how to find the best disc music box

How to Find the Best Disc Music BoxWriten by Monique Hawkins

For the music box and antique collector who enjoys wooden keepsake boxes, children's jewelry boxes, wooden music boxes, ballerina music boxes, and music trinket boxes, disc movements also make valuable collectibles. The following are twelve interesting models of disc music boxes that collectors can choose from.

Adler Disc Music Box

This music box was made by Julius H Zimmerman. It comes with a standard mechanism and a double-disc machine. Disc sizes range from 71/4 to 26 inches. The trademark of this disc music box is an eagle in flight before sunrise.

Baskanion Disc Box

This box was made by Paul Ehrlich and Company of the Fabrik Leipziger Musikwerke , Leipzig, Germany in the 1800?s. It is a card-style disc music box with a disc size of 11 inches.

Britannia

The Britannia disc box ranges in sizes from 5 inches to 25 inches. Made by B.H. Abrahams, this box has a clear tone and was made in both upright and horizontal models. The trademark is a lion with a globe inside a sunburst.

Capital

The Capital Cuff Box disc box was made by F.G. Otto. While it t is not a true disc music box, it still is unique due to its mechanism that had a distinguished conical metal sleeve, which looked like a dress cuff. The sleeve could be turned like a cylinder music box. The cuffs range in sizes from 4 i/2 inches to 7 3//4 inches.

Celesta Disc Music Box

These disc boxes were particularly noted for their colorfully decorated discs ranging in sizes from 8 inches to 19 5/8 inches. They were also made in upright and horizontal models. The trademark for this disc music box was a scroll on a bed of flowers on the discs.

Criterion

Made by F.G. Otto, these disc boxes were similar to the interchangeable disc box. Their disc sizes ranged from 11 inches to 20 inches.

Edelweiss

This disc music box has a beautiful, clear tone. All of them were made to be table-top models. The disc ranges from 12 inches to 22 inches. This box was made by Hermann Thoerns and was also offered under the name Helvetia.

Empress

The Empress is a disc box that was made by Mermod Freres and was the exact same at the Mira box.

Eroica

This is a multiple-disc music box that was made with in a two to three part disc playing system. The discs all play simultaneously.

Euphonia

The Euphonia was made by F.G. Otto. It really is a later version of the Criterion.

Euphonion

The disc sizes for this disc music box range from 11 inces to 19 5/8 inches. It was sold by Euphonion Musikwerke.

Euterpephon

This disc music box was made by A.W. Neumann. The trademark for it is a lyre with a banner inscripted with Euterpephon in the center-drive discs.

For the music box and antique collector, there is a wide variety of specialized disc music boxes to choose from. Don't you think it is time to add to your collection of wooden keepsake boxes, children?s jewelry boxes, wooden music boxes, ballerina music boxes, and music trinket boxes

Established in May of 2005, http://www.My-Music-Box.com is a music box gift store specializing in products such as inlaid ballerina music boxes for ballerina rooms dcor, whimsical carousel music boxes, and musical jewelry boxes. The company provides interesting information for music lovers of all ages. Owner Monique Hawkins is also the author of the blog What You Never Knew About Music http://whatyouneverknewaboutmusic.blogspot.com , and owner of the eBay store Monique's Music Box at: http://stores.ebay.com/Moniques-Music-Box Monique can be contacted at (540) 858-2885.

musical improvisation basics four strategies for playing wrong notes

Musical Improvisation Basics - Four Strategies For Playing Wrong NotesWriten by Ben Dowling

While it probably doesn't seem like this would help - let's face it - if you are unwilling to play a lot of wrong notes, you're never going to learn how to do anything hard. And improvising is hard! It isn't something that you can do safely, with the assurance that you will look good while trying to get good at it. You won't look good. You won't sound good -- and the sooner you realize this, the sooner you will be able to do something of real value.

Strangely, we are from a culture that reinforces the idea that we should always look good. I mean there are actually people who think you should look good when you're sick. When you get up in the middle of the night. Or when you haven't slept for 36 hours.

Get the picture?

So, now that that's said - what is the best strategy for playing wrong notes and actually making progress at the same time?

De-emphasizing Note Values

I have found that the best way to start is by de-emphasizing note values - focussing instead upon rhythm, texture, density and shape. Music is way more than just the notes you play, and note selection tends to be the very thing that stops people in their tracks. Thus, my Wrong Note Strategy.

The following are possible points of departure for playing wrong notes - properly:

Melodic Shape - Conceptualize a melody - don't get too specific with notes, but think only in terms of the overall shape of the line. Does it go up? Does it climb? Does it jump? If you have a hard time, try creating a melody on your instrument that is shaped like something else. I think it was John Cage (a rather famous composer) that used the New York skyline as the basis for a piece of music. My vote is, if John Cage can do it, we can too.

Density - Think about density. Are there a lot of notes all close together? Or are they spaced wide apart? Density shape is determined by where there is little space between notes, and where there is a lot of space. It is applicable melodically, harmonically and rythmically. I think there are even methods of encoding data that use this approach (can't remember the name of it). I figure, if it's OK for Intel to use this concept for data, I think it's OK for us to use it too.

Rhythm - What about a rhythmic approach? What if note values were totally unimportant, and we thought only percussively about the music? Like using blocks of notes - dissonances as though playing drums with the keyboard (or whatever)? It seems to have worked for legions of 20th Century composers, so why not for us?

Texture - How about making sounds - funny sounds - on our instrument? I remember working with a violinist from the LA Philharmonic, who told me she couldn't improvise. I asked if she could make noises. She said, Oh sure! I like making really funny noises like this; and this; and this. We proceeded to play funny sounds for the next hour and a half, experimenting with all sorts of melody, harmony, rhythm and texture - coming up with some really beautiful stuff, after which she asked, was that improvising? I said, it sure was, and she was totally changed by the experience.

I love that story, because it really shows that all we really need is permission to play wrong notes. Once we are willing to do that, then we can experiment - often on a very high level - with the vital textural, rhythmic, shape and density aspects of music.

It still communicates, it's genuinely creative, and it really is music.

So play some wrong notes today!

2000-2005 Ben Dowling, the author of The Metaphysics of Improvisation - is a pianist, composer and an authority on music improvisation and publishes Music- Improv.com, a web site that provides useful paradigms and practices for musicians interested in expanding their ability to improvise. Learn more about The Metaphysics of Improvisation and The Music Continuum by visiting http://www.music-improv.com

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wedding reception music

Wedding Reception MusicWriten by Alison Cole

Any wedding occasion will not be complete without the wedding reception. If the wedding ceremony is the solemn celebration, the wedding reception is the time for congratulations all round. Therefore, the wedding reception music should be lively and should create a happy atmosphere inside the venue.

As the newlywed couple walk in as well as the guests, musicians should strike up a song to set a cheerful mood from the outset. Any music style that puts a spring in the step can be appropriate. If you want a glamorous up-market ambience to the occasion, you can choose light classical or swing. But if you want a friendlier family feel, you can consider traditional and well-known tunes that people will recognize.

Wedding Reception Music Options

At the reception, you can choose from live band music, music from duo or trio performers, or perhaps you can just settle on recorded music to be played by a disc jockey. Hiring a live band is a good option. However, before booking one for the wedding reception, you should ask them if you could listen to their music first. You should also talk to them about their emcee duties.

Another option for entertainment is to get duo or trio performers. A duo can provide sufficient atmosphere for up to 70 people. A trio, on the other hand, is recommended for 100 guests. And for a larger group, perhaps you should start considering a quartet. Whether you hire a duo, trio, or quartet, your specific choice of music should be discussed to them well before the event and they should also provide you with ideas to make the reception even more entertaining.

And lastly, you can hire a disc jockey to play recorded music. A good disc jockey with experience on weddings can entertain in between breaks. If you consider this option, you have to plan your wedding reception music early because good talents usually get booked fast. You dont want to end up having to select a brand new disc jockey with very little experience at weddings.

These are some of the options that you can look into when you plan for your wedding reception music. Whatever you choose, just make sure that the wedding music played will be appropriate for the occasion and that it will keep on going at all times to avoid the dreaded silence. Remember, your wedding should be a happy and lively event.

Wedding Music provides detailed information on Wedding Music, Wedding Ceremony Music, Wedding Reception Music, Wedding Music Bands and more. Wedding Music is affiliated with Top 10 Wedding Songs.

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james blunt britains newest important brings talent back to the us music scene

James Blunt, Britain's Newest Important, Brings Talent Back to the U.S. Music SceneWriten by Mara Siegler

Like much of the country I am sick of todays media driven, image based, digitized and synthetically enhanced music. The so called artists who are studio packaged to marketing analyzed perfection complete with the synergistic packaging of cross promotional, cross sales compatibility. Reality television programs, perfumes, clothing lines, books, posters, and beauty products have overtaken and outweighed the importance of sound and soul. What is left is a sadly small handful of true talent, their existence almost an anomaly, a mere death rattle of the now mythical days when music meant something and talent was a factor.

Due to this down spiraling trend, I have ceased listening to the radio and stuck to exploring indie labels and lesser known bands through the internet and friends recommendations. Last week when a friend invited me to go with them to see Britains newest import, James Blunt, I arrived at Bowery Ballroom with little to no expectations except to hit up the bar.

With jack and coke in hand, I watched as Blunt took the stage. Young, attractive with piercing blue eyes and unshaven face, downplayed style with a green t-shirt and sneakers, I figured that the view would keep me entertained even if the music didnt. From the first song, I was transfixed. The sound was affected, high yet masculine, tender with an undeniable strength of both voice and meaning. His ballad like lyrics, a mix of poetic waxings on dawns and beauty, managed to avoid clich and instead invoke personal sensitivities with poignant delicacy. They resonated.

The entire concert maintained an awe I have not felt for a long time. The sight of true talent, raw and emotive, is such a rarity that it leaves the listener almost breathless. His piano playing paired to stunning perfection with his vocal falsetto during No Bravery, written in 1999 when he served as a soldier in Kosovo, almost produced a tear. The tucking of his guitar to the side during many of his songs came off as unrehearsed and a natural extension as he stood exposed, his voice raw and high with emotion. I bought the album the next day and have had it running on replay for two weeks now with no sign of getting sick of it.

In the U.K. Blunts debut Back to Bedlam has overtaken Coldplay selling 1.53 million albums and held the position of number one with the single Beautiful,: for several weeks. This is the first song that has been released in the U.S. and has deservedly won him an instant fan base. Songs such as Wise Man, So Long Jimmy, and Cry, are sure guarantees to keep him in the hearts of millions of adolescent girls and heartbroken lovers. I have personally experienced the spontaneous playing of the mental montage of ex-boyfriends while listening to Goodbye My Lover, and I am self-proclaimed die hard romantic cynic. My only complaint is the repeated reference to Dorian Gray in the chorus of Tears and Rain, which comes off as a strained attempt at literary intellectualism but manages only to conjure up a bad memory of the recent film League of Extraordinary Gentleman.

Blunts album was produced in L.A. by Tom Rothock and he is managed by the same person as Elton John which gives me a hope filled with a sincerity so lacking in the majority of todays music, that Blunt is able to maintain his genuineness and remain centered now that he has crossed continental borders.

Mara Siegler graduated with a degree in English Creative Writing and now lives in New York working as a freelance writer.

See Online Music Lessons at > http://www.entertainbox.com/

visual kei as a music world vision

Visual Kei As a Music World VisionWriten by Mark Renton

Visual Kei appears to be frequently used in videos and grab audiences attentions. Visual Kei followers are characterised by a rather stunning, although freak appearance of a striking make-up and elaborate costumes, causing a shock effect.

To recall, for instance, Merlyn Manson, who is among few to follow the style in the US. The trend is popular among modern bands, irrespective of rumours, suggesting that the style suffered no popularity in the USA and Europe. The Visual Kei style is peculiar of the tradition to wear relevant make-up and clothing always and everywhere.

The style is credited to have started in Japan in late 80ies through early 90ies as a result of the gothic styles influence. The word visual originates from English; the kei word is what Japanese name for style. The X-Japan and the Buck-Tick are believed to pose as catalysts of the movement. Their followers, including Luna Sea, Melice Mizer, Glay, LArc~en~Ciel, Dir en grey, Pierro are engaged in encouraging boom of Visual Kei media culture.

Each band seeks to vary from a similar one through creating gorgeous and insane images. Though a vast majority of the musicians are male, bend members would often give a priority to make-up and clothing, considered as feminine, which has nothing to do with their sexual orientation, but a combination of visual gothic elements and Japanese cultural traditions. Which is why Japanese gigs often resemble fascinating theatre performances.

Notably, the ancient Japanese Kabuki theatre involved actors, among staff, to play womens parts. Thus, a j-rocker, wearing a lovely pink dress and having his hair styled into violet locks, wrapped around with numerous fillets should cause no astonishment.

Presently, Visual Kei remains as a diverse, ever growing music culture.

Article source: Visual Kei as a music world vision. Music Babylon is a site which gives you access to huge database of music lyrics, lively music forum and some articles about different aspects of single Music.

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chris botti to love again smooth jazz cd review

Chris Botti To Love Again Smooth Jazz CD ReviewWriten by Clyde Dennis

Chris Botti, trumpeter extraordinaire has done it again.

Following the hugely successful CD When I Fall In Love with his latest release, To Love Again.

The smooth jazz world super talent Botti has earned frequent comparisons to Miles Davis and Chet Baker and has seemingly found a successful formula for turning out superb CD's.

In the past in addition to touring with Sting, Botti has played sideman to Paul Simon, Natalie Merchant, Joni Mitchell, and dozens more.

Contributors on the To Love Again includes an amazing line up of music industry heavy hitters. Names like Sting, Michael Buble, Paula Cole, Gladys Knight, Jill Scott, Renee Olstead, Rosa Passos and Steven Tyler, with the London Session Orchestra conducted by Jeremy Lubbock, Billy Childs and Gil Goldstein. Plus a few others as well.

Overall To Love Again is an collection of jazz standards, mostly old school traditional music. My thoughts are if you like traditional music standards, this should be in your collection.

Chris Botti's rendition of the Billie Holiday classic Good Morning Heartache, with Jill Scott singing may be even better than the original rendition of the same song.

While this entire CD is outstanding the truly standout tunes and SmoothJazz247.com favorites are Embraceable You [track 1, What Are You Doing The Rest Of Your Life? - Featuring Sting [track 2, and Are You Lonesome Tonight? - Featuring Paul Buchanan [track 8. My SmoothLee Bonus Pick, and the one that got Sore [...as in Stuck On REpeat is track 10, I'll Be Seeing You - Featuring Billy Childs. Very nice!

Release Notes:

Chris Botti originally released To Love Again on October 18, 2005 on the Sony record label.

CD track list follows:

1. Embraceable You
2. What Are You Doing The Rest Of Your Life? - Featuring Sting
3. My One And Only Love - Featuring Paula Cole
4. Let There Be Love - Featuring Michael Bubl
5. What's New?
6. Good Morning Heartache - Featuring Jill Scott
7. To Love Again
8. Are You Lonesome Tonight? - Featuring Paul Buchanan
9. Lover Man - Featuring Gladys Knight
10. I'll Be Seeing You - Featuring Billy Childs
11. Pennies From Heaven - Featuring Renee Olstead
12. Here's That Rainy Day - Featuring Rosa Passos
13. Smile - Featuring Steven Tyler

To listen to samples of each song on To Love Again by Chris Botti go to: Chris Botti CD - To Love Again Samples

Clyde Lee Dennis, a.k.a. SmoothLee is an AVID music fan, smooth jazz in particular, and in addition to writing CD Reviews for I Love Smooth Jazz.com can also be heard during his radio show which airs online daily at Smooth Jazz 24/7

ten commandments for good music practice

Ten Commandments for Good Music PracticeWriten by Arthur Haule

Reports are surfacing about a recent archeological discovery in the Middle East involving a heretofore unknown second ten commandments. The passage evidently immediately follows the reciting of the Commandments in the fifth chapter of the book of Deuteronomy.

The discovered text reportedly reads as follows:

And after Moses had presented the tablets with the commandments of the Lord to the Hebrew children he reached into his back pocket and pulled out two more tablets of stone. And he spake further.

And the Lord God has given me two more tablets of stone, on which he has written his precepts especially for those who would praise him with song, instructing them in the ways of proper practice.

And Moses read:

I. THOU SHALT HAVE A PLAN BEFORE THOU STARTEST PRACTICING.

II. THOU SHALT WARM UP THOROUGHLY BEFORE THOU STARTEST THINE EXERCISES.

III. THOU SHALT NOT ONLY PLAY THE EASY STUFF, BUT SHALT SPEND TIME ON THAT WHICH THOU NEEDEST TO IMPROVE.

IV. THOU SHALT TRULY LISTEN TO WHAT THOU PLAYEST, RATHER THAN SIMPLY PLAYING WITHOUT INTEREST.

V. THOU SHALT NOT EXPECT THINE PRACTICES TO BE PERFECT.

VI. THOU SHALT NOT CRITICIZE THYSELF OVERLY HARSHLY DURING THE PRACTICE, NOR TAKE THE NAME OF THINE INSTRUMENT OR THINE MUSIC TEACHER IN VAIN WHEN THINGS DON'T GO THE WAY YOU HOPED!

VII. THOU SHALT PUT IN THE TIME THAT IS NECESSARY.

VIII. THOU SHALT NOT NEGLECT SPENDING SOME TIME TO HAVE FUN WITH YOUR INSTRUMENT DURING EVERY SINGLE PRACTICE.

IX. THOU SHALT RECORD THINE PROGRESS IN SOME SORT OF JOURNAL.

X. THOU SHALT PROPERLY PUT AWAY THINE INSTRUMENT, THINE SHEET MUSIC AND ALL THINE OTHER STUFF WHEN THINE PRACTICE TIME IS OVER.

IF THOU FOLLOWEST MINE INSTRUCTIONS THOU SHALT SING WITHOUT SCREECHING, PLAY WITHOUT SQUAWKING, AND SHALT CAUSE THINE NEIGHBORS TO TAP THEIR TOES WITH SMILES UPON THEIR FACES.

Some noted Biblical scholars have expressed doubt that this second set of commandments actually appeared in the original writings. But others have indicated that the Lord would undoubtedly have commanded musicians to practice before playing to Him. And they insinuated that the big, fluffy white clouds we see floating in the sky are actually giant cotton balls the Lord removes from His ears when practice time is over.

Arthur Haule studied violin in a traditional program for ten years. He participated in several orchestras and an opera company in the New York City area and founded a string quartet. He has taken part in several music festivals and even acted as a violin coach. He is currently webmaster of http://www.ViolinStudent.com Although Art learned violin in a tradtional setting, his daughter Adriana studied with a Suzuki Violin teacher. So Art has personal experience in both traditions. And you'll often hear him say, It Doesn't Matter How You Learned, All That Counts Is That You Play!

A fan of classical music, Art is dedicated to promoting the violin no matter what type of music is being played. If there is a melody there, Art probably listens to it.

Art Haule lives in Flower Mound, Texas with his wife Kathy and his daughter Adriana.

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