Beginning in the end of the 20th century, there was a great deal of interest in representing sheet music in a computer-readable format, as well as downloadable files. Software that can “read” scanned sheet music, called music optical character recognition (music OCR), has existed since 1991. Needless to say, this software created a completely new manner of dissemination for sheet music which, in this format, was referred to as virtual sheet music.

Further progress was made in 1998 when virtual sheet music became digital sheet music. The difference between the two is that digital sheet music, for the first time, allows copyrighted sheet music to be purchased via the internet. Additionally, and perhaps more importantly, digital sheet music files can be manipulated and altered as their virtual and hardcopy counterparts never could. Such an attribute makes digital sheet music ideal for instrument changes, transposition, and even musical instrument digital interface, or “midi,” playback. Digital sheet music is the musical notation of the 21st century.

The popularity of digital sheet music has revitalized the sheet music industry, which has been languishing since the invention of the phonograph. Digital sheet music has even made inroads into professional orchestras, which are perhaps one of the most traditional remaining arenas of printed sheet music. In 1999, an electronic system for the coordination of orchestral music was invented by Harry Connick, Jr. This system uses a device with a screen to display the musicians’ sheet music. The advantages of not having to use traditional sheet music during a performance, when the rustle of paper can be very distracting, are easy to see. Other musicians and software engineers continue to experiment with the digital display of sheet music.

Digital sheet music has made musical notation available on a scale the likes of which its creators could never have dreamed. It is the future of sheet music, and no where is this more apparent than with the Mutopia project. Mutopia is a volunteer-run effort to create a library of free content digital sheet music, which is reproduced from old scores that are out of copyright. Although there are only about 1400 pieces of music available at present, this project is makes it easy to imagine that there will come a time in the foreseeable future when digital music libraries will be very, very extensive indeed.

Article Source: http://www.articlesbase.com/music-articles/the-evolution-and-future-of-digital-sheet-music-557575.html

More…Michael DeBakey, who in 1966 became the first surgeon to successfully implant an artificial heart, is on record saying: “Creating and performing music promotes self-expression and provides self-gratification while giving pleasure to others. In medicine, increasing published reports demonstrate that music has a healing effect on patients.”

Doctors now believe using music therapy in hospitals and nursing homes not only makes people feel better, but also makes them heal faster. And across the nation, medical experts are beginning to apply the new revelations about music’s impact on the brain to treating patients.

In one study, researcher Michael Thaut and his team detailed how victims of stroke, cerebral palsy and Parkinson’s disease who worked to music took bigger, more balanced strides than those whose therapy had no accompaniment.

Other researchers have found the sound of drums may influence how bodies work. Quoted in a 2001 article in USA Today, Suzanne Hasner, chairwoman of the music therapy department at Berklee College of Music in Boston, says even those with dementia or head injuries retain musical ability.

The article reported results of an experiment in which researchers from the Mind-Body Wellness Center in Meadville, Pa., tracked 111 cancer patients who played drums for 30 minutes a day. They found strengthened immune systems and increased levels of cancer-fighting cells in many of the patients.

“Deep in our long-term memory is this rehearsed music,” Hasner says. “It is processed in the emotional part of the brain, the amygdala. Here is where you remember the music played at your wedding, the music of your first love, that first dance. Such things can still be remembered even in people with progressive diseases. It can be a window, a way to reach them.”

The American Music Therapy Organization claims music therapy may allow for “emotional intimacy with families and caregivers, relaxation for the entire family, and meaningful time spent together in a positive, creative way”.

Scientists have been making progress in its exploration into why music should have this effect. In 2001 Dr. Anne Blood and Robert Zatorre of McGill University in Montreal, used positron emission tomography, or PET scans, to find out if particular brain structures were stimulated by music.

In their study, Blood and Zatorre asked 10 musicians, five men and five women, to choose stirring music. The subjects were then given PET scans as they listened to four types of audio stimuli – the selected music, other music, general noise or silence. Each sequence was repeated three times in random order.

Blood said when the subjects heard the music that gave them “chills,” the PET scans detected activity in the portions of the brain that are also stimulated by food and sex.

Just why humans developed such a biologically based appreciation of music is still not clear. The appreciation of food and the drive for sex evolved to help the survival of the species, but “music did not develop strictly for survival purposes,” Blood told Associated Press at the time.

She also believes that because music activates the parts of the brain that make us happy, this suggests it can benefit our physical and mental well being.

This is good news for patients undergoing surgical operations who experience anxiety in anticipation of those procedures.

Polish researcher, Zbigniew Kucharski, at the Medical Academy of Warsaw, studied the effect of acoustic therapy for fear management in dental patients. During the period from October 2001 to May 2002, 38 dental patients aged between 16 and 60 years were observed. The patients received variations of acoustic therapy, a practice where music is received via headphones and also vibrators.

Dr Kucharski discovered the negative feelings decreased five-fold for patients who received 30 minutes of acoustic therapy both before and after their dental procedure. For the group that heard and felt music only prior to the operation, the fearful feelings reduced by a factor of 1.6 only.

For the last group (the control), which received acoustic therapy only during the operation, there was no change in the degree of fear felt.

A 1992 study identified music listening and relaxation instruction as an effective way to reduce pain and anxiety in women undergoing painful gynecological procedures. And other studies have proved music can reduce other ‘negative’ human emotions like fear, distress and depression.

Sheri Robb and a team of researchers published a report in the Journal of Music Therapy in 1992, outlining their findings that music assisted relaxation procedures (music listening, deep breathing and other exercises) effectively reduced anxiety in pediatric surgical patients on a burn unit.

“Music,” says Esther Mok in the AORN Journal in February 2003, “is an easily administered, non-threatening, non-invasive, and inexpensive tool to calm preoperative anxiety.”

So far, according to the same report, researchers cannot be certain why music has a calming affect on many medical patients. One school of thought believes music may reduce stress because it can help patients to relax and also lower blood pressure. Another researcher claims music allows the body’s vibrations to synchronize with the rhythms of those around it. For instance, if an anxious patient with a racing heartbeat listens to slow music, his heart rate will slow down and synchronize with the music’s rhythm.

Such results are still something of a mystery. The incredible ability that music has to affect and manipulate emotions and the brain is undeniable, and yet still largely inexplicable.

Aside from brain activity, the affect of music on hormone levels in the human body can also be quantified, and there is definite evidence that music can lower levels of cortisol in the body (associated with arousal and stress), and raise levels of melatonin (which can induce sleep). It can also precipitate the release of endorphins, the body’s natural painkiller.

But how does music succeed in prompting emotions within us? And why are these emotions often so powerful? The simple answer is that no one knows yet. So far we can quantify some of the emotional responses caused by music, but we cannot yet explain them. But that’s OK. I don’t have to understand electricity to benefit from light when I switch on a lamp when I come into a room, and I don’t have to understand why music can make me feel better emotionally. It just does – our Creator made us that way.

Article Source: http://www.articlesbase.com/music-articles/music-emotions-can-music-really-make-you-a-happier-person-50228.html
About the Author:
Duane Shinn is the author of the popular free 101-week online e-mail newsletter titled “Amazing Secrets Of Exciting Piano Chords & Sizzling Chord Progressions” with over 84,400 current subscribers.

The Lord of the Rings: The Fellowship of the Ring takes us to another time and place. Howard Shore’s music tells us that we have left our world before we’ve seen even the first frame of the film. As the screen fades from black into the New Line Cinema icon, we hear music. The music has an Eastern sound, using woodwind instruments from Africa and East India. The sound is quaint and mysterious. It gives us the feeling of being in a far away land and contributes to the suspension of disbelief that helps the audience subconsciously consent to be taken to a place with which they are not familiar.

The mystical music that we hear during the first few moments of the film is soon joined by a voice – the voice of the Elf queen Galadriel, of Lothlorien. This music that we hear is the theme of Lothlorien. Every time that we see or hear of Lothlorien or Galadriel, we hear a version of this theme.

Peter Jackson, director of The Lord of the Rings: The Fellowship of the Ring, understood the importance of a musical score in a movie. He said, “The music score to any film, obviously, is very important because it guides your emotions when you’re watching the film. The actors can do their job, the director can do (his) job in terms of creating a certain mood and emotion, but using music is so strong and evoking of what you should be feeling at any given time.”

Jackson continued, “I wanted the music (of The Lord of the Rings: The Fellowship of the Ring) to reflect Tolkien. I wanted the music to also bring the world of Middle Earth to life.”

Howard Shore the composer said, “Tolkien spent fourteen years writing The Lord of the Rings. And now you’re writing a musical image, creating a musical mirror, if you will, to his writing. And I mention this so often - even in other discussions - and I feel like Frodo. I did feel like that. Like I have this amazing journey to take, and I had the ring in my vest pocket and ‘You were chosen, now you’re going to write the music to Lord of the Rings. And, you have to do it.”

Peter Jackson added this regarding the huge task that Howard Shore had in composing the music for the The Lord of the Rings: The Fellowship of the Ring, “It’s doing two jobs at once. It’s underscoring the film. It’s providing an emotional link - a bridge between the movie and the audience - and it’s drawing the audience in. But it’s doing it in such a way that it’s also telling you a lot about the cultures of this world.”

Therefore, every major place, race and character in this movie has a musical theme attached to it. This film has a large number of characters, cultures and races. The distinct races, geography, trees, nature, and the earth itself were a big part of Tolkein’s story. It would have been very easy for the audience to become confused trying to distinguish between the many peoples and places of Middle Earth. Giving each of these elements a musical theme makes them live as individual characters, all contributing to the essence of Middle Earth.

The Shire, for example, is the place where the Hobbits live. The Hobbits are a peaceful people and they live a quiet life. Any sort of adventure is a scandal. They are an agrarian society and live as part of the land. Even their homes are burrows in the ground. Howard Shore uses music to “describe” Hobbits and the Shire to the audience. Their theme is very light and cheerful. A slide flute accompanied by a full orchestra give a Celtic or Irish feel. This accomplishes the feeling of another time, but brings the audience a little closer to home and gives a feeling of comfort. A solo violin carries the melody for a while until the full string section finishes the theme, but whenever the Shire is mentioned or referred to in the movie the score refers us back to the slide flute.

The Fellowship, made up of people and creatures from different races, has its own distinct theme. “As the two Hobbits leave Hobbiton and set out on their own, you hear the first statement of the Fellowship theme in the corn field, because it’s essentially the first time that the Fellowship is formed,” said Mr. Shore.

When the four Hobbits are on their way to the village of Bree, they are running from the “Nasgul”, or Ring Wraiths. There is very little dialogue during this scene. Our emotions are heightened and we feel the tension of the moment through the musical score. This is accomplished largely through dissonance. Our ears like to hear nice chords. Notes that are close to each other in value sound terrible to us. In the theme of the Ring Wraiths, the chords that clash are used to make us to feel uncomfortable. The movie makers want us to squirm in our seats. They want us to feel fear. The French horns are playing staccato quarter and eighth notes in a building rhythm while the strings are on descending eighth notes that continually clash. Add a men’s choir chanting an Elvish poem and it makes for a very confusing and intense moment.

Then while in the village of Bree, the Hobbits think that they are finally safe. We see images of them sleeping in their beds smiling. The scene then cuts to the Ring Wraiths coming into the village. The dissonant music becomes louder. Cut to the inn keeper’s face in horror as the Wraiths enter his inn. Cut to the peaceful Hobbits in their beds. All the while, dissonant and ancient sounding music is playing loudly. Then silence. As the Wraiths approach the Hobbits in their beds there is silence. This adds to the tension. We hold our breaths. This is a stroke of genius. Knowing when to not have music, or score, is just as important as knowing when to include it.

As soon as the Wraiths discover that they were tricked, however, the angry dissonant Wraith theme returns with a fury to remind us how serious the situation is. Even though the Hobbits are safe for the moment, they will never really be secure or free until they have accomplished their goal. The music reinforces this to the audience, as a version of the Wraith theme plays softer while Frodo watches the Wraiths from across the street from the Inn.

The Ring itself has an interesting theme. The Ring, though an inanimate object, is a character of its own. Its essence is evil and its intent is to deceive and enslave. The theme of the Ring portrays all of that through instrumentation and dissonance. It is appropriate that the main instrument used for the theme of the Ring is the oboe. The oboe is the instrument used to charm a snake out of a basket. It is also often associated with seduction, or allure. The ring certainly personifies that. Frodo, Bilbo, Gollum and many others were seduced, even addicted, to the Ring.

The wizard, Gandalf, goes to visit his superior and mentor, Sauraman, at the tower of Isengard. We believe at first that Sauraman is still a friend to Gandalf.

Once the story reveals that Sauraman has turned to the side of darkness, the musical theme, as well, “tells” us that the tower of Isengard is a place of evil. Howard Shore uses several methods to give that feeling. Dissonance is used to portray a feeling of uneasiness or apprehension.

Also, during the musical theme for the Tower of Isengard, Howard Shore uses an odd way of timing so that we feel off balance. Anytime that we see the tower of Isengard and the forging of weapons, Mr. Shore adds a beat to throw us off and make us feel uncomfortable. We are used to hearing music in common time (or four-four time), with four beats to each measure, and that feels right to us. The industrial sounding theme uses a five-four time which makes us uncomfortable by adding an extra beat to each measure. Also, French horns are used for the main melody, but Howard Shore also relies on the bass drum, tympani and a chime or bell to give the effect of a hammer pounding away down in the depths of the caverns underneath the tower.

Rivendell, a city of the Elves, has a theme of its own. This is a western haven for the Elves. We feel the peace and the beauty of the city, as well as its antiquity, through the music. This is quite different from the theme of Lothlorien. We are made to feel comfortable here at this place.

When the Fellowship leaves Rivendell and sets out on its journey, the theme of the Fellowship is fully revealed. The theme is naturally lyrical, aimed at the brass, but is restrained by a fully mixed and realized string section. The music is heroic and we feel the importance of their quest. We are excited and proud of them for making the decision to destroy the Ring and save Middle Earth.

Later, the Fellowship takes refuge in the Mines of Moria, only to discover that they are trapped inside a Dwarf “tomb”. The theme music of the Mines of Moria features a men’s chorus made up of Polynesian men. Peter Jackson had this to say about the music for the mines of Moria. “We sat around our kitchen table at home talking about the choral arrangement ideas for Moria and I thought it would be really great to weight it fairly heavily toward Polynesian singers. Maury or Pacific Islanders who have again, another worldly quality to their voice.”

“Mines being a Dwarven kingdom would really suit having those male voices. A bit like a Welch mining choir. So, Howard found himself in the town hall with an all-Polynesian male choir.”

At the bridge of Khaza-Dhum, the Fellowship is chased by the Moria Orcs. The Polynesian men’s choir and the tympani drums heighten the tension and excitement of the scene. The members of the Fellowship cross the bridge, but Gandalf stays behind to fight the Balrog. The music crescendos to an all-time forte until Gandalf falls from the bridge. Then very suddenly, the music goes into a very soft and melodic hum with just a single boy singing, lamenting for Gandalf. Under this beautiful theme, the camera shows a montage of the members of the Fellowship reacting to the loss of Gandalf. We see the characters faces and expressions of grief, but it is the music that makes us feel with them. The music “guides” our emotions and we feel as they do.

Later, when the Fellowship enters the forest of Lothlorien, we again hear the theme that was introduced at the beginning of the movie. There is also a twist of tension and mystery to this theme. As the Fellowship creeps through the forest, we sense through the music that they are wary of being in this land of the Elves. We sense that they fear that they will not be welcome.

In Lothlorien, when Boromir speaks of his home in Gondor, we hear a very brief part of the theme of Gondor, offered by a solo French horn, foreshadowing a people that we have not yet seen. The full theme of Gondor, however, is not revealed until the third part of the trilogy.

Critics of the music in The Lord of the Rings: The Fellowship of the Ring say that there is just too much music. This simply is not true. This film was successful largely because of the comprehensive score. The extensive music in this film augments what is happening on the screen and enhances the experience for the audience. At every important moment in this film, the music is there to “guide” the audience emotionally. The music also helpes suspend our disbelief in a world that might otherwise seem ridiculous and surreal.

This film has an extensive number of characters, places, cultures and races. It would have been very easy for the audience to become confused. Howard Shore uses music to help the audience distinguish between the different groups and places by giving them their own distinctive themes.

Through the musical score, we know what to feel. We feel fear when the Hobbits are on their way to Bree. We feel sadness when Gandalf falls. We feel tension when Arwen is trying to get Frodo to Rivendell. We celebrate when the Fellowship sets out on their incredible journey. We understand the emotions of the characters and we feel with them. We become part of Middle Earth. And the musical score of The Lord of the Rings: The Fellowship of the Ring helps take us there.

Article Source: http://www.articlesbase.com/movies-articles/the-music-of-middle-earth-an-analysis-on-the-use-of-music-in-the-film-quotthe-lord-of-the-rings-the-fellowship-of-the-ringquot-291755.html

So now a few years on, what has happened to the original promise of surround sound music? Well the answer to that is ‘lots, but not nearly enough.’

For those that don’t know already, 5.1 surround sound is basically five speakers and a sub-woofer placed around your room allowing you to listen to music or a movie soundtrack literally surrounded by speakers. The film industry pioneered it for theatres and it then became available as a DVD player add-on for home entertainment systems.

Now at least 100,000,000 people world-wide own systems, which can and should be used for all manner of surround sound music DVDs.

I hear you say, ‘but surround sound music on DVD hasn’t really caught on. All that wire in my living room’.

Even though the consumer can buy a DVD player and surround speaker system cheaply enough, surround sound music hasn’t really caught fire yet. Why?

There are reasons why we should all remain confident that surround sound music will become more popular, but at the moment it’s still an infant child.

The amount of different DVD and surround sound formats is confusing and can be offputting.

The consumer desperately wants an end to the confusing compatibility war between different surround sound formats.

Many music artists would start producing DVDs if it wasn’t so complex, just as there are many consumers that would purchase a surround sound DVD system for the same reason. They should be able to buy a DVD player and play any product claiming to play DVDs.

Consumer surround sound formats currently include sound on video DVDs encoded as Dolby 5.1 surround sound or DTS; the competing DVD-Audio (DVD-A) and Super Audio CD (SACD) formats and MP3 Surround.

There are 5.1, 6.1, 7.1 systems, four speaker systems, even one speaker systems and ’simulated surround sound systems.’ Phew! See what I mean?

They all have their uses, but the I feel the music business would be wise to embrace one format. Every time the consumer buys a surround sound music product they have to research whether it will be compatible to their particular system.

The good news here is that slowly, but surely things are improving. As long as there is no ‘new’ new format to rock the boat, the problem of incompatibility could become a thing of the past.

There are many great web sites to visit which do explain (in as much detail as you could possibly imagine) all the different formats and help you decide what to buy.

How about all that wire in my living room though?

There are wireless speaker systems available, but the cheaper ones are for mainly rear-channel wireless amplification. This doesn’t quite get rid of all the wires and limits people who have odd shaped rooms. But they are better than nothing.

It would be great for a ‘let’s make it fun revolution’ to occur with surround sound, like the iPod. Small wireless speakers one could place anywhere. The recommended configuration would still be in a circle, but you’d have a license to have fun by placing them in different locations.

Certain types of music would not really benefit from this unconventional approach, but other types mixed specially for surround sound might not suffer that much and it would release the consumer from the pressure to set their systems up in a way that would please an audio engineer or DVD manufacturer.

Not enough of an improvement on CDs and overall lack of interesting music DVD products.

The amount of compression used for music on DVD video is far greater than CDs. So stereo music on CD is generally of a higher quality than stereo music on DVD. However, add the extra speakers and a properly mixed 5.1 surround sound piece of music and all of a sudden the playback bit ratio seems much less important.

‘What is’ you ask, ‘a properly mixed 5.1 piece of music?’

Recreating real space is what seems to interest some surround sound pioneers. The chance to paint a more precise musical picture by placing you the listener deeper inside a musical ensemble or concert venue.

This approach has got its merits, but it’s reliant on people having their speakers in precise locations, and that they will sit dead centre amongst them. Pluses can turn to minuses at this point. If you don’t have a perfectly set up system it might just sound weird, especially if you are used to the stereo CD mix from the same artist.

Apart from all the technical considerations, I consider a great 5.1mix a strong alternative to the stereo mix. Let’s say the artist already has their stereo mix. Why not make the surround mix something that really explores that extra space and is different from the stereo mix.

Give the consumer a choice of two distinctly different sounding mixes. This might inspire more people to make the effort to set up those surround speakers which are still sitting unused in the attic.

Currently it is almost mandatory to include some type of visual content on a DVD.

In a way, it’s a shame that ‘audio only’ DVDs haven’t caught on…yet.

Depending on the level of production the artist is looking to reach, it can be both very expensive and time consuming producing enough visual material to accompany all the music for a competitive DVD release.

Most musicians have a hard enough time producing their music let alone having to produce hour’s worth of videos as well. So you could say that the need for visual content (as exciting as it can be) is holding back the growth surround sound music.

Live concerts are the most successful type of music DVDs, mainly because they are relatively cheap to produce.

For ‘audio only’ DVDs to catch on, consumer expectation will have to be ‘re-trained’ to expect what they might consider as less. I feel that the days of distributing film or music products on any type of disk is going to disappear fast.

What does the future looks like for surround sound?

The real turning point will come when the Internet becomes surround sound friendly. A new MP3 surround streaming module has just been announced that allows manufacturers to build web radios featuring true 5.1 surround sound.

Many people surf the Internet sitting at their desk, listening to music for hours at a time. Soon they will be able to surf and listen in surround sound. Small near-field computer monitors would work perfectly.(especially wireless ones).

It’s inevitable that 5.1 radio and TV broadcasts will soon become the norm. Even without the music business, embracing surround sound as anything more than a small niche, the amount of people with a 5.1 system is steadily increasing.

At this point, surround sound music becomes a viable ‘audio only’ product. If the surround sound community can simplify the production process even more allowing the average project studio to easily create surround sound content, we should all benefit.

I predict there will be a tipping point where all of a sudden the ‘need’ for surround sound music will exceed the amount of available products.

Live surround sound music can be amazing. I went to Berlin and mixed a gig by the experimental Electronic band ‘Warren Suicide’. Instruments and vocals flying around the room in surround sound mayhem. It was great, and opened my eyes to what I hope is ‘the future’ for certain styles of music.

Dance music is an area I really hope starts to explore surround sound. The drum/synth based repetition is perfect fodder to trigger a quantum leap in 5.1 music production. All the technology is now available to present surround sound mixes in smaller clubs or ’surround rooms’ in larger clubs.

I have to quickly point out that the 1 in 5.1 stands for sub-woofer (a dedicated speaker designed to carry just low frequencies). This on its own is a major step forward for dance music fans.

DJ producers in particular can take control of the ‘low end’ of their tracks and shake the furniture more than ever before. Because one doesn’t have to squeeze all that low end into the same speakers as everything else it allows for a more overall dynamic mix.

Music mixed in 5.1 surround sound gives us the opportunity to produce and listen to music in a completely new way.

Both as a composer and as a engineer, I personally feel liberated, set free from the confines of stereo. In this case more really is better. The extra speakers/channels give you more ‘room’ to put your music.

My hope is for ‘audio only’ surround sound music to take off. Music is, after all, the world of the invisible - it seems a shame to connect it at the hip to pictures. Your mind processes visual images first, then sound. So pictures can distract people who might listen more carefully without them.

There is room for both music videos and surround sound music without the videos.

‘What kind of gear do you need to start mixing in surround sound?’:

a) A reasonably fast computer

b) Music software package that supports 5.1 mixing (Logic Audio, Pro-Tools etc.)

c) Minimum 8 channel audio interface (Motu, Digidesign )

d) Five matched self powered speakers, and a sub-woofer

Mixing In Surround Sound:

When I first started mixing something in surround sound, I went out and purchased three sets of Sony Mega Bass self powered computer speakers. After connecting them directly to my audio interface outputs, I then assigned the surround sound out-puts in Logic Audio. I opened a song I was working on and spread the instruments out around the channels and hit play… Wow! The five mini speakers sounded great. Mixing in a tiny bit of subs from my Genelec sub-woofer, it sounded even better.

I know… I can hear engineers crying out.. ‘But what about…?’ Well, it’s unconventional but as a starting point this system does work. Now I own a full set of Genelecs, but I still use this approach.

The normal way to mix in surround sound is to have a matched system where the sub-woofer is driven from the speakers. A roll-off decides that everything below a certain frequency is sent on to the sub-woofer. I favour rooting the signal directly to the sub-woofer from a send on either my main out-put fadder’s or occasionally individual instrument fadder’s. This way I can choose which instruments to place in the sub-woofer and which not to.

I say to music mixers; ‘Approach the surround mix with a fresh concept, understanding that it can reflect a different side of the song/composition.’

I don’t recommend the approach of mixing both the stereo and surround mixes at the same time. It seems that one or the other will be compromised. You’re still ‘thinking in stereo’.

The effects needed and levels will be different in a surround mix. I find I use less processing overall especially compression, again it comes down to having more space to place the instruments.

So start fresh without any of your stereo effects haunting you. It’s one of those things that will save you time in the end, plus you will probably mix more creatively.

After a little guess work and experimentation I managed to figure out the right level to print my mixes. Again the sub-woofer channel was tricky, but after burning a few trial DVDs trying different levels I got the hang of it.

I played some mixes I had done in my studio at Real World and Metropolis Studios and they sounded right. It shows you can produce your own surround sound music at a reasonable cost, even in a project studio.

There are hours worth of surround sound production tutorials available from all the major music software companies. Just visit your software makers web site to get started.

Of course the absolutely best way to mix music in surround sound is to go to a top recording studio. If you’re just starting out with surround sound, mix a track with the guidance of a highly trained professional engineer, who has experience with surround sound mixing.

There are great audio engineers who would (for a smallish fee) come to your project studio and ‘consult’ with you on the technical elements of your mix.

If you are producing a DVD for commercial release, it’s still best to get your project professionally mastered. Any decent music mastering facility can (to a point) rebalance your surround mix, so if you are a little heavy or light on the subs they can deal with it then.

Tips on ways to create your own visual content:

The quality you want to achieve is normally connected to the expectations of your audience.

With enough time and energy you can make videos using a consumer DV camera and Final Cut Pro (or PC equivalent). DV cameras are generally just not quite good enough for any ’serious filming’, but if used creatively for certain situations it’s possible to pull it off. HD cameras are much higher quality but still do cost a lot more to buy.

Live concerts and gigs can work well though. If you are doing a gig, ask around all the people you know and see how many DV cameras you could borrow. If you have four cameras set up around the club, one camera to roam around and some decent lighting on stage, you’re in business. Make sure the people operating the fixed cameras don’t mess around during the filming. No zooming and out or trying to track the movements on stage. Perfectly still videos are much better to edit. Then in your film editing software, you can cut between different angles and add zooms, even simulate camera movement.

There’s no guarantee, but if the actual performance is strong enough, some of the production values will be overlooked.

Done well enough, you can produce a DVD using still images, like a slide show - again a good film editing program allows you to animate still photos way beyond what one might think is possible.

There are some fantastic animation programs like Bryce 3D, and Cinema 4D that are worth looking into. Start producing convincing 3D text an logos.

Warren Suicide are a great ad-sample of a band who are embracing the audio - visual age. Their DVD was produced by them, and although they worked really hard on it, the finished DVD was not expensive to make, but is just as imaginative and entertaining as any big budget music DVD I’ve seen.

How do I get my mix on to a DVD?:

There are, as you can imagine, quite a few ways available.

The huge majority of DVD players in circulation use the DVD video format. So I recommend choosing Dolby 5.1 or DTS encoding, don’t worry too much about all the others. DTS sounds just as good to me, but I found more options were available with Dolby 5.1.

All you really need is Final Cut Pro and DVD studio Pro or the PC equivalents. DVD Studio Pro comes with a audio compression program called Apac. Apac allows you to compress your six channel mix into a single 5.1 file, ready to place on a DVD.

These programs are not cheap, but they are worth every penny if you’re considering commercially releasing your DVD. Between them you can edit and effect your video footage/audio content, add text, export the outcome in a format which is ready to be authored and finally burned on to a DVD. WOW! All in you back room - not bad.

Article Source: http://www.articlesbase.com/music-articles/whats-happening-with-51-surround-sound-music-454830.html

About the Author:

Merv de Peyer is the Son of virtuoso Clarinettist Gervase de Peyer. He is a holder of a degree in Performance and Composition from the prestigious Berklee College Of Music.

There are many benefits to joining one of the top music networks. It is best to focus on two or three at the most and create, as well as maintain, a standout profile page for your music or band. If you spread yourself too thin and try to join every music site you come across then you will find yourself struggling to maintain an active profile. If you join one of these music networks then you will gain a massive amount international exposure for your music.

Try to devote 30 minutes each month in updating your profile with new photos, gig dates, videos or music samples. On a more regular basis you may want to respond to forum posts, reply to comments posted on your page and also respond to any emails sent to you. You need to treat these music networks as an advertisement and great way to promote your band. Therefore spending some time on the site could bring about some lucrative and life changing publicity for you.

The key point to gaining the most exposure for your music on these sites is to be proactive and make the most of the features available to you. You will want to post recent photos of yourself or your band. You should add some new photos each month. Try and add some bright and colourful photos of each of your band members as well as some group shots. Ask a friend or partner to take some high quality photos of you while performing.

Music videos are all the rage due to YouTube. You can use a camera to take some footage of the band performing one of their most popular songs. Just as a great video can make your band; a bad video can have a negative impact on your music. If a music venue manager is not the network to look for a band for a gig and they listen to a poor quality live performance then they will just move on to the next band. So make sure the video you submit is one that will impress your viewers.

Why spend time in the forums? Because you never know who is online and who is reading the forum posts. Many of the top music forums not only allow bands and musicians to sign up and create a profile but also music promoters, managers, music venue owners, music producers and professionals from the music industry. As a result, you may just catch the eye of one of these promoters who could give you the lead you need. Post positive and informative posts that will require a similar response. Avoid getting into any personal attacks or conflicts with other forum members. Maintaining a high level of professionalism is of the utmost importance in building the reputation you want to succeed.

What about writing an article? It is quite easy to write an article about a topic you are passionate about and have knowledge in. How can this help you? Well in a music network you have members who are musicians and are therefore craving information to help them with their band or music. As a result you can gain some valuable exposure by adding your name and active link at the bottom of the article. You can basically piggy back these top music networks who already achieve high page rankings in the search engines for your own benefit. Search engines love quality content about a specific topic. As a result these search engines will pick up the keywords used in your article and rank it highly as the article is located on a reputable site. Both these combined will give it a good chance of being spread throughout the internet.

One of the best features is the ability to post your upcoming gigs or events. What other way can you get free advertising for your gigs! When posting your gig make sure all information is correct and if any of it changes be sure to return to your profile and update it. There will be fans that listen to your music samples, watch your videos and then decide on attending one of your gigs if they like what they hear. You don’t want to upset them by having them go out of their way to attend your event only to find that the details were changed and there is no gig! Try to include the date, time, cost and location of the event. Some of the top networks will have a feature where your fans can “subscribe” or add their name to an attendance list. This will also allow you to send emails with specific details to these members. This is networking and building a fan base.

Classifieds are also a great way to buy and sell instruments, equipment, search for new band members, post jobs or look for a gig, sell tickets to events and so much more. Make sure you only add the information you want people to see and only use a respectable payment solution provider in the transaction. Most sites leave transactions up to both parties and are not responsible for any disputes or problems with the sale.

Are there dangers associated with music networks? Yes, but only if you post personal information that hackers or people involved in criminal activity can use to spam you or rip you off. The top sites will have internal email systems where your personal email address is protected. They also have a feature that allows you to block any members you wish not to correspond with. Remember that you use these music networks to promote your music and not your personal life and details as a lot of the “Social Networks” do. This is why you should stick to the top music networks that operate with the sole purpose of assisting bands and musicians in promoting their music.

If you maintain an active profile you may just be lucky enough to gain additional exposure from the site. For example, the music networks highlight and profiles a new band each month. This profile puts the band on the front page, generates extra hits for the band’s profile page, spreads their band across the internet due to the quality content in the profile and provides a reputable promotion for the band by a music industry leader. Want to make your own luck? Then be proactive and contact the site team and let them know that you would like to have your band or music be considered to be profiled.

One more great tip is to use “Keywords” in your title for photos, events, profiles etc as these keywords will appear in that page’s URL. This will help for better search engine exposure as they love keywords and targeted content.

The key is where to start when selecting which music networks to join? There are many ways to promote your music and three of the best methods for music and band promotion is by creating a profile on MyBandMate and MySpace Music or posting your music videos on YouTube Music.

So if you want to showcase your music to the world and are not active in these top two music networks then you better get on to it. It takes time, some effort and a desire to make your music reach a global audience. Be proactive, utilize all of the key features to gain maximum exposure and build a fan base by responding to their emails and comments. Don’t include any information in your profile that you don’t want the world to see. Treat your profile page as an advertisement for your music. You may only have one chance to catch the eye of a music promoter, producer or music venue owner looking for a band so make your profile look professional.

The teaching of music in the American educational setting dates back 1838 when Lowell Mason introduced singing classes to Boston grammar schools. Instrumental music appeared in fits and starts over the next fifty years but was never included during the school day; rather, it was relegated to the ranks of extracurricular activities. Around the turn of the century, instrumental music began to see some acceptance into the classroom, though often was taught by those untrained in the area of music education. Moreover, little if any standardization of the instrumentation or music literature existed. (Rhodes, 2007)

Near the conclusion of World War I the quality of school music began to increase. This was due primarily to veterans who, after having been musically trained in the various service branches, began to fill music teaching positions in the schools. Band, however, was still regarded as an extracurricular activity. (Ibid)

In 1907, the Music Supervisors National Conference or MSNC, (now known as the Music Educators National Conference or MENC) was organized to support school music. In 1912 a proposal was made to include, as accredited subjects, a number of music activities including choruses and general music. Band was included - but at a much lower priority. Later, however, at the Cleveland MSNC conference in 1923, Edgar B. Gordon stated,

The high school band is no longer an incidental school enterprise prompted largely by the volunteer services of a high school teacher who happens to have had some band experience, but rather an undertaking which is assigned to a definite place in the school schedule with a daily class period under a trained instructor and with credit allowed for satisfactory work done. (Ibid)

In the same year, and likely due to the increase in both acceptance and importance, Carl Greenleaf (then head of C. G. Conn Ltd.) helped organize the first National Band Contest in Chicago. Later, in 1928, he directed the Conn company to contribute to the founding of the National Music Camp in Interlochen, Michigan and later supported publications designed to support band directors. While these endeavors may have appeared somewhat self-serving in light of his position with Conn, they nonetheless helped establish school band as a significant part of school curriculum. (Banks, 1997)

Despite a gradual, while still limited, acceptance of instrumental music within the school curriculum, budget cuts have often curtailed or even eliminated these programs. Further, with the recent increased emphasis upon “teaching to the test” due to the pressures of No Child Left Behind (NCLB) and similar state requirements, support for the inclusion of music in schools has begun to wane. Michelle R. Davis, in “Education Week,” stated “The federal No Child Left Behind Act is prompting many schools to cut back on subjects such as social studies, music, and art to make more time for reading and mathematics…” (Davis, 2006) This is most unfortunate considering that the study of music, especially instrumental music, has proved to be beneficial for all students – even increasing their ability to reason and problem-solve.

Many theorists have contributed to the elevation of music as central to education, or at the very least, demonstrated that limiting the school environment to the “Three R’s” is short-sighted. Howard Gardner postulated his “Multiple Intelligences” theory with the understanding that children do not possess identical propensities for learning. Not only do they have differing capacities for learning but have differing capacities for learning in many areas. These areas, as he explained, are the varying intelligences of which he speaks. Originally describing seven intelligences (of which music is highlighted) he identified two specifically (linguistic and logical-mathematical) as “the ones that have typically been valued in school.” (Gardner, 1999, p41) Obviously, Gardner recognized that the educational system was not reaching all students – only those that could “do school” well. Gardner did not limit his study, of course, to the mere existence of multiple intelligences but demonstrated that a given person can be strong in more than one, enabling those intelligences to interact one with the other. He explained that, “there are other ways in which different intelligences can affect each other…one intelligence can mediate and constrain the others; one intelligence can compensate for another; and one intelligence can catalyze another.” (Gardner 2, 2006, p219) He further extolled the advantages of a musical intelligence by explaining that “…a strong musical intelligence may lead a person engaged in a linguistic task to be more sensitive to the rhythmic properties of language as well as its meaning.” (Ibid, p223)

While many may assume that music and the study thereof is associated primarily to that which is heard, it is also related quite closely to mathematics. Dahlhaus, reflecting Rameau stated that “music had its origins in the Pythagorean proportions; (i.e., music is a mathematics).” (Gargarian, 1996, p137, 138) Regardless of whether or not one agrees with the theory that music is mathematical in toto, there should be little dispute as to the relativity of music notation to mathematics. Indeed, introducing the coordinate, or Cartesian, plane appears to aid the new music student in understanding the horizontal (x), and vertical (y) axes of music notation. Simply stated, the horizontal (x) axis on the music staff relates to duration while the vertical (y) axis relates to pitch. This, of course is a reflection upon Gardner’s aforementioned theory of intelligence interaction.

There is further evidence that instrumental music study is advantageous for the student. In 1995, Gottfried Schlaug, et al, published a study, “Increased Corpus Callosum Size in Musicians” wherein they described an increase in neural fibers across the Corpus Callosum (CC), contributing to its enlargement. They further were able to determine that this increase in fibers/CC size was attributable to instrumental music study. (Schlaug, et al, 1995) Obviously, the supposition can easily be made that, if there is greater cross-talk between the two hemispheres of the brain (specifically, the left – thought to be the analytical, and the right – thought to be the creative) the result would be a person with a greater, more creative, problem-solving ability.

Reflecting upon Gardner’s theories, as well as those of Schlaug, et al, it should surprise no one that others have confirmed links between music and other skills. Bahr and Christiansen in their article “Inter-Domain Transfer Between Mathematical Skill and Musicianship” published findings demonstrating that students who had studied music demonstrated superior performance on mathematical tasks provided there was some structural overlap with music. (Bahr, Christiansen, 2000) This “structural overlap” could be nearly anything, including the relationship of dividing measures or notes into fractions, relating pitch to frequency, or, as aforementioned, establishing the link between the coordinate (Cartesian) plane and the music staff.

With this enhanced problem-solving ability; this increased awareness of mathematical concepts, it would not be a grand leap to assume that music students might perform well with classroom technology. Indeed, music students should be expected to do at least as well as other students with regard to technology. If that is true, then the next step would be to assume that they would do especially well with technology geared especially to them.

Somewhat recently, technologists, recognizing a dearth of technologically-based music applications began to develop computer programs for music education. Music theory websites began to appear, many having been produced by, and linked to, symphonic organizations. Others have been produced by teachers and graduate students either as part of coursework or perhaps for their own use (and anyone wishing to utilize the application). A quick search of the internet reveals that there are quite a number of available technological tools produced and published for the music student. There are interactive music games, in-class keyboard music theory applications, countless online pitch and rhythm websites, and, perhaps most powerful, applications known as “computer assisted instruction” (CAI)” specifically for the music classroom and student. In January 2005, Steven Estrella published the findings of a study demonstrating how music teachers in the U.S. used music technology. Among his findings, he discovered that approximately twenty percent of the survey participants used some form of CAI as part of their instruction. The survey further discovered that the predominant software application was “SmartMusic.” (Estrella, 2005)

SmartMusic is a teacher/student interactive application allowing students to practice, at home, with a synthesized band or orchestral accompaniment. The program can also, with an included microphone, record the student’s efforts and grade them using rhythm and pitch data. The student can immediately see their results and can retry if they wish. The recording and the accompanying grade are then emailed to the student’s teacher/director and automatically entered into the teacher’s database grade book. The program includes accompaniments for around thirty-thousand compositions including band and orchestra method book pieces. (Nagel, 2007) While early reviews of the program were mixed, the company that produces SmartMusic, “MakeMusic,” was apparently responsive to teacher/consumer complaints and suggestions. The program requires that the home version be installed on the students own computer and, in earlier versions, installation, setup, and microphone placement were problematic. In the latest version, SmartMusic 11, many of these issues were addressed either by simplifying the process or with enhanced user guides. (Whaley, 2008)

For the classroom, SmartMusic holds a wealth of applications. The most basic functions of the program include a displayed tuner and metronome. (A music classroom with an interactive whiteboard can make excellent use of SmartMusic’s utilities.) The teacher can then play a pre-recorded version of a piece to be studied and, while the students are playing along, can instantly record them independent of the pre-recording for later playback. The program also includes fingering charts for all instruments so a quick check for the students perhaps needing additional instruction is easily accomplished. Keys and tempi can be changed easily, if necessary, and if a single performer wishes to play with a pre-recorded accompaniment, that accompaniment, “listening” to the performer via a microphone, can follow the performer’s changes in tempo – not unlike what the conductor of a symphony orchestra would do in a live performance.

As important and powerful as SmartMusic is in the classroom, its most powerful application – and the primary purpose for which it was intended – is that of a home practice and assessment tool. There are literally thousands of accompaniments and scales included in the software as well as thousands of music titles. Once the students have subscribed, downloaded (or installed from a CD), and set up the home version of the program, the teacher can design playing assignments which the student then accesses at home on their own computer.

Playing through a microphone to the program’s accompaniment gives an instant visual and aural response; while the recording of the student’s performance is played, their correct notes are displayed in green while mistakes are displayed in red. The student can decide upon and set their own tempo, then practice with the computer-generated accompaniment as many times as they wish prior to recording for a grade. In short, the student is in control while at home. Students having access to broadband Internet and a reasonably up-to-date computer can fully realize the potential of the program – as well as their own. (Rudolph, 2006)

But what of those students not fortunate enough to have a computer at home - let alone internet access?

Obviously, the power of SmartMusic would be largely lost on those students without a home computer or internet access. The cost of the home version is small, and some districts have even provided the subscription free of charge for their students. (Nagel, 2007) However, can districts provide a workable computer and internet access or all of its students?

David Thomas stated that schools have made great progress in the introduction of computer and internet access. However, that access, for disadvantaged students, remains at school. (Thomas, 2003) Thomas further quoted then U. S. Secretary of Education, Rod Paige:

We need to address the limited access to technology that many students have outside of school. There is much more we can do. Closing the digital divide will also help close the achievement gap that exists within our schools. (Thomas, 2003)

A 2007 study in New York revealed that between seventy and eighty percent of students have computers at home. (Traber, 2007) One might suggest that the real numbers cross-country are actually much lower.

There are many music students dependant upon school-provided instruments, method books, and even instrument supplies such as reeds and valve oil (usually provided out the teacher’s own pocket). These students are already behind their more affluent counterparts and cannot afford private lessons, let alone a workable computer and internet access. These are the students who could benefit most from a program such SmartMusic. However, as useful and powerful as SmartMusic is, it cannot by itself bridge this “digital divide” that still exists.

Educational technology holds great promise for the student musician but until a method for equitable access is discovered, disproportionate achievement will persist.

References

Bahr, N. & Christensen C.A. (2000). Inter-Domain Transfer Between Mathematical Skill and Musicianship. In Journal of Structural Learning & Intelligent Systems (Vol. 14(3), 2000, pp. 187 - 197). US: Gordon & Breach Science Publishers

Banks, Margaret Downie (1997). A Brief History of the Conn Company (1874-present). The National Music Museum.

Davis, Michelle R. (2006, April). Study: NCLB Leads to Cuts for Some Subjects. Education Week.

Estrella, Steven (2005). Survey of Music Educators and Music Technology. Shearspire.

Gardner, Howard (1999). Intelligence Reframed, Multiple Intelligences for the Twenty First Century. Basic Books/Perseus Books Group: New York

Gardner, Howard (2006). Multiple Intelligences – New Horizons. Basic Books/Perseus Books Group: New York

Gargarian, Gregory (1996). The Art of Design. In Kafai, Y., & Resnick, M. (Eds.). Constructionism in practice: designing, thinking, and learning in a digital world. Mahwah, NJ: Lawrence Erlbaum Associates

Nagel, Dave (2007, August). Tucson USD Gives SmartMusic Subscriptions to Students, THE Journal.

Rhodes, Stephen L. (2007). A History of the Wind Band - The American School Band Movement. Lipscomb University.

Rudolph, Tom (2006, February). The Wide World of SmartMusic. Music Education Technology.

Schlaug, Gottfried; Lutz, Jäncke; Huang, Yanxiong; Staiger, Jochen F., Steinmetz, Helmuth, (1995). Increased Corpus Callosum Size in Musicians. Neuropsychologia, Vol. 33, No. 8, pp. 1047-1055.

Thomas, David (2003). Internet Access Soars in Schools, But “Digital Divide” Still Exists at Home for Minority and Poor Students. U. S. Department of Education.

Traber, Chris (2007, September). Poor Students Struggle In Class. YorkRegion.com News.

Whaley, Roger (2008, September 10). SmartMusic 11! – MakeMusic has released SmartMusic 11!. The Band Ed Tool Shed (Weblog).

Article Source: http://www.articlesbase.com/k-12-education-articles/technology-in-and-for-the-instrumental-music-classroom-578863.html

This question has been debated for as long as time has existed. Even the great Greek and Roman philosophers approached the question: is music something that should be taught and does it help the development of children? Plato answered “I would teach children music, physics, and philosophy; but most importantly music, for in the patterns of music and all arts are the keys to learning.” And again “what then is the education to be? Perhaps we could hardly find a better than that which the experience of the past has already discovered, which consists, I believe, in gymnastic, for the body, and music for the mind.”

In all cultures of the world music plays an important role. While these roles may change depending on the culture it is impossible to separate music from the life of an individual. While some may argue the role of music in our lives it is impossible to escape it. Even in the popular culture of Australia it is impossible to go shopping without hearing music. Music provides a means of communication and expression of culture and individual identity.

Children are immersed in music from birth and will be for their entire life. If this is the case why teach it? Is not the constant immersion in music enough? To this I say; is the fact that we witness the results of scientific principals on a day to day basis result in the understanding of those scientific principles? No it does not and likewise for music it does not either. The day to day encounters we have with music can move us but the understanding of this music can help us grow as individuals.

In many cultures the family plays the main role in music education. Families are most commonly the ones that teach children the music of their culture. As young children, we are commonly sung nursery rhymes. These provide entertainment for the child and often information in small repeated fashion. Children learn through the repetition and structure that the information was delivered in. many nursery rhymes teach fundamental life lesson and therefore sets music up as a means of educating. Children learn from music from a young age and will continue to for the rest of their lives. In a world where globalization and consumerism are dominating cultural identities are drifting into the background and children are more likely to be sung pop songs as lullabies than nursery rhymes. The benefit of nursery rhymes and progressive learning has become an issue. Children are missing out on fundamental learning opportunities.

The Mozart effect which gained a large following in the 1990’s claimed that listening to Mozart as a baby will make a child smarter. While this movement was short lived and there is little proof that it works there has been no denying that children who learn music will achieve higher in other aspects of their academic life. In earning music children learn to express their identities, gain confidence and develop sense of time and space. A research team at the university of Munster in Germany discovered that students who study music have more developed abstract reasoning skills which are closely linked to learning in the areas of science and maths.

I do not believe that there is any argument to this question…music is a vital part of a child’s education and should be taken seriously. Listening to music is not enough! A child must learn to think musically and that is what will help assist the development of the child and their academic development.

Written by Gemma Lee from www.shinemusic.com.au: teachers of piano, saxophone, violin, singing, drums, electric guitar, acoustic guitar, flute and clarinet.

Article Source: http://www.articlesbase.com/music-articles/does-music-help-children-221497.html

Designed by Tish Ciravolo, Ron Manus, and built by master craftsman and world-renowned guitar luthier John Carruthers, the Rock Candy Pink Label Guitar is the first U.S.A.-made model to be released by Daisy Rock Guitars, the original “Girl-Guitar” company. This top-of-the-line, professional quality instrument features an ultra lightweight mahogany body, and a 24¾” scale bolt-on slim-profile mahogany neck with 22 medium frets, a rosewood fingerboard, and star inlays. The slimmer neck and lightweight design makes the guitar easier and more comfortable for girls to play.

The Pink Label Guitar’s high-end hardware includes a TonePros® Tune-O-Matic Bridge with Stopbar, Sperzel Locking Tuners, a Seymour Duncan ‘59 [SH-1] bridge pickup, and a Seymour Duncan JB [SH-4] neck pickup. The guitar’s electronics feature dual volume knobs and dual tone knobs with push-pull tone controls that “tap” the humbuckers, giving players additional sonic versatility. The Pink Label guitar comes in a Candy Apple Pink finish and is strung with D’Addario EXL 110 Strings.

And of course, it’s gloriously, brightly, pink.

It comes as an EXE file (so it’s PC only unless you have PC emulation on your Mac):

“All you have to do is to load a media file (wav or mp3) and click a button. Chord Pickout will transcribe the music and write down the recognized chords. The process is fully automated.

The best in Chord Pickout is that it has been designed with the ordinary user in mind, the one who doesn’t have perfect pitch and wants to play popular songs. With a little music knowledge and this program, you can easily figure out any song. Chord Pickout lets you recognize chords, write them down, edit chords and lyrics added and also print them.”

Of course, this music can then be used whether you’re a guitarist, pianist, or other instrumentalist.

Its main features are:

• Supports mp3 and wav files;
• Recognizes and displays the complete view of song chords;
• An easy-to-use interface;
• Ability to edit chords and add lyrics;
• Ability to print chords;
• Allows guitar fingering, makes playing the chords more simple.

I’ve no idea how well the software works, but it has a free 14-day trial. It costs US$39.95.

Anyone using this want to review it? Leave a comment below.

Chord Pickout

The Learn & Groove Alphabet Drum is aimed at aimed at 6-36 month old babies/toddlers.

Each tap introduces baby to the alphabet in both English and Spanish, which helps promote an understanding of the building blocks of language. Music Play mode lets baby explore and create music, which encourages creative interaction and open-ended play. Engaging music and interactive play modes encourage baby to tap, crawl and dance, which helps develop gross motor skills.

The unit teaches:

• Letters A-Z
• Vocabulary
• Cause & Effect
• Motor Skills

It’s priced US$19.99

Product page