Different combinations of musicians are given different names, based mostly on personnel, instrumentation, and the style of music played.

An orchestra, traditionally, is made up of the following: strings (violins, violas, cellos, bass), brass (trumpets, trombones, french horns), woodwinds (clarinet, oboe, bassoon, flutes, piccolos), and percussion (snare drum, bass drum, cymbals, misc. percussion instruments). Although there are exceptions, an orchestra plays mostly symphonic music (Mozart, Bach, Beethoven, etc.) and most often performs in a concert setting. Most orchestras are seated the same way with the violins and violas on the conductor’s left, cellos to his right, woodwinds behind the strings, brass in back to the conductor’s right, and percussion, back center. It’s quite common that a piano is included to the conductor’s immediate left. A soloist usually takes this position as well. The average size of an orchestra is 75 to 100 players. Smaller groups of 50 or less are often called chamber orchestras.

The word orchestra is sometimes used in a less informal way such as the Ukulele Orchestra of Great Britain. The Boston Pops orchestra is known for playing popular songs of the day.

A concert band, unlike an orchestra, has no stringed instruments such as violin or cello. And where an orchestra usually has three trumpets, a band can have as many as twelve (as well as that many trombones and clarinets). Although concert band music can range from symphonic to popular to Jazz, many bands are known for playing marches such as The Stars and Stripes Forever and The Washington Post March. Some bands play both in a concert setting and perform as a marching band (such as in parades or as part of the entertainment at a football game).

The word band, of course, can also be used to describe a rock band, Dixieland band, or hip hop band. Personnel and instrumentation varies widely in these kind of groups as well as does the music being played.

A choir is made up entirely of singers (and often a piano accompanist) and most often takes the form of male and female vocalists divided into five voices (vocal ranges): soprano and alto (women) and tenor, baritone, and bass (men). Music written for choirs utilizes the five voices to create the parts that might otherwise be played by musical instruments. Choirs can be all male or female and there are many specialty choirs such as singers that perform only certain styles of music. Jazz choirs are quite common as are barbershop quartets.

An ensemble is a “catch all” phrase for a group of musicians. The term is mostly used to describe string ensembles. The term is sometimes used when describing a group of singers (e.g., a vocal ensemble). Typically, an ensemble contains four to twenty members. It is derived from the word “assembly.”

The word combo (from the word “combination”) is sometimes used when describing an ensemble, but for the most part, it means a four-or five-piece group, typically with guitar, bass and drums. You’ll see the term most often when describing jazz musicians (i.e., a jazz combo).

Percussion instruments include the snare drum (and all drums in general), cymbals, tympanis (sometimes called “kettle drums” as they are shaped as such), and exotic instruments such as the guiro, claves, and maracas. These instruments, and the way they are played, go a long way in determining the feel and style of the music. Where a rock band might have a set of drums (snare drum, bass drum, cymbals), Latin musicians used a number of different instruments to create music.

Though most don’t think of it in this way, the piano is a percussion instrument. The tones are made by hammers striking strings, causing them to vibrate. Seeing the inner workings of a piano, and how forcefully the hammers hit the strings, shows why it is considered a percussion instrument.

Music written for a percussionist is quite different than for the pianist. Percussion notation is divided into two types: pitched and non-pitched, the difference being the instruments used. For example, drums (which can be tuned) and cymbals (which cannot).

The notation for pitched percussion is similar to piano music in that notes are placed on the various places on a staff. And similar symbols are used to show volume and attack.

The notation for non-pitched percussion instruments is less formal. A clef with two vertical lines is often used and it appears on a five-line staff similar to piano music. But some percussionist use their own way of noting which instrument is played and when.

Drum tablature (drum tab), used for a drum set (bass drum, snare, hi hat, cymbals, toms) uses the following symbols: CC: Crash Cymbal, HH: Hi-Hat, Rd: Ride-Cymbal, SN: Snare-drum, LT: Low-Tom, HT: High-Tom, FT: Floor-Tom, B: Bass-Drum, Hf: Hi-Hat-w/foot. This tablature can become quite complex as four or more instruments are often played at the same time.

Outside of orchestral and band music, most percussionists do not use any kind of tablature or notation. What they play is entirely up to them and at their discretion (and drawing entirely on their own techniques). However, most strive to create a style and sound that works well with the music, and the musicians they are playing with. And there are definite rules as to when certain percussion instruments are used. A rock drummer may play with a lot of force and intensity, where a jazz drummer plays with more touch and finesse. The best percussionists (drummers) can play a wide variety of music and styles.

For the pianist to play effectively with a percussionist, they have to be able to break down each measure into quarter note (beats), eighth notes, sixteenth notes, even thirty-second beats to be able to communicate with the percussionist. The pianist also needs to understand how and when different percussion instruments are used and for what style of music.

The biggest challenge, of course, is for the pianist to play accurately and precisely. Some pianists may have never worked with a percussionist and may not be capable of playing with the precision required. That being said, working with a percussionist can be a great training tool.

Woodwinds (clarinet, oboe, bassoon, etc.) are different from piano in that they require wind (created by the player) to create a tone (using a reed or reeds to create the vibrations needed for sound). In addition to using different techniques to make the reeds vibrate in different ways, the player also changes the tone (creates the notes) by pressing and releasing (using their fingers) keys that are attached along the length of the instrument, or by covering up, then opening, various holes on the instrument. Saxophones are not considered woodwinds by some as they are made of brass. However, a saxophone is played very much in the same way as most woodwinds. Flutes and piccolos, though made of metal, are often thought of as part of the woodwind family.

As for piano, the type of wood used to make the instrument has a great effect on the quality of sound produced. Certain woods resonate better than others and thus create a better tone. In fact, many lower-priced clarinets are made of plastic and although they provide a serviceable tone, it is not the rich, “wooden” tone coveted by professionals.

Woodwinds are most often found in orchestras and smaller ensembles (although the clarinet can be found in Dixieland or jazz groups). Instruments like the English horn can be found in popular music, while the bassoon may only be found in traditional and ensemble music. There are, however, composers and musicians who explore the use of these instruments in esoteric and unconventional ways. One way to think of the woodwind family is the various instruments mimicking (representing) the human voice such as a clarinet for an alto singer, or a bassoon for a baritone singer. Many modern composer look at this group of instruments in exactly that way.

Woodwinds are tuned by adjusting their length. This is done by repositioning single components of the instrument. The musician often has to twist different sections of the instrument to make these adjustments. The longer the instrument becomes, the lower in pitch a particular note. The intonation of a woodwind is ultimately the responsibility of the player and techniques must be learned to keep the instrument in tune as it is played.

The challenge for the pianist is the fact the some woodwinds play in a different key (a Bb clarinet for example). In order for the two players to play together and communicate, both have to be aware of this and be able to “transpose” the two parts. For example, when the Bb clarinet plays the note C on his or her score, that note is actually the note Bb on a piano score. So music for a Bb instrument such as Bb clarinet or trumpet is written a major 2nd above the actual sound. Music for an Eb instrument such as Eb clarinet is written a major 6th above the piano score, and so on.

Most pianists are used to reading music in a number of different octaves and this is very important when playing with woodwinds because as a group, the cover a wide range of tones. The piano is often chosen as the accompanying instrument of a solo woodwind player or a small ensemble of woodwind instruments. One reason for this is the pianist can easily rehearse each instrument, or easily and accurately play the chords created by the ensemble.

Stringed instruments (violin, viola, cello, bass) are cousins of the piano as they make music with strings vibrating to a certain pitch. But they are different in the sense that the strings of a piano are struck with hammers to create sound, where as a violin player uses a bow to create sound. Sometimes, however, a violinist or other string player plucks the strings with their fingers (as directed in the music as pizzicato). Violin, viola, cello, and bass are not exclusively orchestral instruments. These versatile instruments are used in jazz, country, bluegrass, and other types of music.

A hammered dulcimer is very similar to piano in that strings are struck with hammers to produce tones. Unlike the piano, all the strings of a hammered dulcimer are exposed and easily accessed by the musician. As many as four strings can be struck at the same time to produce chords. The player holds two (sometimes four) shaped wooden hammers, playing the strings in combination to produce chords and melodies. A hammered dulcimer is found predominately in folk music and is known for it’s unique sound.

Even more similar to the piano is the harpsichord, as it has a similar keyboard and notes are produced by plucking (striking) the strings. A great deal of music written for harpsichord can be played on piano (and vice versa) although the sound (and essentially, the style) is different for each instrument.

Other stringed instruments include guitar, mandolin, banjo, ukulele, and harp. All these instruments are tuned in the same way (in the same key) as piano. There is no transposing needed by the pianist (as is required for other instruments such as trumpet and sax). All the notes produced by these instruments can be found on the piano’s range of over eight octaves (where a guitar for example, has a range of only four and-a-half octaves).

Tuning of all stringed instruments, including piano, is done by tightening or loosening the tension of a particular string. As a string is tightened, it is made shorter and thus, vibrates faster and at a higher frequency. Also, the thinner the string, the higher the pitch. The higher pitched strings of a piano are made with piano wire alone, whereas the lower sounding string are wrapped with brass, bronze, or other metal wrapped tightly around a core of piano. Although they may be made out of the same material and in the same fashion, Piano strings are not used on guitar nor are guitar strings typically used on a mandolin, banjo, or ukulele.

The sound of a stringed instrument is created note only by the sound of the strings themselves vibrating, but the strings causing other parts of the instrument to vibrate as well. For example, a guitar’s top (more so than its back and sides) contributes to the sound of the instrument. The same is true of the mandolin and other members of the string family. The soundboard, harp, and basic framework of a piano all contribute to it’s unique sound, As a general rule, the better quality the components, the better the tone of the instrument (with the type and age of the wood being the biggest contributor)

Modern brass instruments include trumpet, trombone, baritone, sousaphone (tuba), and French horn. These instruments create a wide variety of tones by the player forcing air into the instrument causing it to resonate in different ways (at different frequencies)

There are two different types of brass instruments, valved and slide. Valves are used to change the shape and size of the instrument (causing the player’s wind to change its path and length, causing the instrument to resonate in different ways). Brass instruments with valves include cornet, trumpet, and French horn. They utilize piston valves (cornet), or rotary valves (French horn). The musician must learn which combinations of valves produce certain tones while using their embouchure (the position and strength of their lips on the mouthpiece of the instrument) to make tones lower or higher in pitch. Slide brass instruments use a slide to change the length of tubing and thus the tone of the instrument. Most common of this type of instrument is the slide trombone.

Some brass instruments need to be transposed for piano. For example, a Bb trumpet or an Eb alto saxophone. When the written note C is played on a trumpet, it is the same note as an Bb on a piano. It’s very important for the pianist to be aware of this in order to communicate with the trumpet player. The same holds true for the pianist when playing with other instruments that are tuned differently such as a French horn or alto sax.

Music for brass ensembles (four to six brass instruments) often uses the piano as the accompanying instrument. An experienced pianist will be able to help with the ensemble’s performance by helping them rehearse the most challenging passages. The piano, in this case, also helps fill out the arrangement and plays a big part in creating the rhythm of the piece. And, as mentioned above, the pianist must be aware of the different key of each brass instrument in order to communicate effectively with the group. For example, if the group includes a tuba, the pianist must know whether it is a Bb or Eb tuba in order to help rehearse the musician in the most effective way possible.

Big bands (swing, dance, and jazz) contain a number of brass instrument and most, if not all, also include a piano. The pianist helps provides the chord structure, rhythm, and sometimes the melody of the piece. Big band music can be quite complex, particularly when it comes to chord structure and progressions. Quite often, the pianist is playing the same chord as the grouped brass instruments while at the same time contributing to the rhythm and style of the music. A piano is also very common in jazz combos and vocal groups.

Interestingly, many brass instruments are not made of brass at all. Some, like the French horn, are made of nickel silver or other alloys of copper, tin, and nickel. Many brass instruments are silver plated (and they produce a distinctive sound because of this). Although it is rare, some brass instruments are gold plated and are prized for their appearance (more so than the somewhat unique sound they make).

Over the past 50 years, wedding music has come to include all of the above styles (with the exception of patriotic music). Rather than choosing well-known pieces such as “Here Comes The Bride,” “Canon in D,” “Trumpet Voluntary,” or “Joy of Man’s Desiring,” it’s becoming more common for the bride and groom to choose songs that are familiar to them (e.g., the song that was playing when they met or got engaged). Thoughtful songs with meaningful lyrics are the norm.

For many couples, the type of music (and number of musicians) they choose often depends on their budget. At a wedding today, it’s not unusual to see a single vocalist accompanying themselves on guitar or piano. If the musician is experienced and accomplished, they can perform a nice rendition of the chosen song without the aid of other musicians.

“The Wedding Song (There Is Love)” written by Paul Stookey, of Peter, Paul & Mary, is perhaps the best-known contemporary wedding song and has been heard in ceremonies and pre-ceremonies for over 40 years. Other popular songs played at weddings include: “Endless Love,” “Leather and Lace,” “Evergreen,” “Unforgettable,” and “We’ve Only Just Begun.” Some songwriters, knowing that having a song of theirs being played at ceremonies everywhere could generate a large income, concentrate solely on writing songs for weddings. But for most part, a song becomes a standard through circumstance (and the fact that it expresses a certain sentiment).

A traditional wedding may make use of sacred music throughout including a number of hymns and songs of praise. Use of a church organ is almost always a part of a such a wedding. You may also hear a harp or small string quartet as part of the prelude. Traditional weddings often have separate music for each portion of the ceremony including the prelude, the processional, the ceremony itself, the recessional and the interlude, which is often part of the reception following the wedding.

For the wedding reception and dance, a four or five-piece band is common (e.g., guitar, piano, bass, drums, and a vocalist). These groups often have additional responsibilities such as the leader acting as the MC, and the band playing certain songs at certain times (such as the first dance of the bride and groom).

A recent phenomena is having a DJ supply the music for the wedding reception and dance. This is growing in popularity because those at the dance can request songs and hear them (from CDs) exactly as they know them (rather than having a band play their own rendition of the song). Another reason DJs are becoming the norm is they are usually less expensive than a live band and they don’t require a large stage. Plus, because DJs play CDs, the wedding party knows exactly how the music will sound. Finally, having a DJ means there is only one person to deal with (rather than four of five band members, one of which may be late or wearing the wrong clothes).

How To Play In The Cracks To Get a Blues Sound from chordman on Vimeo.

Hoagland Howard Carmichael, better known as Hoagy Carmichael, was born in Bloomington, Indiana on November 22, 1899. He was the musical genius behind two of the most recorded songs of all time, “Stardust” and “Heart and Soul.”

The musical talent of Hoagy Carmichael began in southern Indiana. His mother named him Hoagland after a circus troupe called “The Hoaglands” that stayed with Carmichael’s parents while his mother was pregnant.

Hoagy’s mother was a very talented pianist, and she played in many silent movies. She taught Carmichael how to sing and play piano. By age six Hoagy was giving recitals. He spent the vast majority of his young years through high school studying the piano.

Hoagy moved to Indianapolis when he was 18 and attempted to earn enough money working several labor jobs to send money home to help support his family. During this time, he also learned jazz improvisation.

Sadly, his little sister died at age three in 1918 because the family could not afford to get her adequate medical care. This event had a devastating effect on Hoagy, and he vowed to find success in his career to help his relatives. He completed his undergraduate and law degree at Indiana University, and he also enjoyed continued success in music.

By 1927, “Stardust” and “Washboard Blues” as performed by Paul Whiteman were becoming huge hits across the country. Because Hoagy spent most of his time at the Indiana law firm where he worked thinking about his music, he was eventually fired. He then went to Hollywood and later New York City to advance his musical career.

In the 1930s, Carmichael worked with legends like Louis Armstrong. He even wrote “Georgia on My Mind,” which would later become one of Ray Charles’ biggest hits. In 1931, Bing Crosby recorded a version of “Stardust,” further launching the fame of the song and its writer. He soon frequented the same circles as George Gershwin, Duke Ellington and Fred Astaire in New York City.

In 1935 Hoagy Carmichael married Ruth Meinardi, and they later had two sons named Hoagy Bix and Randy Bob. The family moved to California after Hoagy accepted a $1000 a week contract to work for Paramount Films. Some of his best work was composed for major films over the next two decades.

Carmichael’s film success was huge. He appeared as an actor in 14 major films, and he always played at least one of his songs in each movie. He even won an Academy Award for Best Song for “In the Cool, Cool, Cool of the Evening.” During this time, he was still writing songs for outside the movie world as well. Many of his songs were political in nature, speaking out against FDR as a staunch Republican. He also hosted three musical variety shows on the radio during this time.

Hoagy Carmichael was inducted into the Songwriters’ Hall of Fame in 1971. He died of heart failure in California in 1981, but his musical legacy lives on today. In fact, numerous modern musicians cite him as a big influence. For instance, John Lennon once said Carmichael was his favorite songwriter.

Hoagy Carmichael wrote two autobiographies, released together as one book in 1999. In 2008, a mural featuring his picture was dedicated to him in Richmond, Indiana.

Piano keys: how the piano keyboard is arranged (88 keys, white, black, etc)

There are 36 black and 52 white keys (88 total) on a piano. These keys trigger hammers inside the piano that strike the piano’s strings to produce sound. The white keys are a piano’s “natural” notes while the black keys are used for notes that are either sharp or flat. The first key (on the far left of the keyboard) is the note A and the last key (on the right), the note C.

The keys are arranged in half steps (semitones) and in the order of a chromatic scale (half step, half step, half step, etc.). The white and black keys alternate except for the fact that there are no black keys (sharp or flat notes) between the notes B and C, or E and F (the notes B#, Cb, E# and Fb do not exist).

Some think the piano is based on a C scale, but that is really not the case. You can play any scale on the piano (a D minor scale, an Ab 7 scale, etc.) simply by choosing a certain starting point (piano key) and playing the notes in the proper order. Playing left to right creates ascending (higher and higher) notes, playing right to left creates descending notes.

The piano keyboard can also be looked at from the standpoint of octaves. An octave is an interval casually thought of as “one scale” above or below the reference note (or the beginning and ending note of a scale). The note names of notes an octave apart are the same (i.e., you can play the note E, then play another E an octave higher). Notes an octave apart (and all notes for that matter) are measured as a certain Pitch (a particular note or tone). Pitch is measured in cycles per second (written as hz). Whereas the note A is measured at 440hz, the A above (an octave higher) is measured at 880hz. The note A above that (another octave higher) is measured at 1760hz. Octaves provide a basic framework for scales and chords.

One of the challenges of a pianist is the stretching of the hands and fingers to play certain combinations of notes that produce chords or arpeggios. It takes time to develop the flexibility and strength needed and certain exercises are used for that purpose. At times, all ten fingers are needed to play the music as written (or desired). As a general rule in music written for the piano, the left hand plays the notes of the bass clef, while the right hand plays the notes of the treble clef. Typically, the melody of the piece is played by the right hand (with the left hand often providing bass notes, runs, and arpeggios).  

Portable, electronic keyboards rarely contain all 88 keys. Depending on size and purpose, a portable keyboard can contain as few as 24 keys. The musician is limited in the number of notes that can be played and often has to “rearrange” the melody and chords by playing one octave above or below the intended passages.

Johann Chrysostom Wolfgang Amadeus Mozart was born on January 27, 1756 in Salzburg, Austria, which was then part of the Holy Roman Empire. His father and mother were Leopold and Anna Maria Pertl Mozart. He had one sister, Maria Anna Mozart, who was born in 1751.

Mozart’s father was a minor composer with an interest in music. When his older sister was seven and Wolfgang was three, their father began giving Maria Anna piano lessons as Wolfgang watched with great interest. He had a natural talent for picking out chords, and by age five Wolfgang was composing small pieces on the clavier. His father wrote the pieces down, and they eventually were popularized under names like the Andante and the Allegro in C.

As evidence of Wolfgang’s genius became apparent, his parents decided to put him on tour across Europe and showcase him as the child prodigy he was. They traveled to cities like Vienna, Munich, Prague, Paris, Mannheim, London, The Hague, Zurich and Donaueschingen. During his travels, Wolfgang met many influential musicians, including Johann Christian Bach. However, travel was difficult and the family was often wrought with illness.

In 1769 the family set out for Italy. The journey took them until 1771. When they arrived at the Sistine Chapel in the Vatican, Mozart witnessed a performance of Miserere by Gregorio Allegri. He then was able to write down the entire piece from memory, much to the amazement of the music community. Transcribing the music was technically illegal according the Vatican, but the event remains legendary to this day.

In Milan in 1770, Mozart composed and successfully performed the opera Mitridate, re di Ponto, which led to two future operatic commissions for Ascanio in Alba and Lucio Silla. Mozart traveled back and forth between Salzburg and Milan to complete these pieces in the years that followed.

When he returned to Salzburg in 1773, he was appointed as royal musician to the court by the ruler of Salzburg, Prince-Archbishop Hieronymus Colleredo. His popularity increased tremendously, but so did his yearning for bigger and better successes.

After years searching for a new job in Paris and Mannheim, Mozart eventually was sent to Vienna by his employer. His salary was cut, and he attempted to resign, but the request was denied. He was eventually fired with dishonor in 1781, and he set out to make a freelance career for himself.

His career blossomed in Vienna, and in 1782 he married a woman named Constanze with whom he had six children. At this time, composer Joseph Hayden and Mozart became good friends. He finally obtained an aristocratic commission in 1787 when Emperor Joseph II appointed him as chamber composer. In the same year, Mozart’s famous opera Don Giovanni opened in Prague to much critical acclaim.

In the last few years of his life, Mozart produced many noteworthy compositions, like The Magic Flute and his famous unfinished Requiem. He fell ill in 1791 while in Prague for the premiere of his opera La clemenza di Tito in September. By November of that year, Mozart was bedridden because of his illness. He was tended to by Constanze and his family doctor until his death on December 5.

It is impossible for modern medicine to pinpoint the exact cause of his death, but the old medical practice of bloodletting is believed to be a contributing factor. He was buried in a common grave, as was the practice of the time in Vienna. While illness may have stopped the progress of his musical career, the genius of Mozart’s compositions lives on through the ages.

Every musician needs to know as much as possible about the key a song is being played in, and key signatures tell the key of a song, plus a lot more. Once you know the key of a song, you also know which chords are most likely to occur in that song.

Each piece of music contains a key signature. This is written immediately after the clef (on the staff) and is represented by a number of sharps (#) and flats (b). If you look carefully at the beginning of each line of music, you will see a group of sharps or flats (they are never used at the same time). These are placed individually on either a line or a space of the music staff and are placed on the notes they affect. In other words, if a sharp (#) is placed on the top line of the music staff, the note F is played as an F#. And all occurrences of the note F, whether on the top of the staff, the first space of the staff, or above or below the staff (marked by ledger lines), are played as an F#.

If a note that is dictated as sharp or flat by the key signature is to be played as natural, an accidental is placed before the note. For example, if an F (natural) is to be played in the key of G, an accidental has to be placed before it so it is not played as an F#. 

The main purpose of the key signature is to limit the number of flats or sharps noted in the music. In other words, rather than placing a # by the note F every time it occurs in the music, it’s much easier to indicate to the musician that all Fs are to be played as F#s. Without key signatures, written music would be cluttered with sharps and flats making it very difficult to read.

Here are some common key signatures and the notes they affect:

Key of C: No sharps or flats
Key of G: One sharp (F#)
Key of D: Two sharps (F# and C#)
Key of A: Three sharps (F#, C# and G#)
Key of E: Four sharps (F#, C#, G# and D#)
Key of F: One flat (Bb)
Key of Bb: Two flats (Bb and Eb)
Key of Eb: Three flats (Bb, Eb, and Ab)

The order in which the sharps occur are always constant: F, C, G, D, A, E, B

The order of the flats is always constant too: B, E, A, D, G, C, F

Notice that the order of the sharps is just backward from the order of the flats.

Each key also has it’s own relative minor. Though a major and its relative minor are similar in almost every way (their scales are the same though started in different places), they are thought of separately. A relative minor is named by the note that is a minor third down from the major (key). Another way to think of it is the relative minor is named by the sixth note in the major scale. For example, the note A is the six note of a C major scale, so an A minor is the relative minor to C. The use of a particular key’s relative minor is very common in music and knowing them goes a long way in understanding a song’s chord progression.

Here are some keys and their relative minors (keys).

The relative minor for C is A minor
The relative minor for D is B minor
The relative minor for A is F# minor
The relative minor for Bb is G minor

An experienced musician playing in a non-formal setting (not using written music) simply needs to know the key to a particular song to be able to play the chords and scales (melodies) for that song.

Finally, it’s not terribly unusual for a song to be written in more than one key. Such key changes can be a challenge for relatively new musicians, but once you grasp the fact that the key orientation has changed, it all makes sense.

In order for a piece to be played accurately and with expression and dynamics, written music includes a number of signs and symbols to guide the musician. Some of these include words that tell the musician how loudly or softly to play a note or passage. The following is a list of dynamics often used:

Pianissimo: very soft.
Piano: soft.
Mezzo piano: half as soft as piano.
Mezzo forte: half as loud as forte.
Forte: loud.
Fortissimo: very loud.
Sforzando: forced, abrupt, fierce
Crescendo: a gradual increase in volume.
Diminuendo (or decrescendo) a gradual decrease in volume.

One piece of music can contain many symbols for dynamics, everything from very soft passages (pianissimo) to loud passages (forte) to passages that increase or decrease in volume (crescendo or decrescendo). In some cases, the conductor (or leader) of a group will request changes in dynamics that do not appear in the music (leaving to their discretion the interpretation of the music).

Tempo is measured in beats per minute (bpm). A tempo of 60 bpm would match the ticking of a clock with a beat every second. Quite often, you’ll see the tempo (in bpm) displayed at the beginning of the piece. For a piano or other music student, a metronome is sometimes used as a training device. The metronome can be set for a wide variety of beats per minute and helps the student develop consistency of tempo in their playing. When you see a drummer in a rock band click his drum sticks four times, or call out the numbers 1, 2, 3, 4!, he is setting the tempo for the rest of the band. Tempo has a great effect on the feel and effectiveness of the music played and it’s critical when musicians are playing for dancers. Dances such as the waltz and two-step require a particular tempo.

Bar lines (vertical lines on the staff) are used to separate a song into measures. Measures divide the music into regular groupings of beats be it three, four, or six beats per measure. Except in rare cases, each measure contains the same number of beats throughout a song. Measures are often numbered so that there is a “road map” for the musician when playing as part of a group. For example, a conductor may ask the orchestra to “begin with measure 31.”

A repeat (sign) is used quite often in music. If a particular music passage is to be repeated, a double bar line, preceded by two dots is used. This tells the musician to return to the beginning of the passage and play it again. Other markings such as the coda, and da capo (dc) are used to guide the musician to the proper place in the music such as playing the passage again from the beginning (passages are repeated quite often) or jumping ahead to a particular measure or point in the music.

A fermata (sometimes called a “bird’s eye” because of its appearance) tells the musician that a particular note is to played longer than its normal duration. How long the note is to be held is usually up to the musician or conductor. A fermata is usually displayed above the note it affects.

Some music contains breath marks that show the musician when to take a breath (if singing or playing a wind instrument) or when to lift the bow for string players.

Ask any modern singer or songwriter for a list of their influences, and you’re more than likely to see pop mastermind Burt Bacharach at the

top of their list. Know best for his many hits that span the 1960s, ’70s and ’80s, Burt Bacharach’s songbook is one of the best known in

modern times.

Burt Bacharach was born on May 12, 1928 in Kansas City, Missouri. From an early age, he showed interest in music. He studied the subject

extensively at the Mannes School of Music, McGill University and the Music Academy of the West in Santa Barbara, California.

Bacharach’s career began to blossom in 1957 when he joined forces with lyrical mastermind Hal David. A year later, their first big hit was

recorded by Marty Robbins, entitled “The Story of My Life.” It became a number one hit on U.S. country and UK charts. The success was

followed up in early 1958 with Perry Como’s hit, “Magic Moments.” Como’s song reached number four hit on American charts and number one in

the UK.

Burt Bacharach and Hal David then found success writing songs for artists like Johnny Mathis, Dionne Warwick, The Drifters and Chuck Jackson

in the early 1960s. Their popularity as a songwriting team snowballed as they continued to compose hit songs for many of the brightest

talents of the time.

By the late 1960s and early 1970s, Burt Bacharach was writing songs for best artists around. Through the ’60s, ’70s and ’80s, he was one of

the most sought after songwriters in the world. His list of clients included The Beatles, Dusty Springfield, The Shirelles, The Carpenters,

Aretha Franklin, Tom Jones, Herb Alpert and Luther Vandross.

His success carried over into the 1990s and beyond into the new millennium. He worked with Elvis Costello on a Grammy award winning album

entitled, “Painted From Memory” in 1998. He even collaborated with hip hop mogul Dr. Dre on his recent album release entitled, “At This

Time.”

Burt Bacharach also had success on Broadway with his musicals. In 1968, “Marlene Dietrich” and “Promises, Promises” made their way to the

stage. In fact, the latter was nominated for a Tony award for best musical. More recently, a review entitled “The Look of Love” was performed

on stage in 2003. That same year saw Bacharach’s contribution to the original musical called “The Boy From Oz.” Burt Bacharach was also a

featured songwriter in Andre Deshield’s production of Haarlem Nocturne in 1984.

Bacharach has been married four times. His first wife was Paula Stewart. His second wife was actress Angie Dickinson. His third wife was

lyricist Carole Bayer Sager, and his fourth and current spouse is Jane Strauss Hanson. He had a daughter named Nikki with Dickinson who

tragically committed suicide after a long struggle with Asperger syndrome. His other children include a son and daughter with Hanson. Their

names are Oliver and Raleigh. He also has an adopted son named Cristopher.

Burt Bacharach’s distinctive style, which often uses unusual chord progressions and syncopated rhythms to create a catchy hook, made him one

of the most influential songwriters of the 20th century. From Brian Wilson to Oasis to Faith No More, many contemporary acts cite Bacharach’s

songwriting as highly influential on their careers.

The invention of the synthesizer revolutionized the world of sound recreation. A performer who wanted to recreate a particular sound on stage used to rely on old-fashioned recordings. Today, thousands of sounds, notes and frequencies can be generated in real time on stage at the touch of a button.

A synthesizer is an electronic instrument that can produce various sounds. Its name comes from what it does: it “synthesizes” sound. It works by generating and combining different frequencies. It can produce thousands of different sounds and sound combinations.

Performers who want to add the sound of a car horn to a performance need not use an audio tape of a car horn. Instead, the sound can be generated with the push of a button. The synthesizer can even produce multiple sounds simultaneously, like a horn honk and a bird call, for example.

The earliest known synthesizer was invented by Elisha Gray in the late 1800′s. Gray is more well-known for some of his other inventions, most notably the telegraph and a telephone prototype. Gray was a pioneer in electronics and ahead of his time in many respects. His early device, though somewhat rudimentary by modern standards, paved the way for today’s models.

The next inventor to improve upon the synthesizer was Robert Moog. Moog was a brilliant scientist who received a Ph.D. in engineering physics. He spent his career working with and developing electronic music systems, instruments and devices. Moog is considered by many to be the father of the modern synthesizer.

Moog’s device was the first ever to use a piano keyboard as a controller. Previous prototypes used buttons, dials and levers. This is why they have become largely associated with pianos and electronic keyboards today. However, they can actually be controlled through other means. Guitar synthesizers are an example of this.

Early synthesizers were large and unwieldy, not very suitable for transporting. Moog’s design, plus evolving technology, led the way for smaller and more portable units. These smaller devices are much more practical for performing, especially when traveling is involved.

Today’s synthesizers are highly sophisticated devices. They employ computer technology and are comprised of computer chips and motherboards. The units are compact and relatively self-contained (like today’s computers) and can be transported easily.

The keyboard synthesizer is still popular with musicians, particularly those who perform regularly on stage. Today musicians can also use software synthesizers, also referred to as softsynth. This type uses computer software for digital audio generation. Softsynth is often used for studio recording. Another less common device is the saxophone-style synthesizer.

Modern electronic keyboards usually have synthesizer components, if only in limited form. Mass-marketed electronic keyboard synthesizers are usually rudimentary compared to professional models, which have greater synthesizing capabilities. However, even these rudimentary keyboards demonstrate just how far technology has evolved over the decades. Many features available on the cheapest keyboard synthesizers are more advanced than the best of yesteryear’s technology.

Technology continues to evolve at a rapid pace. Designs are likely to get better and more efficient. Synthesizer sounds will improve in quality. The range of possibilities for sound production and reproduction make the science and engineering a worthwhile investment.

Even though George Gershwin’s life was sadly cut short by a brain tumor when he was only 38 years old, his music still lives on in the hearts and minds of the world today. Some of his most famous works included “Rhapsody in Blue” and “They Can’t Take That Away From Me.” His storied career includes many other notable highlights and achievements over the course of his brief life.

George Gershwin was born in Brooklyn, New York to Ukrainian Jewish immigrants on September 26, 1898. He was named Jacob Gershowitz at birth. The family name was later Americanized by George to facilitate his show business career. Many of his other family members followed suit and changed their names accordingly. Gershwin had three siblings in his family.

George Gershwin revealed his talent for music at an early age. At the tender age of 10, Gershwin attended his friend Max Rosen’s violin recital. He was absolutely fascinated by the passion behind the performance. He loved the sound of the instrument and the skilled nuance with which Rosen performed.

The Gershwin parents had bought a piano for George’s older brother, Ira. George came home from the violin recital and was determined to learn to play an instrument, so he began tinkering around with Ira’s piano at home. He learned the instrument quickly, so his parents were happy to help him find a suitable professional for a piano teacher.

The search for a piano teacher for young George Gershwin took nearly two years. He finally settled on Charles Hambitzer, who influenced Gershwin’s musical life immensely. He taught Gershwin formal techniques and formal European music. Gershwin would attend classical music performances with Hambitzer, and he was often able to reproduce the melodies on the piano when he would return home. Hambitzer acted as Gershwin’s mentor until the time of his death in 1918.

At 15, Gershwin dropped out of school to become a song plugger for Jerome H. Remick and Company, a firm from New York City’s famed Tin Pan Alley. The position earned him $15 a week, but more importantly, it positioned him well in the music industry.

By 1916, Gershwin published his first song, entitled, “When You Want ‘Em, You Can’t Get ‘Em, When You’ve Got ‘Em, You Don’t Want Em.” He was 17 years old.

He followed up his release in 1916 with a 1917 release of “Rialto Ripples,” which was a commercial success. In 1918, he released “Swanee.” In 1924, Gershwin began his foray into musicals, a pursuit that would make him forever famous. He penned “Lady Be Good” and “Fascinating Rhythm” that year.

Follow-up musicals in subsequent years included “Oh Kay,” “Funny Face,” “Strike Up the Band,” “Show Girl,” “Girl Crazy,” “I Got Rhythm,” “Porgy and Bess” and “Of Thee I Sing.” The latter of the group won the esteemed Pulitzer Prize.

Gershwin’s success on Broadway eventually led to calls from Hollywood movie studios. He moved out to California to do some film work. While out in Hollywood, he began complaining of headaches in early 1937. Sadly, during his work on a film entitled “The Goldwyn Follies,” George Gershwin collapsed due to a malignant brain tumor. He later died following a surgery to remove the tumor on July 11, 1937.

Although his life was tragically cut short, George Gershwin’s legacy will always live on through his music. From timeless hits to musicals, his melodies still resonate in popular culture. His influence will be felt for decades to come.

How can one or two musicians sound like a full band? The answer is MIDI. It’s the abbreviation for “Musical Instrument Digital Interface.” It’s the electronic “language” that is “spoken” between different instruments and the main device (computer) controlling them.

Put simply, MIDI allows different instruments to communicate with one another and with a central computer. It could be compared to a group of people who all speak different languages trying to communicate. A person who speaks Spanish could issue a command in Spanish to someone who speaks French. An interface would translate that information into a code. The code would be transferred via a cable to the person who speaks French. That code would in turn transmit the original message in French. That same code could be transmitted to another person in any other language. The message will be understood as long as all are on a common interface.

Musical Instrument Digital Interface allows any MIDI-capable instrument to interact with any other MIDI instrument and/or computer. This makes it possible for one central computer or instrument to control every other device connected to it. The devices are connected via MIDI cables. The cables transmit the information from device to device.

MIDI is most commonly associated with electronic keyboards. The reason is that keyboards were among the earliest instruments to be manufactured MIDI-capable. Electronic keyboards tend to be the preferred instrument for creating MIDI files. Keyboards are also among the simplest to use as command centers for a bank of connected instruments.

Today, however, there are numerous instruments that are manufactured with MIDI interfaces. MIDI guitars and drum machines are common. Wind and brass instruments can also be MIDI capable.

Musical Instrument Digital Interface is different from an audio recording. Audio recording is a replication of sound waves. A MIDI file on the other hand is actually a code. No sound waves are recorded. Instead, a file is created which contains coded information. The information can then be transferred from instrument to instrument or computer. The receiving device “reads” the code, and it is interpreted in that device’s “language.”

Let’s use the electronic keyboard as an example. A musician could play a particular song on the keyboard. MIDI turns that music into a binary code. The code contains information on what keys were pressed. It also interprets things like:

* The amount of pressure applied to the keys.

* The intervals between each key pressed.

* Whether the pitch changes while a key is pressed.

This code can then be transferred to other devices. The same song can be then be reproduced. MIDI files can also be created on a regular computer. The files can then be transferred to various instruments.

It’s even possible to control other devices through Musical Instrument Digital Interface. A lighting system is one example of this. An entire bank of stage lights can be controlled by a computer or even an electronic keyboard.

What does this mean for musicians and performers? One person could conceivably give a stage performance utilizing multiple instruments simultaneously. This same lone musician could even be his own light technician. He can do it all and sing too by simply pressing computer or electronic keyboard keys at the right times.

MIDI revolutionized the world of music and performance. The technology continues to have wide-reaching application possibilities. Its quality has greatly improved since it was first invented in the early 1980s. Today Musical Instrument Digital Interface is considered an essential part of many performer’s and band’s equipment.

A famous German composer and organ player, Johann Sebastian Bach came from a very musical family. He was born in Eisenach on March 31, 1685. He was the youngest child of Johann Ambrosius Bach and Maria Elisabetha Lammerhirt Bach.

Johann Sebastian Bach was surrounded by music from birth. His father was an organist for St. George’s Church, and all his uncles were professional musicians. They included everything from court chamber performers to classical composers.

Bach’s father taught him how to play violin and harpsichord when he was very young. Johann Sebastian’s famous uncle Johann Christoph Bach taught him the fine art of organ playing.

Sadly, Johann Sebastian Bach was orphaned when he was just 10 years old. His mother died in 1694, and his father died only eight months later. He then moved in with his brother, who was also a famous organist named Johann Christoph Bach. He began to study music in earnest, learning to compose, perform and write music professionally under his brother’s tutelage. He also learned to play the clavichord.

At the age of 14, Johann Sebastian was awarded a choral scholarship that allowed him to study at St. Michael’s School in Luneberg. The school had a great musical reputation. It was located in Hamburg, which was then one of the largest cities of the Holy Roman Empire.

After his graduation, Bach was given the title of court musician in the chapel of Duke Johann Ernst of Weimar. His reputation as a skilled musician and composer quickly spread, and soon St. Bonafice Church in Arnstadt called on Bach because they needed an organist to play their inaugural concert for a new organ. When they heard him play, they invited him to stay on as their parish organist.

He enjoyed the job, but he took extended absences to study with famous organists and was preoccupied with his composing. In 1706, he moved on to a larger parish in Muhlhausen. Shortly thereafter, he married his second cousin, Maria Barbara Bach. Together, they had seven children, two of which became important composers.

After only a year, Bach left Muhlhausen to become the concert master and court organist at the ducal court in Weimar. This was one of the most productive eras of his life. During this time, he produced many of his famous fugues.

In 1717, he fell out of favor in the Weimar court. When he pushed to be dismissed from his position, he was put in jail for a month before being unfavorably discharged.

Bach was then hired by Prince Leopold of Anhalt-Cothen as the music director until 1723. Many of his famous secular works were composed over these years, as Leopold was a Calvinist and not a big fan of elaborate music in his worship services.

In 1720 Bach’s wife died unexpectedly. A year later, he remarried a soprano singer named Anna Magdalena Wilcke. Together, they had 13 children. Six of them survived to adulthood, and all six were talented musicians.

The family lived in Leipzig from 1723 until 1747. Bach wrote many of his most famous works, like motets and his Mass in B Minor, in Leipzig where he served as music director for several churches. In 1747, he moved to Potsdam to serve on the court of Frederick the II of Prussia.

Johann Sebastian Bach died in 1750 of undetermined causes. Some believe a quack surgeon performed an unsuccessful eye operation that caused his death, while others think he suffered a stroke brought on as a complication from pneumonia. He was 65.