Music Therapy: Can Music Really
“Soothe The Savage Beast?”
Music Therapy: Can Music Really “Soothe The Savage Beast?”
It has long been suggested that “music soothes the savage beast.” But is this true? And if it is, does this have any implication where humans are concerned? The answer, apparently, is yes. To illustrate this, researchers point to the different physiological changes that take place within the human body in response to different sounds and noises. A loud noise that shatters the silence sets the human heart racing and stimulates a rush of adrenaline that prepares you for flight. In contrast a soft, soothing sound helps us to relax.
Music therapy has, in fact, been around for thousands of years. Nearly four thousand years ago the Hebrew Scriptures recorded that the boy who would later become King David was hired by his predecessor to play the harp to calm King Saul when he would go into a rage. Likewise, the use of music therapy is found in the writings of ancient civilizations such as Egypt, China, India, Greece and Rome.
More recently, scientists have been studying the effects of music therapy and have documented changes in respiratory rates, blood pressure, and pulse in response to musical stimuli. Likewise, researchers in the realm of music therapy have found that the use of music therapy can be effective in areas as diverse as IQ and recovery rates, pain management and weight loss.
Some object that this sounds too good to be true. How can music therapy change something like pain management? Researchers tell us that the reason music therapy works is based on how we hear. Sound is little more than vibrations in the air that are picked up by the inner ear and transferred to the brain which is a key component in your nervous system and controls the functions of the body and the brain responds to the stimuli that it is given.
In light of this, music therapy can and often is used in a wide variety of applications. One common application for music therapy is in working with autistic individuals because research has found that music can help autistic children to express themselves. Likewise, music therapy has been found to help individuals with physical disabilities to develop better motor skills.
With music therapy, individuals with high levels of anxiety can be helped to express suppressed emotions thereby discharging anger, or enabling the individual to express the joy they would not otherwise be able to express. Likewise, research has found that music therapy can help lower the anxiety levels of hospital patients who find themselves facing frightening prospects and in an unfamiliar environment. Furthermore, music therapy has been found to help medical professionals with pain management such that they have been able to reduce pain medication by as much as one half by helping to stimulate the production of the body’s own pain killers, called endorphins.
Music therapy can come is a wide variety of forms. In some cases it’s as simple as having the individual listen to particular music. In other cases music therapy requires a more interactive approach, having the individual respond to the music either in dance or using some other form of expression. But in its many forms, music therapy has often been found to be beneficial
Duane Shinn is the author of over 500 music books and music educational materials such as DVD's, CD's, musical games for kids, chord charts, musical software, and piano lesson instructional courses for adults. He has also logged time as an assistant music therapist, piano tuner, funeral and wedding singer, and assorted other musical positions. His book-CD-DVD course titled "How To Dress Up Naked Music On The Piano!" has sold over 100,000 copies around the world. He holds advanced degrees from Southern Oregon University and was the founder of Piano University in Southern Oregon. He 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 58,300 current subscribers.
Learn piano lessons at PlayPiano.com
Wednesday, August 17, 2005
Monday, August 15, 2005
Saturday, August 13, 2005
How Many Chords Are There, Anyway?
How Many Chords Are There, Anyway?: "How Many Chords Are There, Anyway?
How Many Chords Are There, Anyway?
Since chords (the main component of harmony) are one of the three most vital elements of music � the others being melody and rhythm � it would be useful to know how many chords there are. And it doesn�t matter whether you play piano or guitar or some other instrument � chords are chords.
It�s certainly not necessary to learn all the chords in the whole wide world, but it is necessary to learn some of them � at least enough to allow you to harmonize the songs you would like to play.
But meanwhile, there are 3 chords -- just 3 -- that you absolutely, positively have to know. If you don't know these three, there's hardly a song in the whole world that you could play. But by knowing just 3 chords, you can play hundreds, if not thousands of songs! And those chords are simply the primary chords in any given key:
�The I chord (the chord built on the 1st degree of the scale)
�The IV chord (the chord built on the 4th degree of the scale)
�The V chord (the chord built on the 5th degree of the scale)
For example, if you were playing in the Key of C, the I chord would be C (c, e, g), the IV chord would be F (f, a, c), and the V chord would be G (g, b, d).
But as you probably know, there are thousands of other chords, so it would be helpful to at least know of their existence and maybe someday learn them.
So here goes:
Since there are 12 major keys one can play in (not counting enharmonic keys � keys that sound the same but are written differently), there are:
*12 major triads (a triad is a 3 note chord)
*12 minor triads
*12 diminished triads
*12 augmented triads
*12 diminished 7th"
How Many Chords Are There, Anyway?
Since chords (the main component of harmony) are one of the three most vital elements of music � the others being melody and rhythm � it would be useful to know how many chords there are. And it doesn�t matter whether you play piano or guitar or some other instrument � chords are chords.
It�s certainly not necessary to learn all the chords in the whole wide world, but it is necessary to learn some of them � at least enough to allow you to harmonize the songs you would like to play.
But meanwhile, there are 3 chords -- just 3 -- that you absolutely, positively have to know. If you don't know these three, there's hardly a song in the whole world that you could play. But by knowing just 3 chords, you can play hundreds, if not thousands of songs! And those chords are simply the primary chords in any given key:
�The I chord (the chord built on the 1st degree of the scale)
�The IV chord (the chord built on the 4th degree of the scale)
�The V chord (the chord built on the 5th degree of the scale)
For example, if you were playing in the Key of C, the I chord would be C (c, e, g), the IV chord would be F (f, a, c), and the V chord would be G (g, b, d).
But as you probably know, there are thousands of other chords, so it would be helpful to at least know of their existence and maybe someday learn them.
So here goes:
Since there are 12 major keys one can play in (not counting enharmonic keys � keys that sound the same but are written differently), there are:
*12 major triads (a triad is a 3 note chord)
*12 minor triads
*12 diminished triads
*12 augmented triads
*12 diminished 7th"
Friday, August 12, 2005
Exciting ‘Crash Course’ in Piano Playing for Adults
Week 3 Of The Exciting ‘Crash Course’ in Piano Playing for Adults
http://www.pianolessonsbyvideo.com/articles/3-crash-piano-course.htm
Week Three - Crash Course For Adults in Exciting Piano Playing
After a quick review of week two's lesson, Duane begins week three by further explaining the key of C and several of its concepts: family chords, principal chords and a bit of scale structure. And while some of these concepts are simply sneak peeks at what's to come in your year-long piano training, the knowledge is valuable to a greater understanding of the songs you've played and will be playing. You'll begin hands-on practice with a new piece exercising your note-reading ability and chord recognition, one that even serves to solidify your knowledge of the C scale's inner-workings.
Practice will then continue with a discussion of the treble and bass clef -- specifically the bass, which is a brand new concept. In addition to reviewing left-hand fingerings, you'll learn to locate and read notes in both clefs using a series of tried and true anagrams. You'll then practice one song two ways: first by reading music and pointer chords only in the treble clef, then by taking those previously learned pointer chords to the bass clef staff (which is different than the treble clef staff as far as note reading is concerned). Duane slowly walks you through both versions of this song, pointing out the important similarities and divulging common tips for successfully understanding and playing in both clefs. You'll also learn the difference between reading music as it's written and in lead-sheet format, the way in which you've been playing accompaniment so far. Instead of relying on chord symbols to guide your accompaniment, you'll begin to read specific notation and understand the benefits of both techniques.
For further technique exercise, you'll be assigned a few practice songs from the supplementary book. These songs function as an essential review; while the main text's songs often focus mostly on the technique most recently learned, the supplementary songs include everything covered so far, allowing you to constantly practice and apply each week's concepts.
http://www.pianolessonsbyvideo.com/articles/3-crash-piano-course.htm
Week Three - Crash Course For Adults in Exciting Piano Playing
After a quick review of week two's lesson, Duane begins week three by further explaining the key of C and several of its concepts: family chords, principal chords and a bit of scale structure. And while some of these concepts are simply sneak peeks at what's to come in your year-long piano training, the knowledge is valuable to a greater understanding of the songs you've played and will be playing. You'll begin hands-on practice with a new piece exercising your note-reading ability and chord recognition, one that even serves to solidify your knowledge of the C scale's inner-workings.
Practice will then continue with a discussion of the treble and bass clef -- specifically the bass, which is a brand new concept. In addition to reviewing left-hand fingerings, you'll learn to locate and read notes in both clefs using a series of tried and true anagrams. You'll then practice one song two ways: first by reading music and pointer chords only in the treble clef, then by taking those previously learned pointer chords to the bass clef staff (which is different than the treble clef staff as far as note reading is concerned). Duane slowly walks you through both versions of this song, pointing out the important similarities and divulging common tips for successfully understanding and playing in both clefs. You'll also learn the difference between reading music as it's written and in lead-sheet format, the way in which you've been playing accompaniment so far. Instead of relying on chord symbols to guide your accompaniment, you'll begin to read specific notation and understand the benefits of both techniques.
For further technique exercise, you'll be assigned a few practice songs from the supplementary book. These songs function as an essential review; while the main text's songs often focus mostly on the technique most recently learned, the supplementary songs include everything covered so far, allowing you to constantly practice and apply each week's concepts.
Crash course in piano playing for adults - Week 3
http://www.pianolessonsbyvideo.com/articles/3-crash-piano-course.htm
Week Three
After a quick review of week two's lesson, Duane begins week three by further explaining the key of C and several of its concepts: family chords, principle chords and a bit of scale structure. And while some of these concepts are simply sneak peeks at what's to come in your year-long piano training, the knowledge is valuable to a greater understanding of the songs you've played and will be playing. You'll begin hands-on practice with a new piece exercising your note-reading ability and chord recognition, one that even serves to solidify your knowledge of the C scale's inner-workings.
Practice will then continue with a discussion of the treble and bass clef -- specifically the bass, which is a brand new concept. In addition to reviewing left-hand fingerings, you'll learn to locate and read notes in both clefs using a series of tried and true anagrams. You'll then practice one song two ways: first by reading music and pointer chords only in the treble clef, then by taking those previously learned pointer chords to the bass clef staff (which is different than the treble clef staff as far as note reading is concerned). Duane slowly walks you through both versions of this song, pointing out the important similarities and divulging common tips for successfully understanding and playing in both clefs. You'll also learn the difference between reading music as it's written and in lead-sheet format, the way in which you've been playing accompaniment so far. Instead of relying on chord symbols to guide your accompaniment, you'll begin to read specific notation and understand the benefits of both techniques.
For further technique exercise, you'll be assigned a few practice songs from the supplementary book. These songs function as an essential review; while the main text's songs often focus mostly on the technique most recently learned, the supplementary songs include everything covered so far, allowing you to constantly practice and apply each week's concepts.
Week Three
After a quick review of week two's lesson, Duane begins week three by further explaining the key of C and several of its concepts: family chords, principle chords and a bit of scale structure. And while some of these concepts are simply sneak peeks at what's to come in your year-long piano training, the knowledge is valuable to a greater understanding of the songs you've played and will be playing. You'll begin hands-on practice with a new piece exercising your note-reading ability and chord recognition, one that even serves to solidify your knowledge of the C scale's inner-workings.
Practice will then continue with a discussion of the treble and bass clef -- specifically the bass, which is a brand new concept. In addition to reviewing left-hand fingerings, you'll learn to locate and read notes in both clefs using a series of tried and true anagrams. You'll then practice one song two ways: first by reading music and pointer chords only in the treble clef, then by taking those previously learned pointer chords to the bass clef staff (which is different than the treble clef staff as far as note reading is concerned). Duane slowly walks you through both versions of this song, pointing out the important similarities and divulging common tips for successfully understanding and playing in both clefs. You'll also learn the difference between reading music as it's written and in lead-sheet format, the way in which you've been playing accompaniment so far. Instead of relying on chord symbols to guide your accompaniment, you'll begin to read specific notation and understand the benefits of both techniques.
For further technique exercise, you'll be assigned a few practice songs from the supplementary book. These songs function as an essential review; while the main text's songs often focus mostly on the technique most recently learned, the supplementary songs include everything covered so far, allowing you to constantly practice and apply each week's concepts.
Lesson 3 in Piano Crash Course For Adults
Week Three - Piano Crash Course For Adults
After a quick review of week two's lesson, Duane begins week three by further explaining the key of C and several of its concepts: family chords, principle chords and a bit of scale structure. And while some of these concepts are simply sneak peeks at what's to come in your year-long piano training, the knowledge is valuable to a greater understanding of the songs you've played and will be playing. You'll begin hands-on practice with a new piece exercising your note-reading ability and chord recognition, one that even serves to solidify your knowledge of the C scale's inner-workings.
Practice will then continue with a discussion of the treble and bass clef -- specifically the bass, which is a brand new concept. In addition to reviewing left-hand fingerings, you'll learn to locate and read notes in both clefs using a series of tried and true anagrams. You'll then practice one song two ways: first by reading music and pointer chords only in the treble clef, then by taking those previously learned pointer chords to the bass clef staff (which is different than the treble clef staff as far as note reading is concerned). Duane slowly walks you through both versions of this song, pointing out the important similarities and divulging common tips for successfully understanding and playing in both clefs. You'll also learn the difference between reading music as it's written and in lead-sheet format, the way in which you've been playing accompaniment so far. Instead of relying on chord symbols to guide your accompaniment, you'll begin to read specific notation and understand the benefits of both techniques.
For further technique exercise, you'll be assigned a few practice songs from the supplementary book. These songs function as an essential review; while the main text's songs often focus mostly on the technique most recently learned, the supplementary songs include everything covered so far, allowing you to constantly practice and apply each week's concepts.
After a quick review of week two's lesson, Duane begins week three by further explaining the key of C and several of its concepts: family chords, principle chords and a bit of scale structure. And while some of these concepts are simply sneak peeks at what's to come in your year-long piano training, the knowledge is valuable to a greater understanding of the songs you've played and will be playing. You'll begin hands-on practice with a new piece exercising your note-reading ability and chord recognition, one that even serves to solidify your knowledge of the C scale's inner-workings.
Practice will then continue with a discussion of the treble and bass clef -- specifically the bass, which is a brand new concept. In addition to reviewing left-hand fingerings, you'll learn to locate and read notes in both clefs using a series of tried and true anagrams. You'll then practice one song two ways: first by reading music and pointer chords only in the treble clef, then by taking those previously learned pointer chords to the bass clef staff (which is different than the treble clef staff as far as note reading is concerned). Duane slowly walks you through both versions of this song, pointing out the important similarities and divulging common tips for successfully understanding and playing in both clefs. You'll also learn the difference between reading music as it's written and in lead-sheet format, the way in which you've been playing accompaniment so far. Instead of relying on chord symbols to guide your accompaniment, you'll begin to read specific notation and understand the benefits of both techniques.
For further technique exercise, you'll be assigned a few practice songs from the supplementary book. These songs function as an essential review; while the main text's songs often focus mostly on the technique most recently learned, the supplementary songs include everything covered so far, allowing you to constantly practice and apply each week's concepts.
Week Two Of The Exciting ‘Crash Course’ in Piano Playing for Adults
Week Two Of The Exciting ‘Crash Course’ in Piano Playing for Adults
Week two starts with a basic review of the techniques learned in week one; you'll briefly cover the chords, fingerings and exercises practiced during the first week to ensure your ability to easily move forward to week two's new concepts. After warming up and solidifying your week one lesson, you'll be introduced to three new notes, widening your note knowledge to an entire eight-note octave. Duane demonstrates the new fingerings needed to accommodate this extended range and shows you the technique used to play an entire C scale with only one hand. He'll then slowly guide you through a new song that covers every note you've learned in the C scale and exercises your ability to play them with the proper fingerings; the song also allows you the opportunity to practice your left-hand chord accompaniment.
The lesson then moves on to two new chords that supplement the three introduced last week. Again using the pointer system, you'll learn the proper fingerings for each chord and the importance of these chords to the C major scale; Duane also adds a new octave to your range and explains the value of pick-up notes. You'll begin work on two more songs in the main text (including the ever popular "Oh, Susanna") to exercise your fingering technique and chord recognition, learning to practice the left and right hand parts individually before putting the two together. Duane then takes you to the supplementary book to try your hands at "Twinkle, Twinkle Little Star" and "On Top of Old Smoky," two pieces that fully test your ability to apply the concepts taught so far.
Week two starts with a basic review of the techniques learned in week one; you'll briefly cover the chords, fingerings and exercises practiced during the first week to ensure your ability to easily move forward to week two's new concepts. After warming up and solidifying your week one lesson, you'll be introduced to three new notes, widening your note knowledge to an entire eight-note octave. Duane demonstrates the new fingerings needed to accommodate this extended range and shows you the technique used to play an entire C scale with only one hand. He'll then slowly guide you through a new song that covers every note you've learned in the C scale and exercises your ability to play them with the proper fingerings; the song also allows you the opportunity to practice your left-hand chord accompaniment.
The lesson then moves on to two new chords that supplement the three introduced last week. Again using the pointer system, you'll learn the proper fingerings for each chord and the importance of these chords to the C major scale; Duane also adds a new octave to your range and explains the value of pick-up notes. You'll begin work on two more songs in the main text (including the ever popular "Oh, Susanna") to exercise your fingering technique and chord recognition, learning to practice the left and right hand parts individually before putting the two together. Duane then takes you to the supplementary book to try your hands at "Twinkle, Twinkle Little Star" and "On Top of Old Smoky," two pieces that fully test your ability to apply the concepts taught so far.
Wednesday, August 10, 2005
3 Secrets To Understanding
3 Secrets To Understanding: "3 Secrets To Understanding
What Music Is Made Of
3 Secrets To Understanding What Music Is Made Of
It�s no secret that virtually everyone loves music in some form or other.
The country-western fan may not like jazz, but he or she sure loves the sound of pickin� & grinnin�.
And that�s as it should be. If we all liked the same kind of music, there just wouldn�t be the variety that is available to us now. We can choose from musical styles ranging from heavy classical and opera to rock to children�s songs to Broadway musicals to gospel music to the blues.
Each has its place, and each seems on the surface to be drastically different than another form of music. The key word is �on the surface.� But beneath the surface of all music is a commonality that is organic to all forms and styles of music.
So what does all music have in common?
At least 3 things � sometimes more, but never less:
Melody
Rhythm
Harmony
The melody is the part of a song or composition that you whistle or hum � in other words, the tune of the song. In one sense, it is the most visible of the 3 elements, because melody is what identifies a song. Without melody, it would be difficult to even conceive of a song or piece.
In musical notation, the melody is almost always written in the treble clef � also known as the treble staff. It consists of a horizontal line of notes that move up and down on the clef as the tune moves higher or lower.
Rhythm is the beat � the swing � the throb of the music. It happens in repeating patterns, depending upon the type of music. It is like a horizontal line of beats which occur at regular or semi-regular intervals. A waltz, for example, basically consists of a heavy bea"
What Music Is Made Of
3 Secrets To Understanding What Music Is Made Of
It�s no secret that virtually everyone loves music in some form or other.
The country-western fan may not like jazz, but he or she sure loves the sound of pickin� & grinnin�.
And that�s as it should be. If we all liked the same kind of music, there just wouldn�t be the variety that is available to us now. We can choose from musical styles ranging from heavy classical and opera to rock to children�s songs to Broadway musicals to gospel music to the blues.
Each has its place, and each seems on the surface to be drastically different than another form of music. The key word is �on the surface.� But beneath the surface of all music is a commonality that is organic to all forms and styles of music.
So what does all music have in common?
At least 3 things � sometimes more, but never less:
Melody
Rhythm
Harmony
The melody is the part of a song or composition that you whistle or hum � in other words, the tune of the song. In one sense, it is the most visible of the 3 elements, because melody is what identifies a song. Without melody, it would be difficult to even conceive of a song or piece.
In musical notation, the melody is almost always written in the treble clef � also known as the treble staff. It consists of a horizontal line of notes that move up and down on the clef as the tune moves higher or lower.
Rhythm is the beat � the swing � the throb of the music. It happens in repeating patterns, depending upon the type of music. It is like a horizontal line of beats which occur at regular or semi-regular intervals. A waltz, for example, basically consists of a heavy bea"
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