simply using paint and markers . this may be the simplest option when working with young children . both masking tape and terra - cotta are easy to paint or draw on with markers . with the terra - cotta project , beads of glue from the zig - zagging process may be visible . these can be covered up with the use of paint or markers . when working with children , provide smocks or have your kids wear old clothing . paint and markers can get messy . if youre doing any of the above projects with very young children , consider providing them with stickers . these may be easier to use . look for african - themed stickers , such as stickers featuring animals you would find in the region . you may be able to find stickers involving countries from africa online . these can help make the project educational . construction paper can also be a fun addition to an african drum project . you can have your kids cut the paper into shapes and glue them onto their pots or cups . construction paper can make a variety of fun patterns that can be added to the african drums . you can stop by a local craft store and pick up things like beads , feathers , puff balls , pipe cleaners , and other fun craft accessories . if youre working with young children , theyll have fun gluing such supplies to their drums . young kids often appreciate getting a little zany or silly for their projects . dont be afraid to think outside the box by providing a medley of fun craft supplies . |
gather your materials . stretch the balloon around the can . lay another balloon flat on a hard surface . stretch the cut up balloon on top of the balloon on the can . wrap tape around the can to secure the balloons . try out the drums . | how to make a homemade drum 2 | for this method , you will need a clean round container like a coffee can or formula can , balloons , electrical tape or masking tape , and rubber bands optional . use your fingers to open the balloon up and expand it so it fits over the top of the can . do not blow it up , you want to use a limp balloon . using the scissors , cut small holes into the balloon . they do not need to be uniform or perfect , as they are more for decoration . double layering the balloons will make the drum more durable , and the holes in top layer will add a fun decorative effect . you can also use rubber bands and simply place them around the can to keep the balloons attached . or hand them to your little one and let them test them for you . if youd like to add more weight to the drums , you can fill the container up with a handful of rice or dry lentils before you stretch the balloon on the top of the container . make drum sticks out of pencils and tissue paper or simply use your hands to drum along to your favorite song . |
gather your materials . place the can on the back side of the leather . cut out the circles , leaving 2 inches 5 . 1 cm of space between the drawn line and your cut . use the scissors to make small snips around the outside of both pieces of leather . thread the rope through the holes . place the leather pieces on either end of the can . test out the drum . | how to make a homemade drum 3 | for this method , you will need a round tin container or can , a roll of faux leather , a roll of thin rope , a marker , and scissors . using a marker , draw around the can . then , move the can over and draw around the can again . these circles are going to be the top and bottom parts of the drum . this will give you extra leather to thread with rope . these snips will be used to thread the rope around the drum . once you have thread the rope through the holes on the top piece and the bottom piece of leather , tie it off with a small knot and cut away the excess rope . then , thread the rope from top to bottom using the threaded rope on the leather pieces , tightening as you go . the drum should not only look good , it should sound good too . if you want to make a more durable drum , use eyelet pliers to make holes in the leather to then thread the rope through , as this will make the drum stronger and likely last longer . |
gather your materials . cover the top and bottom holes . and another layer . done . | how to make a drum 1 | youll need a can with both ends cut out and a small hole nailed into the side , packaging tape and scissors . stagger strips of tape to completely cover the top and bottom holes of the can tightly . add another layer to be sure that you covered all possible holes . you can now hit the drum to create the basic sounds . a stick will work better than your fingers . |
cut or locate a piece of plywood , particle board , or oriented strand board around 18 inches 45 . 7 cm square . cut or locate a piece of 2x4 inch lumber about a foot long . run two screws through the plywood into one end of the 2x4 piece so that it is attached to the plywood at its center . cut a 30 inch 76 . 2 cm length of 1 inch 2 . 5 cm diameter pvc pipe . place the pipe next to the 2x4 and secure it with two screws through the pipe into the 2x4 . cut a 34 inch 86 . 4 cm length of 1 inch 2 . 5 cm diameter pvc pipe . locate a bolt that is about 3 inches 7 . 6 cm long and a nut for it . drill a hole near the top of the 30 inch 76 . 2 cm pipe and a hole about 15 inches 38 . 1 cm from one end of the 34 inch 86 . 4 cm pipe . bolt the two pieces together using the holes drilled in the previous step . obtain a pvc pipe solid cap , or an adapter that goes from pvc to a male threaded fitting for a smaller diameter pipe . place the cap or adapter on the end of the 34 inch 86 . 4 cm pipe nearest the spot where the two pipes are joined . drill a hole through this pipe near the other end . place a cymbal felt and a nylon cymbal sheath on the bolt coming out of the cap or adapter . add weight to the container hanging from the other end until the weight of the cymbal is balanced out . adjust the 34 inch 86 . 4 cm pipe to the desired angle and position the stand as desired . | how to make a cymbal stand out of pvc pipe and scrap lumber | exact dimensions are not important . exact dimensions are not important . , optionally place a piece of rubber shelf liner between the pipes to make more friction between them . tighten the nut until the pipes begin to flatten slightly . with a solid cap , drill a hole and insert a bolt through the hole , securing it with a nut . the bolt should stick out 1 . 5 to 2 inches 3 . 8 to 5 . 1 cm above the nut . to use a threaded pipe fitting , place a large washer big enough not to pull through inside the fitting and another washer on the outside . secure a bolt through the washers with a nut . alternatively , large rectangular nuts can be used if available . , hang a container that holds about 1 quart from this hole . a plastic container secured with wire works well . then add the cymbal and another felt . secure with a nut and washer or just with a large nut . small stones , marbles , glass beads , or old nails will work for weights . |
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