Wednesday, March 30, 2016

How to Make a Lyre Harp

8:00:00 AM
Making a lyre harp requires some craftsmanship and a significant commitment to planning and organizing the structure of the harp. For the most part, you can use any structure you like, but the most common lyre harps consist of a triangle-shaped brace attached to a wooden base that supports the instrument. This activity should not be completed by a complete novice woodworker and if you have any doubts about your abilities, ask for help from someone more experienced in making instruments.

Step 1 Lay out two spruce blocks that are approximately 15 inches in length. Using a chisel, carefully carve the sides of one of the blocks until you have a structure that is dome-shaped so that one side is completely curved and the other is flat. This will be your side brace.

Step 2 Draw a curved shape on the other piece of spruce. The degree of the curve will affect the pitches, so try and create a subtle curve that dips down about 1 -inch at the lowest point of the curve. This will be your top brace.

Step 3 Drill 15 holes with a 1/16-inch drill, spaced equally apart into the side of top brace. The holes should be approximately 1 -inch from the bottom of the brace to prevent the holes from breaking. Then, on the bottom of the brace, drill another 15 holes in the middle of the brace to intersect with the holes drilled in the side.

Step 4 Drill 15 additional 1/16-inch holes in the flat side of the side brace. Space them evenly and drill straight through the middle of the brace.

Step 5 Create a wood block approximately 5 inches wide on all sides and 2 inches tall. This will be your wooden stand.

Step 6 Sand the two braces and the wooden stand using a medium grit sandpaper to remove any splinters. Then, use a fine grit sandpaper to polish the wood.

Step 7 Attach the side brace to the top brace so that it forms a triangle shape. Use wood glue to secure both parts. Once the wood glue has dried, hammer two small nails spaced 1 inch apart into the head of the top brace to secure the instrument with the side brace.

Step 8 Turn the instrument over and attach the wooden base to the instrument with three nails spaced in a triangle formation to prevent slipping.

Step 9 Apply a wood finish to both braces and let the instrument dry overnight.

Step 10 Thread fishing line through the center of the outermost hole on the side brace of the instrument. Tie the string off at the bottom of the instrument to prevent it from coming loose. Thread the top of the string through the bottom hole in the top brace. Wrap the thread around the bottom of the top brace and through the hole on the other side. Thread it through the parallel hole in the brace and tie off the string. Continue to do this for all the remaining strings.

Monday, March 28, 2016

Characteristics of West African Music, Dance, and Culture

8:00:00 AM
The characteristics of West African music are identifiable through their fast-paced, complex, unusual methods of interpreting rhythm. Listening to the music of West Africa is a powerful experience that saturates the senses in sound. Since song and dance are used as an expression, these art forms have been integrated into the culture. Music and dance rely on each other to function as a whole in African culture.


West African music uses specialized, culture-specific instruments to create a characteristic sound. It uses several types of three to four string harps to play pentatonic five-note scales. Mande guitars enhance melody and provide melodic and harmonic support. West African music uses a drum called the djembe to play multiple simultaneous rhythms. African drumming serves as a form of communication as participants listen and respond to each other within the musical framework.

Language and Culture

West Africa has a language that lends itself well to melodic inflections with tones. The West African language is a prime influence of their music by following the natural inflections of their speech to create musical ideas. Short, melodic fragments are sung above the rhythmic drumming creates dynamic rhythm and melody. The main elements of their music are percussive with a minor emphasis on melody.

Oral Traditions

An interesting characteristic of West African music is the fact that none of their ideas are written down. It is entirely an oral tradition passed down and taught from elders to apprentices. Music does not exist simply for entertainment but to unify and communicate with other members of the community. By western standards, their rhythmic ideas have a complexity that largely prevents the use of written notation.


In West African music, dance helps to create the music. The tempo kept by the dancing and the movements of the dance dictate the percussive elements. Since the music of West Africa is largely participatory, dance and music combine to create one unified art form. Both elements are created simultaneously in an improvisatory manner. In contrast to the western music, where the music is created ahead of time and then choreographed.

How to Make Your Own Music

6:00:00 AM
Many young composers ignore the treasure trove of music that other composers have written. The reasons for this range from a fear of sounding too much like other composers to feeling like nothing can be gained from taking the time to understand another composer’s work.

After all, you’re a composer, you should be composing music and not worrying about the music that already exists, right?

The truth is that a composer can’t exist in a vacuum. Without knowing what music is already out there, it’s impossible for you to say with any certainty that your music is actually unique. And, what if it isn’t unique?

You could have been studying other composers that spent their life trying to perfect the music that you are just now learning to write. Taking the time now to study other composers works can greatly help you develop your music and may even act as a creative spark that propels you into an entirely new realm of musical composition.

Music Theory

Music theory teaches about the principles of chord construction, progressions, scales and other advanced compositional techniques. Composers need to learn not just how to create chords, but how to use them to create original music.

It’s true that a composer doesn’t need to study theory and that a talented composer can get everything they need to know by analyzing the master’s works and divining the basic tenets of musical construction from those works; however, music theory provides a quick, effective and reliable way to learn about the music that already exists in a fraction of the time.

There are no shortcuts in music, but learning music theory is about as close as you can get to one. At the minimum, composers must know how to construct major, minor, augmented and diminished chords.

Composers that also understand how these chords relate to the overtone series will develop a more intimate understanding and the ability to create new chords.


It used to be that counterpoint was the primary method used to teach composers. Once music theory came onto the scene, composers had another tool for learning how to create music.

However, counterpoint is what composers like Haydn, Mozart, Beethoven and Mahler studied when learning how independent melodic lines combine to form harmony. Counterpoint teaches composers how to write music using proper voice leading and why certain methods of movement in music are preferable to others.

By learning counterpoint, students learn why something is done in addition to how. This allows the student to branch out and make informed decisions about their compositions, without needing to resort to tips and compositional tricks.

Musical Form

Musical form is the glue that holds a composition together. A composer can have great ideas for a melody, but without the knowledge of how to effectively present those ideas to the public, their works will always fall short.

It’s necessary for any composer to study musical form since it will teach students the principles of musical construction and can help a composer get past the first four bars of a composition to create large-scale works.

Some of the most successful forms of music include binary, ternary, sonata, aria and concerto. Once a composer understands why certain forms are used, it’s possible to branch out on their own and create additional new forms.

Take Private Lessons

Composers can learn to compose on their own, read books, study music theory and analyze other composer’s works. However, getting involved in private lessons can drastically decrease the confusion and mistakes that often occur when a composer is just starting out.

Even advanced composers often seek the advice of a trusted mentor or colleague when working out problems in a new compositional work. One of the greatest signs that you need to study with another composer is if you feel there is nothing left for you to learn.

Music is a wide and vast subject and no matter how talented the student, there is always something remaining to be learned.

Friday, March 25, 2016

How to Make a Glissando on the Drums

8:00:00 AM
Composers who want to make a glissando on the drums should learn how drummers perform the technique. Most instruments are capable of glissando. This technique involves the slurring of pitches between a high and lower pitched note or a low and higher pitched note. Since drums do not have a specific pitch, the technique for creating a glissando is slightly different from most other instruments. The percussionist must experiment to get the desired sound. Ascending and descending glissandos are possible.

Descending Glissando 

Step 1 Place one hand on the head of the drum. Depress the drum to the degree that you want to create the glissando. To create a wide glissando, press down firmly; to create a narrow glissando, use less pressure.

Step 2 Strike the drum forcefully with a mallet.

Step 3 Release the pressure from the drum by removing your hand immediately after striking the drum. This will create a descending glissando.

Ascending Glissando 

Step 1 Strike the drum forcefully, with your free hand ready to apply pressure to the drum.

Step 2 Press down on the drum immediately after striking the drum.

Step 3 Stop the sound of the drum by using the palm of your mallet hand to stop the vibrations. You also might like: How to Make a Snare Sound Greater

Wednesday, March 23, 2016

How to Make a Female Voice With Audacity

8:00:00 AM
As a composer, you may need to morph a female voice into a male voice and vice-versa. Audacity, a free audio editor, makes changing the pitch of a voice possible so that you can create a softer and more characteristically female timbre. Female voices tend to be higher than male voices. Audacity helps you to make several changes to the pitch and quality of the voice. Some of these changes are best completed when making the actual recording. Some women also have voices in the same range as men, so it is the quality and style of speaking that you will have to concentrate your efforts on.

Step 1 Install and open Audacity. This will create a new file for you to begin recording with.

Step 2 Plug your microphone into the mic jack on your computer. The mic jack looks like a microphone with a circle around the head of the microphone. Usually, it is situated next to the headphone jack.

Step 3 Press the red record button in Audacity. This will begin recording your voice. When speaking try to raise your pitch up and down to create a melodic tone. Males should avoid the tendency to speak in a monotone. Exaggerate any inflections in your voice. Press the "Stop" button when you finish recording. Speak in a higher voice than normal.

Step 4 Select the "Effect" menu and then select the "Change Pitch" option. Move the slider so that the pitch changes by 17 percent. Press "OK." If the voice isn't quite right, try modifying the slider up or down to match your preference.

Generally, when using audio software, you can change the audio by 18 percent higher or lower before the voice doesn't sound realistic. You also might like: How to Make a Recording Clear on Audacity

Tuesday, March 22, 2016

How to Make a Cut of a Song

8:00:00 AM
You can make a cut of a song with the aid of an audio-editing program. Once you have determined the precise location to cut the song, you can use any number of audio-editing programs to complete the task. You will have to install a program since there are no native programs that allow you to edit the music. Cutting a song enables you to shorten a piece, cut out inappropriate words or prepare it to attach to the beginning or end of another audio file.

Step 1 Import your song by dragging the audio file into the main editing interface. You may also go to "Import" under the "File" menu and select the song file.

Step 2 Preview by playing the audio file and watching the cursor as it moves across the song. Find the point where you want to cut the song and place the cursor there. Use the zoom tool that looks like a magnifying glass to zoom in on the section you have selected.

Step 3 Highlight the area before and after the cursor by clicking and dragging your mouse across the potential cut point. Press "Play" to preview the selected section and move the selection point if necessary. Everything after the cursor will be cut.

Step 4 Cut the song by dragging from the cut point to the end of the file. Open the "Edit" menu and select the "Cut" option. This will cut the audio that you have selected.

When preparing a song for editing, you must use an import function by dragging or using the "Import" menu. The "Open File" or "New File" options only apply to opening the audio application files.

Monday, March 21, 2016

How to Make a High-Frequency Whistle With Your Mouth

8:00:00 AM
Increasing the frequency, or pitch, of your whistle requires that you increase the tension of your lips when whistling. Less tension will create a lower pitched whistle. while more tension will create a higher pitched whistle. To whistle effectively in the high range, you must have a great deal of breathe support and control over your embouchure. An embouchure consists of the muscles in your face that are used when creating a whistle.

Step 1 Position the tip of your tongue so that it almost touches the roof of your mouth. The tip of your tongue needs to bend slightly downwards and the flat part of the tongue must come close to touching the roof of your mouth. The tip of your tongue should line up with your bottom teeth.

Step 2 Make a "woo" sound with your mouth and hold that position. You should notice that your lips create a circular hole in the center. This shape is crucial for creating a whistle.

Step 3 Blow air through your lips until you can create a successful whistle.

Step 4 Increase the pitch of the whistle to create a high-frequency whistle by bringing the tongue further back into your mouth and increasing the tension of the lips. Make sure your lips are moistened when whistling.

Common Musical Forms During the 1890s

6:00:00 AM
The 1890s saw a dramatic change in the types and kinds of music available. This music period came about toward the end of the Romantic period. Composers of this time were seeking a new kind of music, especially in America. The country was trying to differentiate itself from the music of Europe and create a national style it could call its own. Composers felt free to experiment with new forms and create original music that was not dependent on the Germanic tradition of concert music of this time.


In 1890, there was growing interest in marches. John Philip Sousa is the most well-known march composer, and he wrote 136 marches in his lifetime. During the 1890s, he wrote seven marches including "The Liberty Bell," "Stars and Stripes Forever" and "El Capitan." Known as the "March King" he produced more marches than any other composer in history. The form of the march is fairly standardized and includes an introduction, followed by a repeated first strain, a repeated second strain, a trio that includes a key change, a break strain and a final section that includes a singer. Formally, the American march can be thought of as: |: A :||: B :| C (trio) |: D | C :|. The colons represent a repeated section and each letter represents new material. Marches proceed very quickly in half time with two beats per measure and the trio section with three beats per measure.


With the advent of modern piano-making techniques, it was becoming less expensive to mass-produce them. As a result, pianos became a common item in many American homes. This led to the rise of sheet music publishing companies and a demand for songs performed at home. Songs celebrated war heroes and acknowledged the struggles of countries abroad, according to the Public Broadcasting System. Songs played a central role in distributing information and providing entertainment. The song form is typically a 32-bar form that is understood as an introduction and then AABA. The A sections are repeated sections melodically but with different lyrics. The B section is a new section that utilizes related but new melodies.


Antonín Dvorák visited the United States in 1892 and was inspired to write a symphony known throughout the world. He wrote the piece in 1893 and used a standard symphony form. Symphonies were still quite common during this time. Another famous composer of symphonies was Gustav Mahler. At this time, he was finishing his first period of works that included four major symphonies. The symphony is most commonly a four-movement form that consists of four contrasting movements that alternate between slow and fast. Many symphonies also include a scherzo in the third movement.


Ragtime is both a form and musical genre. Ragtime is partially based on the marches of John Philip Sousa, but it uses complex rhythms and heavier bass lines. Ragtime is a style of music that lends itself to any time signature. There are several types that include the cakewalk, two-step, foxtrot, coon song, folk and classic ragtime. Ragtime songs include three main melodic ideas repeated in different ways. The most common form is: AABBACCC′. With the final C' section slightly modified. One of the most popular ragtime songs is "Maple Leaf Rag" by Scott Joplin.

Sunday, March 20, 2016

How to Make a Recording Clear on Audacity

8:23:00 PM
Audacity offers several options for the removal of unwanted sounds. While it is preferable to get the best recording possible to minimize the need for audio editing, there are options available in the program to help clean up the audio. Not all options should be used for every piece, so judgment must be used. But by understanding the basic progression of how audio effects should be used, it is possible to improve your recording with a few steps.

Step 1 Start Audacity and open the audio file that you would like to edit.

Step 2 Find the "effect" menu located at the top of the screen.

Step 3 Select "click removal" from the effects menu. Use the preview option to determine if the amount of click removal is appropriate. If the preview sounds like too much audio has been affected, lower the sliders on the "max spike width" option until the preview sounds appropriate. Click OK. This option will remove clicks and pops in the music.

Step 4 Find the "noise removal" option under the effects menu. When you select it, a dialog box will open. Click "get noise profile." The system will analyze the audio and get a sample of the piece to determine which noise to remove and then remove the noise. Don't change any of the default settings.

Step 5 Select "noise removal" again. This time, select OK at the bottom of the screen. The composition will be edited for noise. If too much noise is removed press CTRL-Z to undo the changes and then change the "noise reduction" option in the "noise removal" dialog box. If too much noise has been removed, lower the "noise reduction"; if too little noise is removed, raise the level of "noise reduction."

Step 6 Select the "normalize" option under the effect menu. This option will restore the audio to the maximum volume possible without causing distortion. This effect is necessary as the previous edits will have reduced the overall volume of the music.

Feel free to experiment with different settings. It takes some trial and error to get everything just right. Don't wear headphones while editing. It is possible to make a mistake with the editing process and create an extremely loud, harmful effect that can cause damage to your ears. It is better to use speakers. Do not edit at a high volume, this increases the risk of having a spike in frequencies that can damage your hearing.

How to Make a Live Acoustic Guitar Sound Full

8:23:00 PM
The acoustic guitar is notorious for its light, thin sound. There are, however, certain ways to increase the density of the guitar's sound to make it sound more full. The type of music that's chosen to be played is one of the prime reasons that a guitar doesn’t sound full. Choosing the right music and then modifying it to create additional density will allow you to achieve a sound that's full and rich. The choice of pick and strings will also help to get a full sound on the guitar.

Step 1 Play with a heavier guitar pick to increase the density and fullness of the sound. Heavier picks create a thicker sound because they're less pliable and create more friction with the strings.

Step 2 Change out your strings for heavy-gauge strings. You can either do this yourself by restringing the entire guitar, or purchase heavier strings from a guitar or music store and ask a qualified employee to do it for you. Some stores may even do this for free if you purchase the strings from them.

Step 3 Select music that avoids pitches in the higher range of the guitar. The higher you ascend on the guitar, the thinner the sound will be. Alternatively, you could transpose all of the music down an octave to get a deeper, fuller sound.

Step 4 Find music that uses chords and avoid pieces that use single melodies. The more strings used in a composition, the heavier the sound will be. You may also wish to add some chords to your song. Taking a course at a local community college or online will increase your theory knowledge and allow you to easily add chords to melodies.

How to Make a Singer's Sore Throat Remedy

8:22:00 PM
Vocalists need to prevent and reduce sore throats to help keep their vocal cords in top shape for performances. Vocalists can employ several methods of decreasing a sore throat while helping to heal their vocal cords. Healing the vocal cords in a healthy manner should be the prime concern of all vocalists. Some simple remedies exist to alleviate and reduce the pain associated with a sore throat.

Step 1 Boil water to make herbal tea with honey. Honey helps to relieve soreness in the throat.

Step 2 Stop smoking to reduce the irritation caused by smoke to your throat. As a general rule, singers should avoid smoking altogether; smoke dries out the vocal cords and hampers the voice.

Step 3 Refrain from speaking to allow your vocal cords time to relax. Professional singers have silent days where they do not speak to anyone. Rest is important for recovery.

Step 4 Avoid the tendency to cough or clear your throat. When you cough, you force the vocal cords to rub together. This creates extra tension and strain on your voice.

Step 5 Drink lots of water to help flush any phlegm out of of your body. Blowing your nose regularly will help to prevent the buildup of phlegm in the throat.

Step 6 Suck on sore throat lozenges several times a day. These will help to cool your throat and prevent damage. Look at the ingredients to make sure the lozenges don't contain caffeine as this will dry out your vocal cords.

Step 7 Rest as often as possible. Proper rest is essential to heal the voice and will make it possible for you to return to singing quickly.

How to Make a Snare Sound Greater

8:21:00 PM
mproving your snare drum sound to achieve a thick and dense sound requires proper drumming technique. The most important factor in determining drum sound involves the manner in which you hold yourself, your posture and your approach to striking the drum. Striking the wrong part of the drum will create a weak drum sound. Additionally, poor posture will create a loss of energy in your striking patterns. Before practicing any drum rudiment you must learn proper form and technique.

Step 1 Stand in back of the snare drum with your legs spread shoulder-length apart to balance and support the weight of your body. Proper posture will help you create a strong, powerful snare sound.

Step 2 Grasp a drumstick with your right hand and ensure that your fingers are wrapped around the top of the stick. The palm of your hand should be facing parallel to the floor and your wrist should be about three inches above the top of the snare. This will provide the best rebound, improving your sound.

Step 3 Position your right elbow three to four inches away from the side of your body. Relax your shoulders, while keeping them slightly back. Avoid hunching over the drum.

Step 4 Ensure that the drumstick lines up directly with the line of your forearm. Imagine the stick as an extension to your arm.

Step 5 Tilt the palm of your right hand slightly inward at an angle of 20 to 25 degrees to the top of the snare drum.

Step 6 Turn your left palm upwards and hold the drum stick between your thumb, index and middle fingers. The thumb should be on the inside of the stick, facing your body. The index and middle finger serve to hold the outside of the stick. Tilt the hand to the left at approximately a 20 to 25 degree angle. Your pinky will be the lowest part of your hand when done correctly.

Step 7 Strike the snare drum as close to the middle of the snare head as possible when playing. This will provide a rich, round sound. If you play toward the side of the drum, the sound will be weak and thin. The position of your drum strike plays a crucial role in determining the quality of sound.

Step 8 Keep both drum sticks in a "V" formation to achieve the best possible sound.

Step 9 View the snare drum as a clock. The top lug will be 12 p.m. Keep your sticks angled inwards toward the center at about 4:30 p.m. and 8 p.m.

As an alternative to the traditional snare drum grip, the left hand can hold the stick in a grip that mirrors the right hand, using an overhand matched grip. When playing in a seated position, use the same technique for gripping the drumsticks. Sit up straight with your legs spread in front of you to balance your weight. Keep your shoulders back and relaxed.

Use a wrench to tune the drum heads properly. There are two drum heads on a snare, the upper drum head and the lower. The lower drum head should be looser than the top drum head. When tuning, tune in a circle around the drum and be sure to keep the tension equal throughout the tuning process. Listen to the sound and tune the snare until you achieve a firm snare sound and eliminate any "thudding" noise.

How to Make a Song Out of Random Sounds

8:20:00 PM
Knowing how to manipulate and arrange random sounds to create a musical composition is a skill required of modern composers. Composers learn to take everyday sounds and place them in a logical sequence to create patterns and form in a composition. The trick to learning to do this well is to think through the entire composition before attempting to write. Answering fundamental questions, such as how the piece will develop, and how to best convey your message, are crucial to creating an effective piece. Regardless of the audio editing program you choose to record with, the steps are essentially the same.

Step 1 Download and install an audio editor to aid in manipulating and constructing your sounds.

Step 2 Record several sounds with your computer by attaching a microphone to the mic input, labeled with a microphone, on your computer.

Step 3 Plan a schematic for how you will place the sounds. The most basic pieces have a beginning, middle and end, which can be written as ABA, with the first and last section repeating material. If you want several sections, use additional letters, such as ABCBA. Each letter represents a section, and when a letter repeats, the section also repeats.

Step 4 Group the sounds into categories. You could have high, middle and low pitch categories, or maybe loud and soft categories. Think about creative ways to relate sounds to each other. Even though they may appear to be random sounds, these sounds likely share some similarities.

Step 5 Write out an engaging way to present the sounds to the listener with patterns. One possibility is to place a high range pitch followed by two loud pitches. People recognize patterns, so find creative ways to introduce random sounds in a logical order.

Step 6 Create sections that correspond to the schematic created in Step 2. Determine how to represent each section. For instance, you can use different combinations of sounds, increase their frequency or use sounds spaced over longer periods of time to change the tempo of the piece. There are no rules for how to correctly position random sounds.

Step 7 Drag the sounds into the audio editing pane in the order that you have decided to introduce them. You can move the sounds around by using a different track for each sound or by placing sounds at different points throughout the music.

Step 8 Finalize the piece by using the "Normalize" command in your audio editor. Finally, use the "Compressor" function to give the piece a professional sound.

How to Make a Song Sound Like a Music Box

8:19:00 PM
If you have a MIDI file of the original song, you can change the song to sound like a music box. A MIDI file is a type of music file that stores information about the notes, volume and instruments in a song. Creating a MIDI file requires some knowledge of music and the ability to notate those ideas. Taking a course in music theory may be necessary before you're able to complete this process on your own. However, in the meantime, you can enlist the help of a friend or a composer to notate the MIDI file.

Step 1 Open your music notation program and create a new score. This option is found under the "File" menu.

Step 2 Go to the "Instrument List" located under the "Audio" menu. Select the "Instrument" option in the instrument track list. A list of available instruments will pop up. Click on "Music Box" or "Glockenspiel" to make the audio file sound like a music box.

Step 3 Write out the rhythm for the piece on a separate sheet of staff paper. Using the second hand of a watch you can approximately time the correct rhythms you need.

Step 4 Enter the notes in the music staff. As you enter notes, you will hear them play back. If you don't have the ability to read music, listen to the notes that are produced. If the note sounds too high, drag the note lower on the staff until you hear the correct sound. If the note is too low, drag the note higher.

Step 5 Export the file as an audio file by selecting "Export to Audio" under the file menu.

  • A quarter note is equal to one second and has a black note head with a stem coming off the side. 

  • A half note is worth two seconds, has a clear note head and a stem. A half note with a dot is worth three seconds. 
  • A whole note is worth four seconds and looks like a hollow circle without a stem. Adding flags to the stems makes the note twice as fast. So an eighth note is worth half a beat and has one stem, while a 16th note is worth one-quarter of a beat and has two stems. 
  • If you have an audio editor that allows you to manipulate the sound with a filter, you can try using the "Change Pitch" option under "Audio Effects" to try and change the pitch of the instrument by two octaves. This will work with percussive type instruments such as the piano, xylophone and glockenspiel.

How to Make a Vibrating Sound With Your Lips

8:18:00 PM
Making a vibrating sound with your lips is the first step towards learning to play a brass instrument. It is possible to vibrate entire scales with just your lips. The trick is to build the muscles in the face and improve your flexibility. Vibrating without a mouthpiece is much more difficult than vibrating with a mouthpiece. Many musicians cheat by using the pressure from the mouthpiece to create additional tension. This makes learning to vibrate only with your lips a crucial skill since it will help you become a better performer.

 Step 1 Press your top and bottom lip tightly together without letting either one overlap.

Step 2 Tuck in your cheeks to ensure that you are using all the muscles of your face to hold the tension.

Step 3 Increase the tension by pretending you are sucking through a straw while maintaining your lip tension. By doing this, you will be using all the muscles in your embouchure.

Step 4 Vibrate your lips by letting a small amount of air through the center of your lips. Blow quickly and keep the embouchure that you have formed. With a little practice you will be able to vibrate your lips.

Step 5 Develop your skill further by learning to buzz songs and scales. Just match the pitch by modifying tension in the lips. Tighter lips create higher notes while more relaxed tension creates lower notes.

How to Make a Song Without Vocals on GarageBand

8:18:00 PM
Creating a song in GarageBand when you don't have a vocalist to sing is possible, provided you are alright with using only vocal "oohs" and "aahs" instead of words. This technique is used often when the sound of a choir is needed, but there are no lyrics to give the choir or vocalist. It is used in acoustic music as well as electronic music and is a valid method of creating music without vocals. GarageBand makes it possible to create a song that is song-like in nature, and is "sung" by the computer instead of an actual person.

Step 1 Open GarageBand and select the "Acoustic Instrument" option. When the program opens, select the "Vocals" option on the right-hand side under the "Real Instruments" tab. Choose the type of vocals you would like to use. There are several from which to choose including "Live Performance," "Pop Vocals, "Female Basic" and "Male Basic."

Step 2 Plug your piano into the MIDI input of your sound card. Make sure the piano is turned on and ready to play.

Step 3 Press the red record button on the instrument track in "GarageBand." Begin playing the music you wish to use as the vocal part on your keyboard. The music will be recorded with GarageBand and will be heard as the vocal style you selected in Step 1.

Step 4 Press the red record button again when you are done recording.

There are MIDI cables you can purchase that connect to the back of your MIDI piano keyboard and then connect to your computer via USB if you do not have a MIDI capable sound card.

How to Make a WMV Louder

8:17:00 PM
There are several audio-editing programs that will allow you to manipulate, edit and record audio. To increase the volume of a WMV audio file you need to use a process called normalization. Normalizing audio will take the WMV audio file and increase the volume to the maximum level possible without distorting of clipping the audio. Clipping is something that you want to avoid since it will create crackling and popping in your WMV audio. Audacity, Sonar and Peak all provide similar functions to make your WMV louder.

Step 1 Install Audacity or a similar audio-editing program on your system. Audacity is available as a free download from the manufacturer (see Resources).

Step 2 Start your audio editing program and drag your WMV file into the application. This will import the WMV file and prepare it for editing.

Step 3 Open the "Effect" menu in Audacity or similar option in another program, then select "Normalize." Leave all the options on the default setting. Click "OK."

Step 4 Open the "File" menu and select "Export" from the drop-down menu. Save the file to your desktop and listen to your normalized WMV file.

How to Play Bamboo Flute Transverse

8:14:00 PM
Learning how to play a bamboo transverse flute, also known as a side-blown flute, can provide you with an entertaining and productive hobby. Learning to play a musical instrument can add entertainment and musical enrichment to your life. Playing a transverse flute requires some experimentation, but, with a few guidelines, you can be playing your transverse flute with ease.

Step 1 Hold the flute sideways with your left hand closest to the mouth and the palm facing toward your face. The right hand's palm faces away from you. The open end faces to the right and the blowhole is directly below your lower lip.

Step 2 Place the first three fingers of your left hand (index, middle and pinkie) on the first three holes of the flute. Use the same position for the first three fingers of your right hand.

Step 3 Keep the flute balanced by placing your left thumb and right thumb under the bottom of the flute in a place that is natural and comfortable. The thumbs should be below the index fingers. The right pinkie can be placed on the top end of the flute to keep the flute secure.

Step 4 Position the mouth opening directly below your lower lip and stretch the corners of your lips to the side so that the lips are flat against the teeth. The flute is to be completely covered by your lips.

Step 5 Begin blowing through your lips and slowly turning the flute away from you. This slowly opens up the mouthpiece and puts it in line with your lips. As you rotate the flute, listen for the point at which you get the best sound. The edge of the hole will likely be flush against your lips, allowing air to travel over the mouthpiece.

Step 6 Hold a steady tone with all of the holes open (not covered) until you can achieve a consistent quality sound.

Step 7 Play a scale starting from the open pitch, down to the lowest pitch. To play a scale, start with the open fingering and then add one finger at a time to extend the flutes range lower.

Do not blow into the instrument. Blow across the hole, in the same manner as when blowing into a glass bottle.

How to Make an A Cappella Group

8:12:00 PM
Create an a capella group by selecting singers appropriate to the type of ensemble you wish to create. A capella groups consist of groups of all men, all women or combined gender choirs. Groups that use only singers without instrumental accompaniment classify as a capella groups. However, some earlier groups did use instruments, especially in the church. If you choose to use an instrument, the instrument should not add anything new to the music and should follow the singers lines exactly.

Step 1 Create a budget for your group to buy music stands, hold rehearsals, purchase music and pay fees to enter contests and promote your group.

Step 2 Contact a local community foundation group to find donors to provide funding for your group. Several donors exist to help you acquire funds for your group.

Step 3 Locate singers for your group. A good size a cappella group will have 8 to 10 singers. Advertise at local universities for volunteers and contact your local musicians union for paid singers.

Step 4 Select music that fits the singers abilities and revolves around concert themes. Use Mozart only for one concert, or have a classical concert dealing with the music from 1750 to 1820. Host a pops concert by selecting music with a patriotic or use movie theme music.

Step 5 Set a regular rehearsal schedule. Singers must know ahead of time, when you will meet and how often. For an amateur group, meeting once a week will be enough. It will be hard to schedule rehearsals much more than once a week, unless you are paying your singers for their time.

Step 6 Set up concerts locally and contact local businesses, the parks and recreation department and community centers. Aim for 6 to 8 concerts per year. Perform after hours in high schools around town with permission from the school.

Step 7 Advertise your group with flyers, a website detailing the performers in your group and concert dates as well as in coffee shops, libraries, bookstores and music businesses.

Avoid using "you can" and "you may" construction and start with the verb to make the writing more active.

The type of a cappella group you choose will be up to you. Create an all male or all female group. One option is to start with a traditional soprano, alto, tenor, baritone and bass ensemble. Hire a qualified conductor help you audition singers and place performers in the proper roles.

How to Make an Electronica Song With Vocals

8:11:00 PM
Making an electronica song with vocals requires employing a singer and laying the vocal track on top of the electronic music. While this may seem complicated, it should not pose much of a problem if you have an audio editor to help you manage the different tracks. Once you have created your electronic tracks, you can merge the tracks into a single audio file and add the vocals by having the vocalist sing along, while listening to the music through a headset. The functions for audio editors are essentially the same whether you choose a free or commercial version.

Step 1 Combine your electronic music tracks into one stereo track. Exporting the audio sequencer file as a WAV file will simplify this process. Go to the "File" menu and select "Export" or a similar command on your program. Save the file as a WAV file and press "OK."

Step 2 Select the "File" menu and choose "New" from the drop-down menu. Drag the WAV file you created from Step 1 into the audio editing pane.

Step 3 Hook up a microphone, preferably a cardioid vocal microphone, to the mic output of your computer's sound card. This can be found along the left side of most laptops, or on the front, and sometimes, the rear of a computer tower.

Step 4 Press the red circular "Record" button and a new track will appear and start recording your vocals. Let the singer listen through headphones as the audio file plays back. She will sing the vocal part on top of this track in real-time.

Step 5 Export the file as a WAV file again and enjoy your new electronica song with vocals.

How to Make an Alto Sax Growl

8:11:00 PM
Learning to growl on the alto sax is a technique that all jazz sax players should learn. A jazz alto sax player that doesn't know how to growl will likely not have the same job opportunities as a proficient growler. The technique itself can be completed fairly simple. However, as with all things, you can become an expert at this technique and improve the tone quality and dynamic level with consistent practice.

Step 1 Play a D in the middle of the staff on the alto saxophone and hold the pitch out. This will be your drone pitch that you set against another pitch to growl with.

Step 2 Sing a pitch, while simultaneously playing, that is very close to the D while playing. This takes some practice, which is why you are starting on a lower, easier note. Avoid the tendency to hum instead of sing. Humming will not provide the strength of tone necessary to create a growl.

Step 3 Experiment with the pitch of the sung tone until you get a nice clash between the two notes that sounds like a growl. If you know how to sing and you have a good ear, try and sing a half step above the note played. If not, use your judgment and listen to the tone to decide what pitches work best.

Step 4 Growl on a high D to get used to growling in the higher registers. This is more complicated since you have to use your falsetto register if you are a man to sing this high. If you are a woman, you will be using your whistle register. To reach this register you must practice singing with a small amount of air in the highest register. This will make the vocal cords vibrate only on the outside edges and produce a higher pitch.

How to Know if a Piano Is a Spinet

8:10:00 PM
Pianos and spinet pianos are very similar but have one major distinction that will make it possible for you to tell the difference between the two. The spinet piano has a "drop action" mechanism which places the keys on the piano above the internal hammers. With a typical piano, the hammers are placed above the keys. Learning how to identify a "drop action" piano will make it possible for you to quickly and easily identify a spinet piano.

Step 1 Open the lid of the piano by pulling up on the corner of the lid nearest the top end of the keyboard. Use the stick inside the piano to hold the piano lid open completely.

Step 2 Find the hammers on the inside of the piano. Hammers are made of wood and felt, look like miniature hammers and appear in a row, with most models having 88 hammers.

Step 3 Look at the keys of the piano. If the keys of the piano are above or at the same level as the hammers, then the piano is a spinet piano. If the keys of the piano are well below the hammers, then you have a traditional piano.

How to Keep Rhythm Without a Metronome

8:10:00 PM
Things You'll Need Rhythm book Introduction A metronome provide a consistent beat to help count music. Comstock/Comstock/Getty Images It is possible to keep rhythm without a metronome to play music on tempo and with precision. Learning to accomplish this requires consistent practice and strong abstract reasoning skills. Calculating evenly spaced beats requires a strong sense of rhythm. Other methods exist to help develop a sense of rhythm that do not require the use of a metronome. Common household objects can make an excellent substitute for a metronome.

Step 1 Tap a steady beat with the aid of a steady source such as a clock with a second hand. Tap your foot each time the second-hand moves. Continue to do this until you can consistently match the movement of the second hand with your foot.

Step 2 Tap a steady beat with your foot. Use your best judgment at first using a moderate tempo to make it easier to get into the rhythm of the beat. It is more difficult to keep a slow or fast tempo than it is to keep a moderate tempo.

Step 3 Play quarter notes every time your foot hits the floor. Play half notes every other beat and whole notes every four beats. You can also play eighth notes by playing two notes per beat and 16th notes with four notes per beat.

Step 4 Practice this technique with simple rhythms first. Avoid anything that uses a syncopation, which is a rhythm that doesn't fall exactly on the main beat. Use a rhythm book to gradually increase your ability to play consistently and progressively complex rhythms.

Using a metronome ensures that your timing is perfect and is recommended for beginners. If you simply don't have access to a metronome but would like to improve your timing, try using a clock, or tap to the rhythm of your favorite music. Tapping your foot to music will increase your conception of musical time, allowing you to count your own rhythms more easily.

How to Know If You Are a Soprano

8:07:00 PM
Determining if you are a soprano is a part of any vocal education. Beginning students may already be able to sing extremely high -- but high notes alone do not distinguish a soprano from a mezzo. The soprano voice is a classification that must adhere to certain characteristics involving both timbre and range. Mezzo-sopranos often have the ability to sing the same pitches as a soprano, but they qualify as mezzos because of their sound quality. Regardless of your classification, all voice types are necessary in an opera or choir.

Step 1 Begin every vocal exercise with a good warm-up. Start by singing long tones. Move on to "hmm" exercises in which you start on a pitch that is comfortable and sing the vocal down a perfect fifth. Continue this exercise a half-step higher to the uppermost point of your comfortable range.

Step 2 Sing along with the piano, starting at a note that is comfortable and easy to sing. Matching pitch with the piano, sing half-steps until you have reached the highest note that you can sing easily. If you can sing an A above the staff or higher, you might be a soprano since fully developed sopranos can easily sing over A. However, a mezzo can also sing above A, so this is only one aspect of a soprano singer.

Step 3 Determine your passaggio, which is the transition between one register and the next, by listening carefully to where your voice quality changes. Sopranos will notice a distinct change in voice quality when singing an E on the top space of the staff to an F. If you are a mezzo, the change will appear lower in the voice around D or even C.

Step 4 Record your voice and listen to it carefully. Mezzos have a rich, thick texture throughout, while sopranos have a thinner, more narrowly defined texture and penetrating voice. Additionally, sopranos have a bright and ringing texture, and sing light and agile passages with ease. The strongest part of a soprano range is the high register above F, while the strongest part of a mezzo is the middle range.

Even the best vocal teachers don't always know how to classify a student. It may take a year or two for the voice to fully develop. Be patient, and concentrate on developing your technique in the meantime.

Find a qualified vocal instructor at your local university, college, through the National Association of Teachers of Singing or classified ads to help you determine your range. Often times taller women will be mezzos while shorter women will be sopranos. This is due to the length of vocal chords. While this is not always the case, taller women tend to have longer vocal chords, making their voices deeper.

Most singers are a mixture of both voice types. You will have to decide which type most accurately reflects your natural skills and abilities. A true mezzo should not attempt to change her voice to become a soprano. True mezzos are rare and extremely valuable as singers. If you are a mezzo, embrace it rather than forcing yourself to become a soprano.

How to Learn Music History

8:06:00 PM
The history of music goes hand-in-hand with the history of the world, politics, fashion, art, war, and changing socioeconomic climates. Music history encompasses musical eras and the styles that defined them, as well as important composers and their works. It teaches performers the appropriate manner of playing for varying musical works, based on the piece’s composer and date of publication. Whether you’re a serious music student, an aspiring composer, the casual music hobbyist, or even just a concert lover, the study of music history is an integral part of appreciating the art form.

Step 1 Start with a general book on music history that with all the major time periods — from Ancient Greece to contemporary music. Listen to the musical examples of each time period.

Step 2 Learn about specific composers and how their music influenced others. Listen to their music and delve into the techniques that made the music important. Become familiar with the names of the most important composers of each time period.

Step 3 Enroll in a course at a local community college or university.

Step 4 Read a textbook that chronicles the history of music from the beginning. Recognize that often in music history, earlier topics underlay the significance of later events. Composers often find influence by innovations from a previous period of music.

Step 5 Return to areas that are unclear. Look for additional resources and references to get a deeper knowledge of the subject.

Study with a partner to help quiz and check your knowledge. Listen to musical examples daily until they are familiar.

How to Know the Valves of Your Trumpet

8:02:00 PM
Learning the valve combinations on the trumpet can seem overwhelming at first, but there are only seven different combinations that make it possible to play all the pitches on the trumpet. Once you have learned the basic finger combinations, practicing specific exercises to increase your familiarity will not only help you memorize the fingerings, but you will also improve your technique and finger accuracy. When playing the trumpet, the valves must be synchronized to ensure that each note has a smooth transition from the previous note.

Step 1 Memorize the position of the valves on your trumpet. The valve farthest from the bell is the first valve, the second valve is in the middle and the third valve is closest to the trumpet bell.

Step 2 Play through the first few notes of a chromatic scale, starting on the note C. Play C by keeping all of the valves up and play the remaining notes by depressing the correct valves. Play C-sharp by depressing valves one, two and three. D will be played with valves one and three. D-sharp uses valves two and three. E uses valves one and two. F uses just the first valve and F-sharp uses the second valve. These are the only valve combinations you need to play the trumpet effectively.

Step 3 Practice playing major and minor scales using a fingering chart to improve your understanding of the correct fingerings for each note. Practice the scales with the fingerings until you have correlated each note with a specific fingering. Memorize the scales so you don't have to refer to the music and fingering chart.

The third valve is sometimes used by itself as a substitute for the first and second valve. However, using the third valve by itself produces an out-of-tune pitch, which the trumpeter must compensate for by tightening his embouchure. The embouchure consists of the muscles in the mouth that tense when you play.

How to Learn Finger Placement on a Clarinet

8:01:00 PM
Learning the proper position to place each finger on the clarinet is the first step toward learning to play the clarinet. The clarinet is a complicated instrument with several possible finger combinations for each note. Getting the basic posture and finger position accurately placed will make learning to play the clarinet significantly easier. Although there are many options for fingering different notes, there is only one correct way to hold a clarinet.

Step 1 Place your left-hand thumb on the hole beneath the clarinet closest to the mouthpiece. This thumb-hole is covered for almost all notes on the clarinet.

Step 2 Place your left hand on the clarinet by placing the index finger on the first key, the middle finger on the second key and the ring finger on the third key. The pinky will be used to hit the extension keys on the side for certain notes.

Step 3 Place your right hand on the keys that begin after the part that connects the top and bottom of the clarinet. This is easy to find because there is a metal ring that wraps around the clarinet. The index finger of the right hand will go on the first key. The remaining two keys will be covered by the middle and ring fingers. The pinky can rest on the extension keys.

Using the pads of your fingers will help to completely close off the keyhole and will provide a better sound.

How to Layer Vocals on a Song

8:01:00 PM
ayering vocals on a song requires an audio editing program such as Sonar, Audacity or Peak Pro. These audio editor programs allow you to record one track at a time using a technique known in audio editing as layering. This ensures that each track is perfected before moving on to the next track. Layering tracks enables you to record single soloists without exhausting the entire group. This is also an effective technique for creating choir works with just one singer as it enables the performer to sing all of the parts by himself.

Step 1 Open your audio editing program and create a new track by clicking the "Tracks" menu and then clicking on the "Add New" drop-down menu.

Step 2 Press the record button and, using a set of drumsticks, clack the sticks together four times in the tempo of the song. This will provide your performer the chance to get the tempo correct before singing. When the recording is finished it is easy to remove the initial four beats.

Step 3 Press stop at the end of the recording and then add another track using the process from Step 1.

Step 4 Record the second performer by pressing the "Record" button. This time, the audio editor will play back the original recorded voice and the initial four beats, so you do not need to tap out the tempo again. If the soloist makes a mistake, erase the track and start over. Continue adding tracks until all of the voices have been recorded.

Step 5 Highlight the first four beats of the audio file and press the "Delete" button.

How to Learn Music Pitches

8:00:00 PM
Music pitches are the basis for all western music. It is possible to develop the ability to hear pitch. A daily commitment and a strict training regimen are required to learn the pitches of the musical alphabet. In music, pitches are what are heard and notes are what are seen on a score. The treble and bass clef are used in music to represent pitches that are high and low. The higher pitches have a faster frequency, and the lower pitches have a slower frequency. Learning to tell the difference between these frequencies requires a step-by-step approach.

Step 1 Identify the difference between a high pitch and a low pitch by using a piano. On the piano, pitches are consecutively higher as you move to the right along the keyboard. Have a friend consecutively play two pitches to see if you can identify which pitch is higher. Do the same with the lower and middle pitches of the piano. Pay special attention to how the higher pitches sound in relation to the lower pitches. Each person has a different interpretation of what high and low sounds like. Take your time to develop a solid understanding of this basic concept.

Step 2 Learn the names of each of the 12 chromatic pitch and how they replicate at the octave in the musical scale. Each pitch has octave relationships that sound very similar to each other. For example, all Cs on the piano have a similar sound; the difference is how high and low the C is.

Step 3 Analyze how individual pitches sound in relation to each other. Pick two pitches on the piano and compare them. Listen carefully to see if you can notice a different in texture between the notes. One commonly used example is the difference between an F-sharp and a C on a piano. The F-sharp sounds sharper and gives off a harsher vibration than the C. Each pitch has its own characteristic sound. In the beginning stages, stay with one octave.

Step 4 Practice with a friend by having him play a pitch on the piano to see if you can identify it. If you get the wrong pitch, have him play the pitch you guessed several times until you start to get a feel for the pitch. Once you accurately identify two pitches, add a third pitch. Continue to add pitches until you have learned all 12 chromatic pitches. When you accurately identify all 12 pitches within an octave, learn the pitches outside the octave, which is easier to master since you already learned the quality of each pitch.

Listen casually to the notes. Learning to identify pitch is something that comes only with a relaxed approach to listening.

How to Learn How to Play Awesome Songs on the Soprano Recorder

8:00:00 PM
Playing any song on the recorder requires spending the time to learn how to play the notes of the recorder, proper hand placement and learning to read music. Once you learn to read music you will be able to download the sheet music for any song you wish to play and with a little practice, it will be possible to play awesome songs on the recorder. Learning to play the recorder will provide you with a cheap and enjoyable way to enjoy music.

Step 1 Start by learning the correct hand position for the recorder. The left thumb is placed underneath the recorder and is used to cover the single hole. The rest of the fingers can be placed with the index finger on the first hole, the middle finger on the second hole and the ring finger on the third hole. For the right hand, place the index finger on the fourth hole, the middle finger on the fifth hole, the ring finger on the double-hold and the pinky on the last double-hole.

Step 2 Learn the different rhythms that exist in music. Learn about the whole note, half note, quarter note and sixteenth note. You should specifically learn how many beats each note is worth and what they look like.

Step 3 Learn the fingerings and names of the notes by using a fingering chart. Once you learn to associate a fingering with a note name, you will be able to play scales.

Step 4 Practice playing major scales. Once you can successfully play all of the major scales you will be able to begin playing music. Get a book of major scales to learn to play them on the recorder.

Step 5 Download or buy some sheet music for your favorite songs. Practice the music until you are able to play the entire piece successfully. It takes time to learn a new piece, but the sense of accomplishment when you play it well is well worth it.

How to Make an Instrument Louder

7:58:00 PM
Depending on your instrument, you may need to use physical force, air or even an amplifier to increase the volume. There is a limit to the amount of volume that can be created by a single instrument. This is one of the reasons that orchestras have up to 30 violins, 18 violas, 12 cellos and 8 basses. The additional numbers increase the density and power of the sound.

Step 1 Determine what type of instrument you have. Some instruments such as children's electronic toys may be capable of only one dynamic level.

Step 2 Play a harpsichord or celesta. These instruments have keyboards but use plectrums inside the instrument to produce sound (instead of hammers on a piano). The only way to increase volume is to play more notes.

Step 3 Choose to play a piano. Pianos uses small hammers to hit strings inside the instrument. Increase the sound by pressing more forcefully on the keys.

Step 4 Play an electronic instrument, such as an electronic piano. In most cases, electronic instruments can be made louder simply by turning up the volume or adding an amplifier to the headphone output.With more expensive electronic pianos, the volume is increased by pressing the keys more forcefully.

Step 5 Play a brass or wind instrument. These instruments require a performer to blow air through the instrument. If you instrument is a wind instrument, more volume can be obtained by increasing the amount of air pushed through the instrument. Use your diaphragm muscles to increase the pressure and speed of your air.

Step 6 Push down harder with the bow on a bowed string instrument or pull the string pack further if you play a plucked instrument. By pressing the bow into the strings, you create additional friction that increases the level of sound. Forceful plucking creates stronger vibrations which also increase the level of sound.

Step 7 Play a percussion instrument. It requires the use of extra force by hitting a mallet forcefully against the object to increase volume.

If you play a harpsichord or celesta, play more notes to increase the volume. This was a common practice in the Baroque period when chords were used to increase the number of notes, thereby increasing the volume of the instrument.

How to Measure the Frequency of Guitar Strings

7:57:00 PM
Guitar strings emit frequencies that can be measured using special instruments. The frequency of a pitch determines how high or low the pitch will sound. Guitar strings can be measured just like any other frequency. Using a digital tuner, you can quickly determine the pitch of a string with the readout on the tuner's display. Frequency is measured in hertz and tells you how many times a vibration occurs in a single second.

Step 1 Turn the digital tuner on and set it to the mode that allows you to identify pitches. Generally, this is the default mode and is listed as "Main" or "Tune" on most tuners.

Step 2 Pluck the guitar string as you would normally play it. Hold the pick between your thumb and index finger and use the tip to flick the string. 

Step 3 Identify the number on the readout of your digital display. It will be a three or four digit number and a letter name. This number tells you how many times per second the string is vibrating and is also your frequency in hertz. The letter tells you the name of the pitch. For instance, if you play an A that is perfectly in tune, it will read "440hz A."

How to Make Background Music With MIDI Instruments

7:57:00 PM
Creating background music with MIDI instruments is an advanced skill requiring the musician to know music composition. Once you have learned to read and write music, you can begin to use notation software to create MIDI realizations of your background music. Even without rudimentary composing skills, you can experiment and hear your creations played back with a notation program. Through trial and error, you can move notes around on the staff and hear them played back. Eventually, this will lead to a completed piece if you trust your ear and work patiently.

Step 1 Install your music notation program and set up a default score. Notation programs will ask you to select the type of score you want when you start the application. For now, just select a single treble clef staff.

Step 2 Select the "MIDI/Audio" menu and select the "Instrument List" option from the drop-down menu.

Step 3 Choose the musical instrument you would like to playback. There are 128 general MIDI options, ranging from traditional violins to gunshots and helicopters. MIDI is a standardized platform for creating music. For instance, general MIDI instrument one will always be an acoustic grand piano.

Step 4 Enter the notes into the score to create a playback file that will allow you to create your background music. Press the playback option to hear the music played back. If you don't like what you hear, drag the notes in the score up or down to change the pitch to the correct note.

Step 5 Create more complicated background music by adding several new staves to the file. Each staff can have its own sound.

Use an already established sample MIDI file and modify the notes to fit your own personal style. By choosing a MIDI file from the collection that comes with your notation program, you can modify the instrument channels as you see fit and create your own music with limited experience.

Connect your electronic keyboard to your computer's sound-card with a MIDI cable to play and record the music with your notation program. Press the record key and then change the instrument type for each track after you are done recording.

How to Measure Trombone Mouthpieces

7:56:00 PM
You can measure a trombone mouthpiece with a measuring tape and the proper understanding of the different parts of the mouthpiece. The main parts you need to measure are the rim diameter, the rim width, the throat, cup and the bore of the mouthpiece. The bore refers to the total width of the end of the mouthpiece. The cup refers to the cup-shaped interior of the mouthpiece and connects to the rim. The throat refers to the hole in the cup of the mouthpiece.

Step 1 Measure from one edge of the mouthpiece to the other edge. Make sure you measure directly across the center of the mouthpiece, otherwise you will get the wrong number. This measurement should be completed in millimeters.

Step 2 Approximate the depth of the cup. If the cup extends inward about 0.5 inches, the cup is considered a medium cup. A deep cup is about 0.7 inches and a shallow cup is about 0.25 inches. You can measure the depth by pencil inside the cup and marking where the rim meets the pencil.

Step 3 Identify the rim width. Measure from one side of the rim to the other straight across. An average rim width is about 0.5 inches.

Step 4 Measure the throat width by placing a pencil inside the mouthpiece and into the throat. Mark the outside of pencil tip, remove the pencil and cut off the end up to the point where your marking falls. Place the flat pencil tip onto the measuring tape and measure the width in inches. You may also place the measuring tape inside the mouthpiece and measure the distance between one edge of the hole and the other.

Step 5 Place the measuring tape on the bottom of the mouthpiece to measure the size of the bore on the end of the mouthpiece. This is the portion that is inserted into the trombone. Measure the diameter in inches.

How to Motivate Actors for a Musical Production Performance

7:55:00 PM
Motivating actors for a musical production performance requires you to be able to encourage and provide them with appropriate guidance to help them fulfill the appropriate acting roles. By providing clear guidelines and sticking to schedules, you can ensure that the actors know what is expected of them and when it is expected. This will help to improve morale and provide the structure that actors need to perform each role at the highest level.

Step 1 Provide specific goals and performances to work toward. If the actors don't know when they will be performing and why it is important, they will be less motivated to act.

Step 2 Plan trips that allow the actors to perform outside of the home town. Planning a tour to visit a nearby state can help encourage the actors to prepare with earnest.

Step 3 Enter the group in contests. If the actors know they are going to be judged and competing with other groups, it will increase the odds of them attempting to perform at a high level.

Step 4 Provide incentives for an actor to learn her lines. If she learns her lines and performs at a high level, offer a raise or additional roles that display her abilities. Offering additional solo parts and letting the actors audition for them can be motivating.

Step 5 Arrange for the actors to have master classes and seminars with well-known and prominent actors. Getting the chance to work with professionals from local universities or theater groups will help motivate and encourage an actor to develop his craft.

Step 6 Allow the actors the chance to vote on what musicals will be selected for the upcoming performance year. If the actors feel that they have a say in the direction of the group, each actor will be more inclined to work toward common goals.

Step 7 Encourage the performers to attend summer camps in which they can learn additional acting techniques. If your group can afford it, offer to provide a few actors with scholarships or a reduced fee to attend the camp.

How to Measure Voice Pitch

7:55:00 PM
Measuring voice pitch requires understanding how to use the system of musical intervals. Voice pitch measurements are easiest if you have a score of the music to enable you to count the distance between the pitches. There are 12 basic types of intervals that you must learn in order to accurately describe the distances between vocal pitches.

Step 1 Start by learning the chromatic scale. The chromatic scale consists of 12 pitches starting with A-flat and ending on G. Use a reference chart to identify the pitches of the chromatic scale.

Step 2 Learn the names of the musical intervals. There are 12 basic intervals you will use to identify voice measurements: minor and major seconds, minor and major thirds, perfect fourth, tritone, perfect fifth, minor and major sixths, minor and major sevenths and finally, the octave.

Step 3 Learn about the distance between each interval. A minor second is one half-step, which is the distance between two notes on the chromatic scale. For instance, a minor second above C would be Db. Each interval after that adds one half-step to the measurement. For instance, a major second is two half-steps, a minor third is three, a major third is four and a perfect fourth is five; this continues all up to the octave.

Step 4 Learn about the distance between each interval. A minor second is one half-step, which is the distance between two notes on the chromatic scale. For instance, a minor second above C would be Db. Each interval after that adds one half-step to the measurement. For instance, a major second is two half-steps, a minor third is three, a major third is four and a perfect fourth is five; this continues all up to the octave.

Step 5 Obtain the sheet music for the voice you wish to create measurements. Measure the distance between each pitch by calculating the interval from one pitch to the next. For example, if there is a C followed by an F, the interval is a perfect fourth.

Learning to measure voice pitch by ear is also possible. To do this, you must memorize the sound of each interval, practicing the intervals daily. A good music tutor will be able to help you accomplish this.

How to Play a Trill

7:54:00 PM
Regardless of the instrument being played, a trill is a straightforward process that all musicians should learn within their first year of study. There are two types of trills performed in the same way, with a small modification. With trills, there are always two notes that quickly alternate. To play trills, the performer must first determine the two notes involved in the trill and then alternate between those notes.

Step 1 Identify the type of trill requested by the music. If there is symbol an italicized "tr" abbreviation above the note, you will trill up to the next note in the key from the notated pitch. If there is a flat superscript next to the abbreviation you will trill a semitone up from the notated pitch.

Step 2 Start the trill on the first notated pitch and then alternate quickly between the notated pitch and the trilled pitch.

Step 3 Practice the trill so that it starts slowly and gradually increases in speed over the length of the piece. Tips If you are playing a Baroque piece written from 1600 to 1750, the trill starts with the note above and comes down to the notated pitch.

How to Play a Homemade Flute

7:54:00 PM
Playing a homemade flute requires some practice and knowledge of how the instrument works. There are two types of homemade flutes available, transverse and end-blown flutes. Since the flute was constructed at home, the pitches available will vary greatly. Even the pitch of handcrafted Native American flutes can vary from one instrument to the next. The key to playing these flutes requires an understanding of how to hold, breathe and create the sounds.

Step 1 Breathe from the diaphragm and take air in deeply to your lungs. Sit up straight to allow a clear path for the air to travel.

Step 2 Place your left hand on the holes at the top of the flute. Place your index, middle and right finger on the first, second and third holes. The thumb should support the flute from below.

Step 3 Position your right hand on top of the remaining holes, with your other thumb supporting the flute from underneath.

Step 4 Blow across the mouthpiece, similar to how blow might blow on a bottle, if the flute is a transverse flute. For end-blown flutes, blow on the edge of the top of the tube.

Step 5 Experiment with covering each hole. In a typical handmade flute, each additional hole covered lowers the pitch one scale degree. With a homemade flute, each note is different. Make up melodies that fit the design of your flute.

How to Make Bongos Sound Better

7:50:00 PM
Knowing how to tune, hold and strike the drums properly will help you make your bongos sound better. Bongos come in pairs of two drums and are indefinite-pitched instruments. The Proper technique ensures your bongo playing follows correct performance standards. With a strong commitment and practice sessions with the correct playing methods, your form and technique will gradually improve. With time, your technique will improve and your bongo playing will reach new levels of professionalism.

Step 1 Tune the bongos by tightening the screws along the sides with a tuning wrench. Move between each peg around the drum to ensure that the tension spreads equally. While you can't nail down a specific pitch, generally you can tune the bongos approximately a fourth apart from each other.

Step 2 Sit on a chair or stool with your feet solidly on the floor, shoulder-length apart. Straighten your back and ensure that you are sitting up straight. Your shoulders should be relaxed and slightly back, do not bend over the bongos.

Step 3 Support the bongos between your knees. The curvature of your knee holds the bongos. You may choose to set up a bongo stand as well, but most players simply put the bongos between their knees. The larger bongo will face your dominant hand.

Step 4 Rest your forearms on your thighs to prevent strain and exhaustion from holding your arms up during a long period of playing. Cup the palm of your hand around the rim of the bongo, and use your fingers and hands to strike the instrument.

Step 5 Practice striking the bongo near the center of the drum to create the densest and most professional sound. Striking the drum on the side wall will create a dull, thudding sound. Hitting the center of the drum will create a resonant boom.

Step 6 Learn about the basic strokes and how to apply them. Either hand may be used for any of the strikes and typically you will alternate hands between strikes. The "closed slap" places one thumb on the rim of the drum while the other hand strikes. Another "finger" strike uses just the fingertips and, in some cases, the thumb to strike the drum. "Rim shots" are possible by throwing your fingers across the rim of the drum. An "open stroke" strike uses an open hand to strike the drum.

Bongos do not create definite pitches, and sound generally high or low. To ensure that bongos are tuned correctly, check to see that the drum heads are tense and not loose. There should be no rattling when you play and the drumheads should feel firm. If you have trouble identifying the interval of a perfect fourth, listen to bongo recordings and attempt to match pitch with professional bongo players. A perfect fourth consists of the first leap in "Here Comes the Bride." The distance between "here" and "comes" consists of a fourth. Your bongos should have the same relationship.

How to Memorize Scales Very Quickly on Viola

4:46:00 PM
Memorizing scales on the viola seems overwhelming until you learn to visualize the notes in each scale. Since violists who are trying to memorize the major and minor scales already know how to finger and play scales, the only thing left is learn the note patterns in each scale. Violists can play all 24 major and minor scales as soon as they memorize the key signatures for each scale. Then in conjunction with visualization techniques, it is possible to quickly memorize the scales without even touching the viola.

Step 1 Create flash cards for all the major and minor key signatures. On one side, write the alto clef, a staff system, and sharps or flats in the correct order for all of the keys. Write the major and minor key that matches the key signature on the opposite side of the flash card. Quiz yourself until you no longer need to think about the keys.

Step 2 Visualize the C major scale using a visualization process. In your mind, visualize the first note C as it appears on the alto clef staff. Start with the C two spaces below the staff. Practice visualizing the entire scale on the musical staff in your mind. By doing this, you can memorize entire scales and play them as if you are reading the music in front of you.

Step 3 Play a C major scale on the viola with your eyes shut. Concentrate on going slowly and visualizing each note clearly and distinctly. The first time you complete this task will be the most difficult. With additional practice, visualization of scales will become more clear and simpler for you, making it possible to memorize any scale on the viola if you know the key signature.

Step 4 Memorize the A natural minor scale in the alto clef using the visualization process. Natural minor scales use the notes found in the key signature for A minor and uses the same key signature as C major.

Step 5 Imagine that you are playing the viola without the instrument in hand. Visualize that you are playing every pitch on the instrument. Imagine your fingering and the position of your fingers, while reading the scale from a sheet of music. By visualizing the playing of scales, you can learn them more quickly than with playing alone.

Step 6 Learn all the major, natural, harmonic and melodic minor scales. Start with the major and natural minor scale first. Then raise the seventh scale degree for a harmonic minor scale. Raise the sixth and seventh scale degree on a melodic minor scale ascending and lower them to play a natural minor scale descending.

Use the "Circle of Fifths" to double check your flash cards. The order of sharps is F, C, G, D, A, E, and B. The order of flats moves in the opposite direction: B, E, A, D, G, C and F.

How to Play Accompaniment on the Keyboard

4:46:00 PM
Playing accompaniment on the keyboard is a skill that requires the keyboardist to carefully listen to the soloist. Keyboardists often have to play with several different types of soloists from singers to instrumentalists. Each individual will have a different style of playing and the keyboardist must be capable of adapting to the style, tempo and interpretation of the soloist. Remembering that the role of the keyboardist is to be supplemental to the performer will greatly improve your ability to play accompaniments. Keyboards include any instrument that uses a keyboard to create sound, including the piano, organ, harpsichord and digital keyboard.

Step 1 Follow the lead of the soloist when interpreting rhythm and tempo. If she wants to increase the speed, it is your job to follow her. Work with the soloist ahead of time to nail down a precise tempo. Usually the accompanist will start the piece, so it is imperative that you get the opening tempo correct.

Step 2 Do not overpower the soloist's playing. When accompanying a woodwind player you will have to lower the lid of the piano to diminish the sound. Brass players will need the lid raised completely and vocalists will need the lid somewhere in the middle.

Step 3 Practice the accompaniment until you can play it perfectly from memory. This will help support the soloist and ensure that you are providing the best possible accompaniment.

Step 4 Listen carefully to how the soloist plays, interpret rhythms and articulates notes. As the keyboardist you should be able to match his style.

If the soloist makes a mistake, misses a bar, or comes in early you must adjust and catch up with him. This is the most difficult part of being an accompanist. It is expected that you find the soloist in the music, the soloist will not adjust to you. The piano is not capable of tuning itself during a performance. Have it tuned professionally tuned before the concert.

How to Memorize Musical Notes

4:45:00 PM
Memorization of the musical notes on a staff comprises the first, basic step in understanding music. Students must learn about the staff system and how the system of notes works in different clefs. Two main clefs, bass, and treble, which together form the grand staff, are the basis for all musical notation. Depending on the clef used, notes' names vary, making it necessary to pay attention to the clef at the beginning of the staff system.

Step 1 Memorize the system of lines and spaces on the staff. Staff systems have five lines and four spaces. Each line and space gets a different note name. The musical notes move consecutively from line to space in alphabetical order.

Step 2 Learn the musical alphabet that starts with A and ends on G. When G is reached, the cycle starts over again at A.

Step 3 Create an acronym to memorize the lines of the treble clef. A common acronym is "Each Good Beginner Does Fine." This acronym (EGBDF) will allow you to remember the names of the lines of the treble clef from bottom to top.

Step 4 Remember that when you look between the lines of the treble clef you see your "FACE." Each note of the word "face" is a separate space from bottom to top. The bottom note space is F, the second space indicates A, the third note sounds C and the fourth, E.

Step 5 Develop an acronym for the lines and spaces of the bass clef. "Good Boys Do Fine Always" creates an acronym that works to memorize the lines. "All Children Eat Groceries" helps to learn the names of the spaces.

The bass clef looks like a backward-slanted F with two dots on either side of the F line. This fact earns the bass clef the alternate name, F-clef. The treble clef is a stylized G with a line that wraps around the G line. For this reason, treble clef sometimes receives the name G-clef.

How to Play a G5 Chord

4:44:00 PM
The G5 chord is most often played on the guitar.

The "5" in the G5 chord refers to the interval above G. In this case, the fifth above G is D. Although not technically a chord, since it only has two notes, the G5 chord creates ambiguity. The listener will naturally want to make the chord major or minor, but with the third of the chord missing, this is not possible. This creates an ambiguity of the key that leads some professionals to refer to it as a "power chord" since it is not controlled by a major or minor key center.

Step 1 Determine what instrument you will use to play the G5 chord. It can be played on piano or guitar fairly easily.

Step 2 Play the G5 chord on the guitar by placing your first finger on the E string just behind the third fret and your second finger on the A string just behind the fifth fret. A three-note G5 chord can be played by adding the third finger to the D string just behind the fifth fret.

Step 3 Create the G5 chord on the piano by using the first and fifth finger of either hand to play G and D on the keyboard. Again, you can make this a three-note chord by doubling the G an octave above the lowest G. You can voice this chord in any way you like.

The G5 chord is usually played on the guitar, but it can be played on the piano as well.

How to Play A Piano / Keyboard

4:43:00 PM
nowing how to play either piano or keyboard will allow you to perform increasingly complex pieces and improve your musical ability. Both instruments require the same fundamental techniques and function in the same tactile manner. Both instruments use a clavier, or set of keys, to produce pitches and require great finger independence to play melodic lines smoothly and easily. Learning how to employ these techniques will help you increase your skill and versatility.

Step 1 Sit at the keyboard or piano with proper posture. Sit tall and allow your elbows to fall just below the line of the keys. Your arms should be free to move up and down the keys.

Step 2 Practice finger exercises to increase your finger independence. Place all five fingers of one hand on the keys of the instrument and slowly press down each key five times, without moving any other fingers. Start with the thumb and work toward the index finger. Then, switch hands and do this again.

Step 3 Play major and minor scales using the appropriate fingerings. The fingers of each hand follow a numbering convention from one to five, starting with one on the thumbs and ending on five with the pinkies of both hands.

Step 4 Perform advanced Hanon finger exercises and incrementally increase the speed each time. Begin with a slow tempo and then increase the speed by two beats per second each day until you can play each exercise at the recommended tempo.

Step 5 Learn easy piano pieces that require you to play hands together. Play each exercise with each hand independently until you can play each hand separately with confidence, then play with hands together.

Practice daily for at least 30 minutes. Daily practice will provide you with the right amount of repetition to improve.

How to Memorize Trombone Notes

4:43:00 PM
Memorizing the notes of the trombone develops essential music literacy for a performer. Trombone players who can't read music notes lack fundamental skills, which results in poor technique. Learning trombone note names will greatly improve your ability to read music. There are two clefs that the trombone uses when playing music. Bass clef appears most commonly in trombone music. However, the trombonist must also learn the names of the pitches in tenor clef to memorize all the trombone note names.

Bass Clef

Step 1 Learn what the bass clef looks like. You can distinguish it from the tenor clef easily by remembering that it looks like a backwards C with two dots. The two dots will always appear on either side of the F note line.

Step 2 Identify the names of the notes on the bass clef by using a simple acronym. The lines from bottom to top spell out the first letters of the words in the phrase "Great Brains Don't Forget Answers." You can also create your own acronym where the first letter of each word identifies the pitch.

Step 3 Memorize the names of the spaces by using the phrase "All Cars Eat Gas." 

Tenor Clef

Step 1 Identify the clef used for the tenor clef by looking for a clef that looks like a backwards bracket. The middle of the bracket will always curve in towards the note C. In the case of the trombone, the bracket will curve in on the fourth line.

Step 2 Create an acronym to memorize the lines of the tenor clef. For example, "Don't Forget Any Cute Elephants" should help you remember the names of the trombone notes in the tenor clef.

Step 3 Acquire the spaces in the tenor clef by using another acronym. The acronym "Each Good Boy Dreams" helps with memorizing spaces.

How to Meter a Song

4:42:00 PM
Musicians must know how to determine the meter of a song if they are going to perform it correctly. Without this basic information, the performer will not know where to place the natural accents and how to create motion that pushes the piece forward. The meter of a piece will help a performer know which beats should be accented and which beats should be weakened. This natural ebb and flow of strong and weak beats are the basis for a successful performance.

Find the Meter of a Song

Step 1 Tap your foot along with the song to find the steady beat.

Step 2 Tap more forcefully on the beats that feel strong, while tapping lightly on the beats that feel weak.

Step 3 Take note of which beats are strong and which beats are weak.

Step 4 Decide if your pattern of strong and weak beats fits comfortably with the song. If it feels awkward, try experimenting with differing patterns of weak and strong beats.

Step 5 Once you have found a comfortable pattern, add together the first set of strong and weak beats. For instance, 1 strong beat for every 3 weak beats tells you that your meter is in 4.

Determine if the Meter is Simple, Compound or Asymmetrical 

Step 1 Identify if the meter is in 2, 3, or 4. If it is, then the song is in Simple meter.

Step 2 Determine if the meter is in 6, 9, or 12. These songs are in Compound meter.

Step 3 Assess the meter of the song. If the meter changes often, or is a mix of Simple and Compound meter, then the song is said to be Asymmetrical.

If the beat is faster than you can tap your foot, it is likely that you should cut the meter in half. For instance, a fast 4 might actually be a slow 2. When determining the beat, make sure that your foot is tapping in a steady manner with no tap being longer than any other. The beat is a steady pulse and not to be confused with the rhythm.

All music has two numbers at the beginning of the piece that resemble a fraction. The top number tells you the number of beats and the bottom number tells you the time value of that beat. You can use the top number to determine the number of beats in the measure, but you still need to listen to the music to determine the strong and weak beats.

Some songs may be felt correctly in more than one meter. It is up to the musician to determine how to conceptualize the piece. Some songs that are in 3 may be classified as Compound if they are fast enough. There is another type of meter referred to as additive meter. This is a meter with a fraction of a beat in each measure. To determine these meters, you typically need to reference a score. These meters are rare and only found in some 20th and 21st Century music.

How to Play a G/B Chord

4:42:00 PM
When you see a chord that lists two notes separated by a slash mark, it indicates that the chord is an inversion. The number on the right side of the slash must be placed in the bass. The chord quality, whether it is major, minor, augmented or diminished is indicated on the first part of the slash. If there is no indication such as a lowercase"m" or a "dim." abbreviation, then the chord must be major.

Step 1 Build a G major chord. The G major chord consists of G, B and D.

Step 2 Place the B in the bass so that it is the lowest note played.

Step 3 Position the other notes above the B so that the chord is completed. You must include the G and D somewhere above the B. Preferable the G and D should not be separated by more than an octave.

Step 4 Play B on the 2nd fret, D on the 3rd fret and G on the open G string to play this chord on guitar. On piano, just place B in the bass and then play G and D on top.

How to Play a Five Hole Ocarina

4:39:00 PM
The ocarina consists of five holes that are covered by the fingers to raise or lower the pitch. Learning to play the ocarina requires only that the player be able to blow through the instrument with a steady stream of air. Playing the ocarina only requires moderate energy since the instrument can create a high quality sound with very little effort on the part of the performer. Learn to coordinate your fingers to play the five hole ocarina and you will succeed.

Step 1 Hold the instrument with the mouthpiece between your lips. Place your hands on either side of the ocarina, using your left thumb to cover the hole on the bottom and your left and right index and middle finger to cover the four holes on top.

Step 2 Cover all five holes and blow through the ocarina. This will allow you to play the lowest note on the ocarina. Different instruments will produce varying low notes. Ocarinas can be pitched in any key.

Step 3 Cover the first two holes on the left side of the instrument with your index and middle finger of the left hand. Cover the two holes on the right side of the instrument with your index and middle finger of the right hand. Keep the thumb hole covered with either your right or left thumb. This will allow you to play the next note.

Step 4 Remove your left middle finger from the second hole on the left side and use your left index finger to cover the first hole on the left side. This will allow you to play the next note in the series.

Step 5 Play the notes from Step 2 through Step 4 in reverse order and repeat them. You have just played "Three Blind Mice."

Step 6 Learn other songs by consulting the fingering chart that came with your ocarina and learning to play all 12 chromatic notes.

How to Merge, Split & Convert MP3 Files

4:38:00 PM
Merging and splitting MP3 files can be completed by using the same functions within an audio program. Converting MP3 files is a separate process that can be completed after the files have been split or merged. To accomplish this task, you will need an audio editor capable of manipulating audio. Audacity is a popular free audio editor that works on Macintosh and Windows platforms. It can be used to split, merge and convert MP3 files. WavePad Sound Editor (Mac and Windows) and Power Sound Editor (Windows) are other options.

Splitting Audio 

Step 1 Start by downloading an audio editor if you do not already have one. Once you have installed the program, move on to the next step.

Step 2 Drag the file that you would like to split into the audio editor. This will import the file and prepare it for editing. Step 3 Place the cursor at the point in the audio file that you would like to split. Drag the cursor over the entire section that you would like to cut.

Step 3, I'm confused why we've gone from calling this "split" to "splice."

Step 4 Preview the selection by pressing the "Play" button. Verify that the entire section of audio you want split is selected.

Step 5 Select "Edit" from the menu and choose the "Split" option.

Step 6 Create a new file by selecting the "File" menu and then the "New" option. 

Step 7 Paste the previously split section into the new file by selecting the "Edit" menu and "Paste." This will place your split audio into the new file.

How to Mic a Clarinet

4:38:00 PM
Miking the clarinet in the right place will make a crucial difference in how the recording sounds. If you place the mic at the bell, you will lose three quarters of the sound produced through the open finger holes on the clarinet. The sound of the clarinet does not come through the bell of the instrument; it emits from the entire length of the clarinet. Knowing this will make it possible for you to place the mic in an appropriate location.

Step 1 Place the small-diaphragm condenser mic on a mic stand that is approximately 4 feet high.

Step 2 Aim the microphone toward the lower joint of the clarinet, about one foot from the actual instrument.

Step 3 Experiment with the position during the sound check. Ask the player to perform as normal and monitor the mic through your recording equipment.

Using a small clip-on mic is possible for live performances. Place it on the side of the clarinet immediately after the lower joint connects with the upper joint. This is a less preferable option to a mic stand.

How to Plan My Solo Concert

8:00:00 AM
Planning a solo concert is a large undertaking that can seem overwhelming. The trick is to make a list of things that have to be accomplished and seek out the solutions that will create success with your planning. If this is the first solo concert you have orchestrated, take heart; future concerts will be much easier.

Determine the music that will be in your concert. If you are doing this as part of a university degree or in conjunction with a private teacher, ask for suggestions. The music should be diverse enough to keep the audience interested while still maintaining a central theme.

Decide on what instruments will be needed for the music in your concert. Even though this is a solo concert, it doesn't mean you have to perform alone. Soloists often perform with string quartets and piano as accompaniment.

Find a location for your solo concert. Churches, universities, community centers and arts centers are all acceptable places in which to present your concert. Look for a location that has a music hall that is not too big. Since you are putting on a solo concert, you don't want to lose your sound in a massive hall.

Determine what dates are available for the selected location. Make sure to ask for an hour's time before the concert to rehearse and complete a sound check. Once you select a date, pay the booking fee to reserve your spot.

Advertise your concert. Create flyers and post them around schools, universities, coffee shops and music stores. Find places to advertise your concert online. If you have a website, include information there as well. Tell everyone you know and ask them to tell their friends.

Plan a post-concert reception. Most concerts will have a small reception after the performance that includes drinks and snacks. This is an important time for you since you will come out after the concert and talk to the audience. This is an informal event, so you will not be expected to make a speech. You will want to walk around and thank everyone for coming.

Prepare a concert program booklet. The program should give background information about yourself, including who you studied with and your experience as a performer. Give a brief one-paragraph synopsis of the music in your concert. The first page inside the program booklet should include a list of the pieces in your performance. Give the full title, date of composition and composer. In addition, make sure to include the names of anyone performing with you.

Send the program concert booklet to the printer at least a week ahead of time to ensure that there is time to correct any mistakes.

Don't wait until the last minute to book your performance location. Spots often go fast, especially if you are doing this as part of a degree program.