Despite its relative youth in relation to many other countries, the United States has a rich musical history. From the folksy mountain sound of Appalachian music to the energetic beat of rock and roll, American music has set trends that other cultures around the world have followed. The importance of music in American culture is evident in the establishment of some of the most exciting museums commemorating music across the country. Listed below are some music museums located in the United States that everyone should take the chance to visit. The Country Music Hall of FameLocated in Nashville, Tennessee (also known by its nickname “Music City, USA”), the Country Music Hall of Fame and Museum is a beautifully-designed, 350,000-square-foot building only a block away from the famous Broadway honkytonk bars where many classic country stars got their start. The museum is home to more than 2 million artifacts collected since the earliest years of country music, including stage costumes, instruments, and early recordings of classic stars. It also features rotating exhibits on both early and modern musicians in the genre and offers numerous educational programs and instrument demonstrations to students and visitors who have a passion for country music. The American Jazz MuseumThrough performance, education, and research, the Kansas City, Missouri-based American Jazz Museum aims to help the public understand the value of jazz as an indigenous American art form, preserve its history, and drive the development of the genre forward. The museum helps to tell the story of jazz music through art, film, performance, and exhibitions that shed light on the lives of legends like Charlie Parker, Ella Fitzgerald, and Louis Armstrong. Guests to the museum also have the chance to take in a professional performance from talented musicians at both the local and national level at the establishment’s Blue Room jazz club. The Rock and Roll Hall of FameThe Rock and Roll Hall of Fame was founded more than three decades ago in Cleveland, Ohio, by executives from Rolling Stone Magazine and Atlantic Records. It seeks to commemorate the significant impact of rock and roll music on American Culture. The recognizable architecture of the museum includes a double-pyramid made of glass and a tower that is 162 feet tall, containing over 50,000 square feet of exhibition space dedicated to the music and histories of its members. Visitors to the museum are able to view items such as early drafts of iconic songs, original album artwork, and the personal instruments of some of the world’s most famous rock and roll musicians. Each year since 1986, the Rock and Roll Hall of Fame has awarded membership to a collection of new musicians voted on by a group of 900 music industry veterans, historians, and existing Hall of Fame Members. The first class included Chuck Berry, Sam Cooke, Ray Charles, James Brown, and Fats Domino, while the most recently inducted class of 2017 included Joan Baez, Journey, Tupac Shakur, Pearl Jam, Yes, and ELO. The Musical Instrument Museum (MIM)The Musical Instrument Museum is notable for being the only global musical instrument museum in existence. Located in the desert of Scottsdale, Arizona, MIM’s collection includes over 6,500 different musical instruments from early history to modern day that belong to a wide range of cultures from around the world. Guests tour the museum wearing headsets and interact with video screens placed throughout the premises in order to understand what different instruments sound like and to learn more about their origin and use. On the building’s second floor, instruments are separated into five different galleries based on the continent from which they hail. On the first floor, guests can view items and memorabilia from the tours of American music legends in the Artists Gallery or experiment and play with an array of unique instruments in MIM’s Experience Gallery. GracelandGraceland is a Memphis, Tennessee-based museum located on rock and roll icon Elvis Presley’s former 14-acre estate. Visitors begin by taking an interactive iPad tour of the eponymous mansion, where the Presley lived from 1957 until his death 20 years later. In addition to a glimpse into his home, Graceland guests also tour other buildings on the estate, including the star’s trophy and racquetball buildings. Tours end at the meditation garden, where Presley is buried. Afterward, visitors with upgraded tickets are taken onward to Elvis Presley’s Memphis, a 200,000-square-foot complex that encompasses several other museums, including the Elvis the Entertainer Career Museum, Presley Motors Automobile Museum, and the Elvis Discovery Exhibits. Shopping, restaurants, and a themed hotel are also available onsite for those who are interested in a fuller experience. Motown Museum The Motown Museum is a testament to the legacy of Motown Records, an independent label that produced over 180 hit songs and changed the trajectory of American pop music with its distinct sound. Located in several buildings on West Grand Avenue in Detroit, Michigan, the museum’s collection contains rare photos, apparel, and items owned by major Motown stars.
Guests also can take tours of the famous Studio A, where many of the label’s greatest hits were recorded. Famous groups which contributed to the Motown sound and which are featured in the museum’s collection include Gladys Knight & the Pips, Marvin Gaye, Smokey Robinson & the Miracles, Michael Jackson, and Diana Ross & the Supremes. The violin is among the most popular instruments for young music students around the world. Played by both high society virtuosos and working-class musicians since it was first introduced in the 16th century, this stringed instrument plays such an important role in classical music that the lead violinist in an orchestra or symphonic band maintains a position of significance in the group second only to the conductor. While challenging to master, it remains a classic instrument that is beloved by people from varied musical backgrounds. Listed below are six surprising facts that everyone should know about the violin. 1. Violins come in different sizes to suit a player’s physical stature.Though it varies based on individual characteristics, professionals suggest that children can begin to take violin lessons between the ages of 3 to 6. To accommodate the physical statures of players at all ages, luthiers create violins in eight standard sizes, measured by the length of the instrument’s body. The smallest of these is the 1/16 size, measuring 9 inches long, and the largest, or full size, measures 14 inches in length. For the most part, adults and children 10 years of age and older will play a full-size violin. Choosing a correctly-sized violin is important, as it allows the musician to comfortably reach the notes on the instrument’s neck. 2. Violins are assembled from about 70 different wooden pieces. To assemble a violin, a luthier uses around 70 individual pieces of wood from many different kinds of trees. The violin’s top is made from a strong, resonant wood that is capable of withstanding the tension caused by the strings, like spruce. The sides, scroll, neck, back, and bridge are often made from an even stronger wood, like maple. The maple pieces provide structural support and stability to the instrument. The dark wood used for the fingerboard of a standard violin is almost exclusively made from ebony. However, more expensive models may be formed using rosewood, boxwood, or mahogany pieces which are stained black. 3. There are three main types of strings used on violins.Strings have a significant impact on the sound and playability of a violin. A musician can choose from three main types of strings: gut, steel core, and synthetic. Gut strings are the oldest type of strings, used by the first violinists nearly 500 years ago. Made from the intestines of sheep, they are typically wrapped in copper or silver wire and give music a warm, full-bodied tone. While gut strings create a beautiful sound, they need to be replaced and tuned more often than the other two types. The most common kind of strings, steel core, create crisp, vivid notes once they have been broken in, and last much longer than traditional gut strings. However, many beginners prefer to use synthetic strings, often made from nylon. They also produce notes with a warm tone, but are much easier to maintain than gut strings and can be purchased at a significantly lower cost. 4. There are major differences between student and professional quality violins.Like most instruments, the level of craftsmanship that goes into creating a violin has a major effect on the kind of sound it produces. The notes produced by the handmade violins favored by professionals far surpass the quality of those created by the manufactured violin models often purchased by new students. Though a budding violinist can practice effectively on any model, certain music brands are noted for their fair balance between affordability and sound quality. These brands include Yamaha, Hofner, and Cecilio. 5. Some of the greatest composers in history were noted for their abilities as violinists.History is full of composers who gained notoriety in music as the result of their ability to pay the violin. Wolfgang Amadeus Mozart demonstrated a remarkable talent for the violin at the age of 5, and he later went on to compose famous pieces like Eine kleine Nachtmusik and operas like The Magic Flute. Johann Sebastian Bach first explored music on the harpsichord and in the choir before he was widely recognized for his skills on the violin in a German royal court. Italian Baroque composer Antonio Vivaldi was a composer who exclusively played the violin and was responsible for the creation of the three-movement concerto. 6. Violinists aren’t restricted to playing classical music.Though the violin has a central and enduring importance in classical music, it is not the only genre for which musicians can play the instrument. Many modern music groups from a wide range of genres employ violinists to bring nuance to their work, including classic rock groups such as Queen and alternative pop bands like Mumford and Sons.
The violin is also almost as crucial to the folk and country genres as it is to classical music. However, when played with a folk or country group, many musicians call the instrument a fiddle. This term is used to distinguish between the more structured, technically complex violin-playing style used in classical music, and the rhythmic, spontaneous nature of the fiddle played in a folk, country, or bluegrass band. Apart from listening to an album, one of the most enjoyable ways to appreciate music is to learn about it through inspiring documentaries. In the last two decades, the film industry has produced a collection of unforgettable documentaries centered on musical evolution and individual musicians alike. Try watching any of the eight works listed below. 1. 20 Feet from StardomThis Academy Award-winning film, directed by music documentarian Morgan Neville, focuses on the careers of the backup singers who loaned their voices to some of the most beloved songs of the 20th century. Featuring interviews with stars like Bruce Springsteen, Stevie Wonder, Sheryl Crow, and Sting, 20 Feet from Stardom explores the professional triumphs and disappointments of the many backup singers who helped shape the sound of American pop music. From successful stars like Darlene Love, to lesser-known artists like Lisa Fisher and Merry Clayton, music fans of all generations will appreciate the power behind these women’s stories. 2. Searching for Sugar ManAnother Oscar winner, Searching for Sugar Man tells the tale of singer-songwriter Sixto Rodriguez. The film details his brief professional ties to a Motown record label in the 1960s before he gave up his music career in the subsequent decade to perform manual labor and provide for his family. What makes this story worthy of a documentary is the surprising revelation that Rodriguez’s music rose to iconic status a world away in the country of South Africa, unbeknownst to him, more than four decades later. Directed by Malik Bendjelloul, Searching for Sugar Man is an incredible true story that incorporates elements of music, dreams, and mystery, all wrapped up with a modern-day fairytale ending. 3. Sound CitySound City was directed by Foo Fighters front man and former Nirvana drummer Dave Grohl. The title of the documentary pays homage to the name of a now-shuttered recording studio in Los Angeles, California, where some of the most iconic albums of the last 50 years were recorded. Broken down into what can loosely be described as three acts, the film tells the soulful story of Sound City’s rise and fall, supplemented with stories and interviews from many of the classic artists who recorded there. Musicians who make an appearance in Sound City include Stevie Knicks, Lindsey Buckingham, and Mick Fleetwood of the band Fleetwood Mac as well as Tom Petty, Rick Springfield, Neil Young, and Paul McCartney. 4. Muscle ShoalsMuscle Shoals is a film about the way that a distinct style of 1960s and 70s music evolved in a small town in the Deep South. Over the course of an hour and 51 minutes, first-time director Greg ‘Freddy’ Camalier gives viewers an insight into the creative atmosphere of Muscle Shoals, Alabama that inspired the creation of such classic hits as “When a Man Loves a Woman,” “Freebird,” and “Mustang Sally.” The story is supported by interviews from music legends like Aretha Franklin, Mick Jagger, Percy Sledge, and Bono. 5. What Happened, Miss Simone?Released in 2015, What Happened, Miss Simone? details the life and musical career of jazz, blues, and soul musician Nina Simone, whose talent and passion for music was rivaled in scope only by her commitment to the Civil Rights Movement. Director Liz Garbus takes the audience from Simone’s earliest years as a classically trained pianist through her eventual voluntary retirement from the entertainment industry. Throughout the film, friends and family of the “high priestess of soul” give interviews to help viewers understand Simone as both an artist and an activist. 6. AmyYet another music documentary that earned an Academy Award, Amy is a film directed by Asif Kapadia. It follows the musical growth of renowned singer-songwriter Amy Winehouse, who passed away in 2011 at the age of 27. Through interviews with friends and home video footage of the artist herself, Amy focuses on the story of a musician with larger-than-life talent who struggled under the pressures of worldwide fame. 7. Runnin’ Down a DreamSince he first formed the band Tom Petty and the Heartbreakers in the mid-1970s, Tom Petty has consistently written and performed music that continues to inspire new generations. Runnin’ Down a Dream paints a picture of the successes, troubles, and times of one of America’s great classic rock and roll bands. The film, directed by Peter Bogandovich, premiered during the closing weekend of the New York Film Festival in 2007. It received high reviews across the board from major sources such as the New York Times, Rotten Tomatoes, and Variety Magazine. 8. The Beatles: Eight Days a WeekThe Beatles: Eight Days a Week, directed by visionary filmmaker Ron Howard, focuses on the story of one of the most influential rock and roll bands of all time. Instead of building a story solely on the major events that occurred during the Beatles’ unprecedented rise to stardom, Howard chooses to fill the documentary with the more nuanced details of the band’s touring life between 1962 and 1966.
The film’s narrative is buoyed by footage and archival interviews with the members of the band. Additionally, it never loses sight of the joy that all four musicians found in making music amid the cultural frenzy that took them farther than any band had gone before. While new musicians often learn to play instruments through lessons and independent practice time, one of the most exciting ways for a musician to improve his or her abilities is by practicing alongside other players during a jam session. These informal gatherings allow a group of people to gather together and create music in a relaxed setting, where improvisation is encouraged, creativity is developed, and new skills can be learned. To put together a jam session that is enjoyable, low key, and productive for everyone involved, musicians should avoid making the following mistakes during the process. 1. Playing with musicians who don’t share your goals.When it comes to playing with other musicians, the benefit for beginners is that jam sessions can only improve their skills, even if they are among people with far more experience in practicing an instrument. A beginner does not lose out by working with people who are far more advanced in the practice than he or she is, and it’s almost never too early for a new musician to participate in a jam session. The most important thing that musicians need to remember when choosing people to jam with is that everyone involved should be upfront about their level of skill and their goals for the session before getting together. A relatively inexperienced player who is looking for someone to casually play with for practice and recreation should not agree to pair up with an experienced player who wants to form a band with someone at the same level of ability. Prior to setting up a session, all musicians should be clear about their experience and what they wish to gain from jamming with others. Direct communication allows musicians to find a group of people with whom they have musical goals in common and keeps group members from getting frustrated while practicing together. 2. Committing to something you can’t follow through on.Musicians who agree to take part in a jam session need to be prepared to follow through on the commitment. Reliability is important when practicing with others. This is because jam sessions require everyone involved to coordinate schedules and decide on mutually convenient block of time to get together. Apart from committing to showing up, all musicians should arrive at the session prepared and ready to give the practice full effort. Being prepared means bringing any necessary gear and having all instruments tuned and ready to go. This prevents delays that cut into practice time. In addition to arriving on time and ready to play, all musicians should focus on paying close attention to what is going on during the session, even when it isn’t their turn to solo. A player who gives the meeting all of his or her focus will have a more enriching experience. Additionally, this also shows respect and consideration for other members of the group. 3. Being unwilling to play unfamiliar songs. Another important way to show consideration for other musicians during a jam session is to be amenable to playing songs that one has not played before. Every player in the group should arrive at the session with songs in mind that he or she would like to practice. However, everyone must also be prepared to play along to songs that other group members choose. Inexperienced musicians may feel averse to playing unfamiliar songs out of fear that they lack the ability to improvise, but those who find themselves in this mindset should instead elect to see the situation as a learning opportunity. Less experienced players should follow along with unfamiliar tunes as best they can. They may also choose to play along quietly until they become accustomed to the structure of the song. Musicians should also be comfortable asking for guidance from other group members as needed. 4. Not taking cues from other musicians.As stated previously, being considerate and respectful to the other musicians is crucial to having a productive jam session. Taking cues from other members of the group is a key part of that process. Those who are jamming with other musicians should avoid becoming so focused on their own playing that they lose sight of what everyone else is doing during a song.
One of the most common mistakes that inexperienced players make during jam sessions is playing solos for too long, or having an instrument’s volume turned up so high that it drowns out everyone else. These things can be avoided if a player recognizes that a jam session is a collaborative effort meant to give everyone a chance to play, and is not a place where one person is meant to shine above the rest. A player should take cues from other musicians during a song to determine when to play and for how long. This can be achieved through regular eye contact during the performance, and by paying attention to other players’ body language. The musician who knows how to take cues from others is always a welcome addition to a jam session because he or she helps create free-flowing music that allows for everyone to take part equally. Counted among the oldest instruments in the history of mankind, drums have long been established as a crucial component of many modern musical genres. From rock music to funk and even some classical compositions, drums have been providing rhythm and influencing the style of bands for centuries. These common questions and answers about drums will inform those who want to learn more about playing the versatile instrument. Q: What does a standard drum kit setup look like? A: In general, drum kits are assembled to reflect the personal preferences of individual drummers. However, most standard-size drum sets generally include a snare drum; a high, mid, and low tom; a crash cymbal; a ride cymbal; a hi-hat cymbal; and a bass drum (also known as a kick drum). Both the hi-hat cymbal and the kick drum are played using a foot pedal. An essential, non-musical component of a drum kit is the stool that a drummer sits on, also known as a throne. Q: Is there more than one kind of drumstick? A: Yes, there are many different types of drumsticks that players can use to generate different sounds on a kit. Sticks tend to fall into one of three main categories: classic sticks, brushes, and dowels and rutes. Classic drumsticks may be made of oak, maple, or hickory wood, and feature natural, nylon, or plastic tips in different shapes that correspond to the genre of music a drummer is playing. Brushes, on the other hand, are primarily made with a collection of wire bristles attached to a rubber, plastic, aluminum, or wood handle to create a gentle, swooshing sound commonly used in jazz music. Rutes also create a lighter sound than classic sticks, as they are most often fashioned from a collection of birch dowels bundled together and attached to the handle of a drumstick. Rutes and dowels may be used in acoustic sets to prevent the drums from overpowering the instruments of other musicians. Q: What can new players do to develop their drumming skills more quickly?A: The only real way to become proficient at the drums is through practice—but the way that one approaches practice can have a significant impact on the speed at which new drumming skills develop. One of the most common and efficient methods that drummers can use to improve their abilities is to take video of their practice sessions. When they watch the playback, they can see aspects of their playing style that they were not aware of before, giving them the opportunity to correct mistakes before they become bad playing habits. Video helps not only to highlight inaccuracies, but to provide musicians with a steady record of their progress on an instrument. Q: How do different types of drum shells impact the instrument’s sound?A: The shell of a drum plays a major role in the instrument’s sound. Shells may be made of various woods, metals, or synthetic materials, and each type of drum shell creates a sound with different high, mid, and low frequencies when struck. The most popular woods used to create shells include maple, birch, beech, oak, mahogany, poplar, and basswood, while the most popular metal materials include steel, brass, aluminum, copper, and bronze. Q: Are there any personal benefits to learning the drums?A: Research has shown that playing the drums can actually have a positive impact on mental health. Scientists who have studied the neurological effects of playing drums note that drummers experience a process called “hemispheric synchronization”—a process that causes both the left and right hemispheres of the brain to work simultaneously. The professionals involved in the study compare this kind of neurological activity to the mental state of a person who is in a state of deep meditation, as it allows the drummer to be both relaxed and full of energy at the same time. The study indicated that the positive effects of drumming even had the capacity to lessen the effects of conditions such as post-traumatic stress disorder and Alzheimer’s and Parkinson’s diseases. Q: What should new musicians know when purchasing their first drum kit?A: The primary factor to consider before choosing a first drum set is the style of music that it will be used for. Musicians who want to focus on playing songs in genres like blues, acoustic, or jazz should look for smaller kits with fewer drums than musicians who have a desire to play heavy metal, rock, and other loud styles.
Those who are unsure of which genre of music they would like to play can easily purchase an affordable beginning drum kit with the basic toms, bass drum, snare, and cymbals. A beginning drum kit is a moderate investment that allows new drummers to explore the instrument and make a decision about the direction they would like to take after they have had the opportunity to develop fundamental skills. For young beginning drummers, it may be prudent to invest in a junior drum set to give the child the opportunity to practice on a kit that is suited specifically to their size. Opera is a rare form of performance that brings elements of music, drama, and visual art together to create one incredible experience for its audience members. First developed more than four centuries ago, opera today is written and performed in many languages in countries around the world. To better understand and appreciate the art form, one must be familiar with the unique set of opera voice types among men and women, as listed here. Female voice typesThere are typically seven different types of voices among opera singers: three standard female voices and four standard male voices. An opera singer’s voice often influences which role he or she plays in the libretto, or the story, of the opera. For female opera singers, the highest voice is the soprano. Sopranos sing at a range from around middle C to about the C two octaves above, C6. Because of their sweet, high voices, sopranos often play the love interest or heroine of the story. They may also play characters notable for their youth and purity. Famous soprano opera roles include Cio-Cio-San from Madama Butterfly by Giacomo Puccini, and Violetta from La Triviata by Giuseppe Verdi. Mezzo-soprano singers, sometimes referred to as simply “mezzos,” follow the sopranos as the next-highest voice, with a range beginning at A3 below middle C, and extending two octaves above, ending around A5. In some cases, a mezzo-soprano will be asked to portray young men or young boy characters, but when she doesn’t, she is most often the one to play a motherly type, a seductress, or the villain of the story. The most famous lead mezzo roles in the opera include Carmen from the opera Carmen by Georges Bizet, and Rosina from The Barber of Seville by Carlo Rossini, though the latter role can also be sung by a soprano. The lowest and rarest of all female voice types is the contralto, known more commonly as the alto. Alto singers have a voice range that extends from the F3 below middle C up to F5. Alto voices are rich and have a much darker timbre than the other two types of female opera vocalists, and often play specialty roles such as goddesses or divine characters. Early on in opera’s history, however, altos were relegated to roles portraying grandmothers, older women, and witches. Women in the opera with true contralto voices are difficult to come by, and many times the alto parts are sung by mezzo-sopranos. Some of the better-known contralto parts in famous operas include Hippolyta in Benjamin Britten’s A Midsummer Night’s Dream and Giunone in George Frideric Handel’s Agrippina. Male voice typesThe highest of the male opera voices, the countertenor, is capable of reaching octaves in the range of female voices, generally singing notes similar to that of the mezzo-soprano, from between G3 and C4 up to either C6 or F6. These voices are the rarest of all singing voices, and for the most part waned in popularity from the 17th century until the singing style saw a renaissance in the mid-1900s. Famous roles for countertenors include the eponymous character in Handel’s Giulio Cesare as well as the role of Oberon in A Midsummer Night’s Dream. The most common of the high male voices is the tenor, and singers who reach these octaves, between C3 and C5, most often play young men, the love interest, or the hero within an opera. The most popular operatic roles for tenors include Radamés in Aida by Verdi and Rodolfo in La Boheme by Puccini. Tenors sing one step higher than the most common type of male operatic voice, the baritone. Baritone singers have a range of between A2 and A4. Depending on the style of the voice, a baritone may play the hero, the comedic relief, or the villain in an opera. Papageno in The Magic Flute by Wolfgang Amadeus Mozart and Count di Luna in Verdi’s Il Trovatore are both traditionally played by baritone singers. Lastly, the lowest of all standard operatic voices is the bass, which extends from E2 to E4. Some bass singers have voices that reach notes even lower than E2, though operas are seldom written with notes at such a low register. Characters written for bass singers are often characterized as wise and noble, but on occasion may play humorous roles as well. Good examples of this include Sarastro in The Magic Flute and Dr. Bartolo in The Barber of Seville. Vocal care Irrespective of vocal range, all opera vocalists engage in certain behaviors to preserve their ability to sing. To begin, no opera singer ever practices or performs without first participating in a rigorous warm-up ritual to prepare the vocal cords for high-intensity use. Vocal warm ups for an opera singer are comparable to stretching for an athlete. Without warm ups, an opera singer risks doing significant damage to his or her voice. Vocal warm ups frequently involve practices such as singing scales, humming, and deep breathing to prepare the muscles for vocal work.
Another way that opera singers practice good voice care is actively avoiding situations in which they will need to raise their voices above speaking level to make themselves heard. Yelling can do significant damage to vocal cords over time, and prevents a singer from performing to his or her best ability. This requires opera singers to avoid places like sports games, loud restaurants, or parties where they cannot easily communicate at an average speaking level. Lastly, opera singers of all voice types makes sure that they stay hydrated at all times. Well-hydrated vocal chords help singers maintain healthy mucosal membranes, which gives them greater flexibility while singing and prevents the damage that can occur through friction between swollen vocal folds. Bluegrass is one of the United States’ truly original musical genres. Its origins lie in the music of early 17th-century English, Irish, and Scottish settlers, who began to write songs about their daily lives in areas such as the Carolinas, Kentucky, and West Virginia. Previously relegated to live performances in the mountain towns of the American South, this rural, acoustic genre first received widespread exposure after the invention of the phonograph and the growth in popularity of the radio, as well as the influence of African American gospel and blues songs of the 1930s and 40s. Its distinguishing sound is best identified through the presence of the following four traditional bluegrass instruments. Fiddle The term “fiddle” actually refers to the instrument that, in genres like jazz or classical, is simply called a violin. Fiddles and violins are built the same way—with the same traditionally wooden body styles equipped with four or five strings. Both are capable of reaching a range of notes between G3 and A7 and are played using a stringed bow. The only physical differences that may be present between a fiddle and violin are based on player preference. Where a violin player may prefer to use strings with cores made of gut or synthetic material, the fiddle player uses steel core strings to make music. Another small difference can be the shape of the instrument’s bridge, which is typically arched in violins, but may be flattened when the instrument is played as a fiddle. This flatness allows for a fiddle player to use the double and triple-stop bowing techniques characteristic of bluegrass music. The only true and undeniable difference that distinguishes a fiddle from a violin is in the way that a musician plays the instrument. Musicians who play the violin have a style that is precise and technical, lending to structurally complex, traditional music. Comparatively, music played on the fiddle is less structurally complex, but necessitates fast, highly advanced abilities in areas like string-bending and multiple stop-bowing—key elements of creating lively music with rhythm and melodic lift. MandolinThe mandolin, a small, stringed instrument with a short neck, is considered to be a modern-day cousin of the Italian lute from the mid-18th century. It features eight strings paired in sets of two, with each set tuned to the same notes as the strings on the fiddle: G, D, A, and E. While the mandolin enjoyed initial success with the American middle class at the turn of the 20th century, it was largely forgotten by the time famed bluegrass player Bill Monroe brought his Gibson F-5 mandolin to the Grand Ole Opry Stage in 1939. Bill Monroe today is known as the “father of bluegrass music,” and his technique of picking leading melodies on the mandolin was almost as influential as his invention of “the chop”—a form of percussion performed by strumming muted strings. Today, these techniques are genre standards, and mandolin players may back up the music by chopping on the offbeat, or may stand in for the voice to fill vocal holes with tremolo or fast picking solos. BanjoThough appearing to be simple in design, the banjo is a highly unique and intricate instrument that originated in West Africa. Its construction is made up of two main parts: the pot assembly and the neck. The pot assembly is essentially a drum, which today is stretched with a membrane made from plastic, but in the past was made from animal skin. Connected to the pot assembly is the neck, made from wood, and strung with five strings, only four of which reach the peghead at the top of the instrument. The fifth string is attached to a tuning peg halfway up the side of the banjo’s neck. This shorter fifth string is one of the elements that gives the banjo its unique sound. While other stringed instruments have strings organized in an order that progresses from low notes to high notes, the fifth string of the banjo plays the highest note on the instrument, but is located above the string that plays the lowest note. Because of this unusual string order, banjo players have developed distinct playing styles that are set completely apart from those played on the mandolin or guitar. In bluegrass, the banjo is typically played using roll patterns, in which a musician plays quickly using the pointer and middle fingers along with the thumb to quickly pick individual strings. This creates a fast-paced sequence of notes that help to drive the tempo of a bluegrass song forward, providing it with a characteristic sound. Guitar The acoustic guitar didn’t become a major part of bluegrass music until later into the genre’s development, around the 1920s. It began as a mere backup instrument, establishing a base rhythm for the lead banjo and fiddle players to follow. As bluegrass guitar playing became more technical and diverse throughout the middle part of the 20th century, it earned recognition as a crucial background element of the bluegrass sound. However, it was still not until the 1960s that musicians like Doc Watson and Clarence White truly brought the guitar into the spotlight as a worthy lead instrument in the genre. Today, lead breaks for guitarists are much more common in bluegrass music, yet the guitarist is still likely to be playing rhythm throughout the majority of the song. The instrument is most often used in a supportive manner wherein the guitarist helps maintain a constant tempo that allows the whole band to play cohesively.
The guitar, which is among the most popular instruments in the world, plays a significant role in many forms of Western music. Although the electric form of the instrument is often the preferred choice of younger generations, the acoustic guitar continues to enjoy popularity among people of all age groups. While opinions about the best brand of acoustic guitar will predictably vary depending on the guitar player that one speaks with, the following five companies consistently earn the praise and admiration of talented musicians everywhere. 1. C.F. MartinC.F. Martin, known more commonly as “Martin,” is the oldest guitar company in the United States. Founded in 1833, the company originally operated out of a small shop on the Lower West Side of New York City, where the eponymous luthier sold music supplies, as well as a limited number of handmade guitars. The earliest Martins had several distinguishing characteristics, including the placement of all tuning keys on one side of the headstock, an adjustable neck, and bracing system along the top of the guitar in the shape of an “X.” Of these three features, only the X bracing system is still in use today, and its design continues to contribute to the standard sound of Martins—a tone that maintains both a strong bass response and a lively degree of treble. C.F. Martin is the only company included within this list that now focuses exclusively on the production of acoustic guitars, although it has experimented with the production of electric guitars at various points throughout the 20th century. Famous Martin players include Neil Young, James Taylor, John Mayer, Woodie Guthrie, and Kurt Cobain. 2. FenderThe Fender name has long been associated with rock and roll music, as its founder, Leo Fender, invented the world’s first solid-body electric guitar in 1951—a model that would eventually become the Telecaster. Although it is predominantly known for producing some of the world’s finest electric models, the company today designs and produces a wide range of instruments, including banjos, electric violins, and—naturally—acoustic guitars. While the company’s Fender brand of acoustic guitars is noted for being a great choice for beginning guitarists due to its low price and good quality, Fender is also the parent company of Guild, which produces some of the best acoustic guitars in the business. Guild particularly is favored by big-name artists such as Tom Petty, Johnny Rzeznik of the Goo Goo Dolls, and Hank Williams, Jr. 3. GibsonFounded in Michigan in the late 1800s by craftsman Orville Gibson, the Gibson brand first gained acclaim for its collection of acoustic guitars and mandolins. The instruments were different from competing models due, in part, to their archtop design that is meant to mirror the design of a violin. Most archtops are curved on top and sometimes on the back, with uniquely carved sound holes that create a rich, mellow tone and a low degree of sustain when played. Although the company is just as famous for its eventual electric models, such as the world-famous Les Paul, Gibson acoustics are considered by many to be the highest-quality acoustic guitars in the world, with many famous musicians favoring its instruments. Well-known Gibson players include Sheryl Crow, Keith Richards, Lenny Kravitz, and Bono. 4. TaylorFounded in the mid-1970s by luthier Bob Taylor and his partner Kurt Listug, Taylor Guitars is the youngest among the world’s top guitar companies. Based in Southern California, the company creates guitars that are known for their playability, bright sound, and warm tones. Due in part to its debut in the later decades of the 20th century, Taylor guitars eschewed some of the more traditional design elements employed by the world’s most famous acoustic guitar companies. The end result was an instrument with a slimmer neck for easier playability, a more precise method of attachment between the neck and the guitar’s body, and an internal expression system that allows Taylor pickups to create a remarkably natural sound when plugged into an amplifier or soundboard. Taylor Guitars is also among the most sustainable of the world’s guitar makers, and its instruments are favored by musicians such as Jason Mraz, Dave Matthews, Taylor Swift, and Steven Curtis Chapman. 5. YamahaOut of any company on this list, Yamaha produces the widest range of instruments, beginning with pianos in the late 19th century and later expanding to guitars, brass, woodwinds, drums, strings, percussion, and specialty instruments. Yamaha first released its line of handmade FG Series acoustic guitars in the 1960s, and the tradition of creating quality acoustics fit for players of any level continues to this day. Yamaha sells instruments that suit the budgetary needs of musicians within any price range, and in return it provides players with guitars that evokes an even balance between bass and treble. The design of these guitar is unique in that they incorporate dovetail neck joints and are available in a variety of sizes, shapes, and styles to suit the unique needs of different musicians. Famous guitarists who favor Yamahas include Edwin McCain, Chad Kroger, soloist Andy McKee, and 3 Doors Down guitarist Chris Henderson. There are few better things parents can do for their children than to spend quality time with them, and a concert is an event perfect for the whole family. For children who have never attended a concert before, the experience of a first live show can create memories that last a lifetime. Parents who want to make their child’s first concert experience a positive one should consider the following helpful tips. Before the Concert 1. Make sure that the child is well prepared for the concert experience Many parents and professionals have differing opinions on the “right” age to take a child to his or her first concert, as there are many factors to consider, including a child’s interest level in music, the venue and style of musical show, and the child’s ability to focus for long periods of time. No matter the type of musical performance, parents should determine whether their children have enough of an interest in music to sit through the majority of a show, and whether the child is ready and able to enjoy this particular kind of experience. There is no universally applicable rule to this decision, so parents should use their best judgment in deciding what is right for their children on an individual basis. 2. Explain the structure of the concert Before the day of the concert, parents should educate their child about what they can expect to see at the event. For example, if the headlining band has an opening act, children should know ahead of time that there may be a waiting period before the headliner comes on stage. It is also important to let them know what the atmosphere of the concert will be like ahead of time, to prepare them for an unfamiliar environment. If the venue will be loud, crowded, and full of energy, a child who expects to encounter that kind of atmosphere may be better equipped to handle it. Additionally, if the child knows only a few of the band’s songs, it can be helpful for parents to play more of the band’s music around the house or in the car in the weeks leading up to the event. Familiarity with a wider range of songs can help keep children from being bored or disappointed at the show. The Day of the Concert 1. Be prepared On the day of the concert, parents should arrive at the venue fully prepared for the evening. This means that children should be fed and should have gotten enough sleep the night before so they are as physically comfortable as possible during the show. Parents should also seriously consider bringing a set of ear plugs for their children to wear during loud concerts, as some members of the medical community have expressed concern over hearing damage to children’s ears at music shows. Additionally, parents must be prepared to leave the concert at a moment’s notice in the event that the child becomes overwhelmed, overly tired, or is generally unhappy. 2. Choose an emergency meeting place Another important thing that parents must do on the day of a child’s first concert is to establish protocol for what to do should they become separated. Parents should choose a meeting place in the venue and show their child how to locate it. It can be helpful for parents to write the meeting place down on a slip of paper and have the child tuck it into his or her pocket as an extra precaution. While accidents happen, the best option is for parents to make sure to keep a close eye on their child during the concert at all times. After the Concert 1. Ask your child engaging questions about the show Once the concert is over, parents should make sure to ask their children questions about the experience. Questioning a child about his or her favorite part of the show, favorite songs from the set, and opinion of the overall experience can bring parents and kids closer together. A child’s first concert is an exciting, memorable event, so he or she will likely have plenty of things to say about it afterward. 2. Encourage a child who comes away from a concert with an interest in music Going to a live concert for the first time can be an experience that inspires children to make music of their own. Parents should help their children explore their own musical interests long after the concert has passed by offering to take them to music lessons or allowing them to try out different instruments at a music store. Playing an instrument is an enriching hobby that can provide many benefits in a young child’s life, and parents should do what they can to cultivate a child’s interest in the subject if given the opportunity. The piano is one of the most widely played instruments in the world—and for good reason. The versatile instrument, which is capable of producing music with depth, power, and nuance, allows musicians to play either independently or with others. Despite the many benefits that the piano has to offer, a belief in the following seven myths about learning to play the instrument can hold students back from reaching their potential as pianists. 1. The myth: It’s too late in life for me to learn to play the piano. The reality: Age should not be a factor in determining whether or not someone can learn to play the piano. While there are many developmental benefits to taking lessons as a child, learning to play the piano as an adult can be just as gratifying, and in some cases, perhaps even more so. Children forced to take piano lessons at an early age may become bored and frustrated, making them unwilling to pursue the instrument into adulthood. Conversely, adults who make the choice to pursue the piano later on in life may find more satisfaction in learning to play. 2. The myth: As an adult, I’ll never learn as quickly as a child could.The reality: The idea that children can intrinsically learn to play the piano more quickly than adults is incorrect. Many experts agree that the age at which people learn to play the piano does not significantly impact their ability to develop this talent. More than anything, the chief factor in how quickly piano students becomes proficient is not the age at which they first receive instruction, but rather the level of commitment to regular practice that they have. 3. The myth: I only have a keyboard to practice on, so I’ll never become a great piano player. The reality: For a beginning student, practicing at home on a keyboard is an acceptable alternative to investing in a real piano. The fundamentals of the piano can be learned on a keyboard, although students without one may miss out on the opportunity to experiment with the subtleties of tone that weighted keys afford. Students who own a keyboard can also supplement their practice by seeking out a piano available for public use in places like churches, schools, or rented practice rooms. 4. The myth: I could never find the time to make piano practice a regular part of my routine.The reality: One thing that piano students of all ages need to become proficient at is dedicated practice. No matter how busy they are, piano students can find time to schedule a reasonable amount of practice into their daily routine if they are truly intent on becoming proficient pianists. Practice sessions do not need to be long if they are well-planned. Practicing a few difficult bars of a song or fingering techniques on an instrument in several 5- to 10-minute sessions over the course of a day can be just as instructive as sitting down to practice for 30 minutes, straight through. Shorter practice sessions may actually be more helpful, as they prevent boredom and allow players to notice small, but noticeable improvements. 5. The myth: My hands are too small to play the piano well.The reality: People with smaller hands who have never practiced an instrument before may rule out playing the piano because they don’t think that the size of their hands will allow them to play some of the wider chords. However, big hands and long fingers are not necessarily indicative of a person’s potential to play well, as they do not necessarily provide a pianist with agility or technical ability. No matter the size of a pianist’s hands or fingers, they will still need to train their hands to attain a level of flexibility that allows for skillful play. While experienced players with larger hands may have an easier time reaching the keys in some songs, pianists with smaller hands are still capable of performing at a high level. 6. The myth: Practicing the piano means playing a piece all the way through, repeatedly. The reality: There is a common misconception that the best method of practicing the piano is to play a single piece all the way through from beginning to end until it is perfect. However, approaching practice this way can cause new musicians to become bored and abandon the pursuit of the piano before they ever have the opportunity to play well. Instead, music teachers suggest that the best way to practice is to set small, realistic goals for a practice session, focusing on one section at a time. Experts also state that focusing on a song’s more difficult sections first can allow the piece to come together more efficiently while keeping students more engaged in practice. The brain is more likely to absorb new, shorter snippets of musical information when it isn’t overwhelmed by long, repetitive strings of notes. 7. The myth: I should never look at my hands while I play.The reality: Some piano teachers insist that their pupils not look at their hands while playing in an attempt to teach them to play and sight read simultaneously. However, many other experts within the music sector disagree and argue that new piano students should be allowed to look at their hands while playing in order to help them visualize the music that they are creating. Looking at their hands can help students establish stronger muscle memory and form a deeper connection to the songs that they perform.
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Photo used under Creative Commons from Marina K Caprara