a unique interview on how to repair music boxes and other mechanical collectibles part 2

A Unique Interview on How to Repair Music Boxes and Other Mechanical Collectibles, Part 2Writen by Monique Hawkins

Ballerina Music Boxes, inlaid music boxes, musical jewelry boxes, cylinder music boxes, and antique music boxes are delicate and beautiful. As most music box and antique collectors know, in order to preserve them, sometimes repair and restoration is needed. For this special work, it is important to choose a company that is reputable and an expert in this area. This is the second part of an interview with music box and mechaical insturment repair and restoration expert, Mr. Jim Weir

Jim does all kinds of antique musical box repairs and restoration. His work includes comb repairs, releading and tuning, dampering, cylinder repairing, and organ bridge work. Jim also offers all manner of musical box work on disc and cylinder music boxes..Let's listen as he continues to give us an inside peek of this unique business.

6. What if your least favorite part of running your business? Your favorite part?

Paperwork. Dealing with taxes and Customs (although I've got quite good dealing with Customs and Carriers). My favorite part? There is a satisfaction in finally getting a job finished; there's also a fair amount of satisfaction in finally getting paid.

7. What are some of your favorite music box and collectible pieces and why?

A 26 consul model Stella. It belonged to the late Bruce Devine and literally arrived in pieces (it had been dropped from a crane while being loaded). Originally Bruce gave it to one of my trade customers, who passed it on to me. Then my trade customer ducked out of the deal, and I ended up working direct for Bruce. It was an `interesting' experience and quite a steep learning curve. At the end though, the box did sound good. Excellent tune arrangements.

8. Is there any interesting history associated with some of your pieces?

I don't collect musical boxes; without being funny I genuinely cannot afford to. Some of the pieces I've worked on have had `history'; as an example the Stella referred to above. Another would be a rare long and short pin Forte-Piano box (maker unknown) I overhauled for a customer in France. It had a silver presentation plaque in the lid; as far as I could gather it was presented to a Mayor in 1847 for some kind of `service to the townspeople'. I'm not up on French politics, but the middle of the 19th century were turbulent times. One of the nicest stories is a box I fully restored for an old lady in Edinburgh. She was in her 70's. The box had been in her family since new, and she had last heard it play when she was a child.

9. What important advice or tips would you give to someone who would like to start a business such as yours either online or offline?

I wouldn't. Things move faster now that we have the Internet. To get fully involved in this kind of work takes time, which the whole `I want it NOW' approach of the Internet doesn't favor. I was lucky in that I had a skill with clocks that I was able to sharpen and direct to music box work. If I had to give advice, I'd say by all means get involved with music boxes, or whatever else begins to drive you, but try to maintain a backup. The wisest thing? Learn that `quitting' is not necessarily a personal failure; it's recognizing that some choices can turn out to be wrong. There are maybe a few music box repairers who would be happier now if, 30 years ago, they'd sold their lathes, workshop tools etc. and taken up farming. Not me though, I hasten to add.

10. For those antique and music box collectors looking to find valuable and interesting pieces for their own collections, where would you suggest they go either online or offline? How about those who are just starting a collection?

Take advice from your friends. Don't necessarily follow it, but give it some thought. Subscribe to music box sale catalogues, it's a good way to check what things actually sell for; they often give the hammer price of items from previous sales. Go to music box auctions if you can; not necessarily to buy anything but to observe, to get a feel not just for how much pieces sell for, but for what sells and what doesn't. Try to figure out why what looked like a nice box didn't sell. If you're really interested in buying a specific musical box, either from a dealer, private seller or at auction it can save you a lot of heartache if you get someone who knows what they're looking at to check the box over and advise you of likely repair costs before you buy it.

A lot of repair costs can be itemized; if a potential customer emailed or wrote to me (even `phoned me) with a good description of a box needing repair, I would do my best to advise them as to how much the repairs could cost before they part up with maybe a lot of money to buy it. I don't charge for this and neither do most restorers; having given advice we all hope for the work if the customer goes on and buys the box. If the box is a particularly fine example, and likely to be expensive to buy, it's can be worth paying a restorers time for them to go and check it out at the sellers address. I've done this; a collector armed with an itemized potential repair cost of something he's interested in buying is in a very strong position when it comes to arguing the sale price with the seller.

Jim ends with saying this about his hopes for the future:

To bring in more work and pay off the mortgage. Ok, there's a lot more to life than that but one way or another, the bills still have to be paid. Most of my work to now has come from dealers; what I'm hoping is that by advertising in the MBSI Journal, I'll attract more work direct from the public. In theory I could put up my public prices, but in practice I cannot, at least not to customers in the USA. They already have to pay shipping costs, and the simple fact is that whether a musical box needs comb work, cylinder work or a full restoration, there's a top limit to how much most people will pay to have it worked on, irrespective of how long the work takes. People have to make choices; your car's broke, your washing machine leaks and the antique music box you inherited from your Grandmother squeaks. Which one do you spend your money on? That's about it really; the sun's shining and it's time to get back to the workshop.

I'd like to personally thank Jim for taking the time to share with us this valuable information about his business as well as letting us get a sneak peak into the world of music box repairs and restoration. Jim Weir can be reached at combwork@aol.com or by telephone/fax at 01144-1575-572647.

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.

do you like madonnas music

Do You Like Madonna's MusicWriten by Douglas Bower

Madonna's music: I could care less about it. Madonna's stage and video acts: Nope! I do not like her music, although she is a talented singer and dancer. I loved her in Evita. But her popular stuff, I would never spend a dime on it.

Notice I don't say it's trash and YOU should not waste your money on it. I cannot say it because the reality is enough people like it to have made the woman a Gazillionaire many times over. For me to say it's a waste of money, or I want to prevent others from throwing their money away would not just be ridiculous but I would make myself look stupid. That I do not like Madonna's music does not constitute proof for my belief it is bad music and the consequent claim her music is a waste of your money. To come out publicly and say something like,

Don't waste your money.

What worthless amateurish drivel.

There is absolutely nothing worthwhile in her music.

and not offer proof for your claim is not just ridiculously silly but grossly irresponsible. It is not a well thought-out, and well-structured argument. It is, if you think about it, hurtful to the person you claim to be criticizing.

I happen to have been a music major at the University of Kansas. I also had enough hours to take a minor in music theory and composition. I have, therefore, a unique perspective in making a judgment call, evaluation, or review on the musicality of Madonna's music. If I wanted to review Madonna's music, I would do so as a musician. I would have the background and skills to make an informed, rational, and critical review. I would not be reviewing her music based on my personal tastes. That would be unfair. I would do so with insight and would say things related to the musicality of her music.

I would not say, Don't waste your money on her music because I didn't care for it.

That would not be a review.

I do not even know what to call it: screed?

And besides, it is unfair to the artist and maybe even unethical. Just because YOU spent money on a CD or a concert ticket and were disappointedit did not appeal to YOUR tastesdoes not give you license to trash it. Others who have a higher degree of musical training than you may see the situation differently. They may contradict you with an insightful review.

I guess some people do not care when they are made to look silly.

Much of the American public does not know how to give an insightful review of a book, concert, singer, opera, or whatever. They make their judgments based on whether or not it appealed to them and not whether it met the objective standards of its genre.

Your tastes are not the objective criteria by which to judge anything done by someone else. At best, all you can say to someone is, I didn't like it, but I may be wrong.

Many also review a play, concert, book, or movie based on what they thought it should be and not for what it was. They review a travelogue as though it was a piece of fiction and that is wrong. They complain over something that they believed (subjectivism) should have been in the book as though the author was supposed to know this to prevent their nasty disappointment and subsequent vicious screed.

And here is the kicker: They will trash something without a modicum of insight in the face of wonderful reviewers who bothered to do their homework and offer insightful reviews.

Lack of Insight Reviewer: There was absolutely nothing worthwhile in thisdo not waste you money.

Insightful Reviewer: This work has the ring of authenticity and one of the best I've seen on the market today.

So, who's right?

Some will say that the fact they spent THEIR money on the work entitles them to trash it.

Ahhhhthe joys of I am an Entitled American!

Well, I still wouldn't pay a dime for a Madonna's concert, CD, or video.

But, I could be wrong.

www.lulu.com/content/170441 You CAN Learn Spanish or Any Language is loaded with practical suggestions to follow whether you want to study a second language at home or abroad. In addition to practical ideas, the author also provides a strategy of how to learn a language. The truth of the matter is that most of the language programs you buy are not that great. The author has weeded out the ones that could be a waste of money and provided an excellent list of language schools, self-study course books, workbooks, and language reference books. Just the ideas on what to do before spending money on an overseas language school can save a person thousands of dollars and endless frustration.

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jazz hiphop blues

Jazz, Hip-Hop, BluesWriten by Sharon White

America, the big melting pot, has always been influencing the music of the whole world. It gave birth to many different styles and music traditions. Jazz, Hip-Hop and Blues are the three most known and most popular traditions that also originated in the US.

One of the most famous of musical traditions is that of the Blues. It has also been one of the most influential, paving the way for many other new styles of music. Blues, a distinct style of music, began to emerge around the 1860's. After the civil war, the newly freed Afro-American people were presented with a new difficulty. They had been removed from the lives that they had previously known and thrown into a new life, a life of segregation and contempt. The American culture could no longer condone the use of slavery, but it was not ready to accept the new free men and women into their society either. Many had to travel the country in search of work. These people were mostly men and those of whom music appealed to most took up instruments such as the guitar and harmonica because these instruments were cheap and easy to travel with. It was in this setting of a sense of deep segregation that the blues was born.

The distinction that made Blues so different from other music was it's clear roots from the work song of the olden days. The early blues artists and even the later Jazz musicians used their instruments as extensions of their voice. The rhythms that they made were in the same non-syncopated form as the work song had been and the sounds were meant to mimic the human voice. It was in this way that the blues became even more significant and even more successful in their effort to convey emotion.

Travelling Blues shows, Minstrelsies, began to tour the country. As a result, Blues began to be heard everywhere, and it began to influence more and more people. It was still primarily black music listened to by black people, but that soon began to change.

The first seeds in the roots of Jazz music were sewn in the early 1900's around 1914 when Afro-Americans began to migrate north. There were a number of reasons for this; many blacks were attracted by the opportunity of good jobs and a better and freer life in the North; while others simply sought to flee the poverty, slavery, and segregation of the South. The American dream was drawing these particular Americans forth much as it did with the early pioneers of the west. Up the river went the new Blues and a new kind of music went with it.

Around the time of Napoleon, military bands increased in popularity and were all very well received by the French. This led to an increased importation of brass band instruments to all the French settlements, including those in New Orleans and other parts of America. Creoles (mixed breeds- usually part black, part French and sometimes part Indian) who were usually well-educated freemen became infatuated with these instruments and the sounds that they could make. The migrating Southern Afro-Americans soon caught on to these new instruments as they socialised with the Creoles on their journey North. Incorporating the sounds of blues and the same non-western syncopated rhythms that had been brought from Africa, a new breed of music began to grow. It was simply a variation of traditional marching band music, but it began to change as blues became more and more prevalent. First Ragtime, and then Jass, or Jazz.

From New Orleans, jazz moved up river with the Black Americans travelling North, and in the house parties of the 20's and 30's it gained momentum. Where the Blues was the devil's music to many of the black middle class, Jazz was acceptable. Black music was extremely popular in the clubs and parties of the 20's. Jazz also made it possible for Afro-American music to be imitated for the first time by white musicians, which was a sign of things to come. The broad emotional meaning of the genre allowed such cross-cultural developments without being 'watered down'. Free Jazz and Hard Bop were all examples of the experimentation the musicians of the time were making to elevate the sound. It became more and more popular and as time went on more and more musicians began to try new ideas with Jazz, increasing its popularity along the way. Jazz is still popular today, and exists in many different forms and styles e.g. Be Bop, Hard Bop, Free Jazz, Modern Jazz, Avant Garde, Swing, Fusion and Latin Jazz.

The third and final American musical tradition is Hip-Hop/Rap music. Hip-Hop/Rap came into being around about 1978. Rock n' Roll music was extremely popular and was very much a part of American culture, but it had long lost its Afro-American association and the Blacks were eager for another style of music to call their own. Funk's sound and rhythms did not evolve into Hip Hop, but it did set the ball rolling. There are several elements to Hip Hop, which were defined in the streets during the late '70'srappin', DJing, break dancing and graffiti writing. Hip Hop was, and still is, its own subculture, and that culture had its own voice.

The article was produced by the member of masterpapers.com. Sharon White is a senior writer and writers consultant at term papers. Get some useful tips for thesis and buy term papers .

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live music the power of passion

Live Music The Power of PassionWriten by Natalie Aranda

Music is said to be the food of the soul. There is nothing more persuasive and pleasing than good music. Soothing music heals the mind. No entertainment is complete without music. Playing of your favorite music and songs instantly changes your tension filled mind to a more relaxed and serene state of mind.

Though people can listen to songs and music on stereo systems and walkmans, however, they do not think twice before lining up for live music concerts the reason passion. It is the power of passion that attracts them to see the stars perform in person and live. Nothing beats it.

Live music is also preferred at parties and events. Live music entertainment consists of classical music, Jazz, Swing, World music, period music of 50s, 60s, 70s, 80s and the 90s and performed by artists who havent made it big. Classical music consists of quintet, quartet, trio, duo and solo. Performances of live music can be given on any instrument as a piano, guitar, keyboard, cello, harpoon, flute, trumpet, saxophone and the jazz set.

Whether it is a birthday party, wedding reception, a private party or a corporate party, live music is a must if you are not hiring a DJ to mix songs for you. Even if there is a DJ, live music is not a bad idea. Almost every city and town in the US has bands that perform live music. The choice of songs and music may be limited with a live music performance, but it is the limited selected songs and music, which makes the band endearing to people. DJs would charge 25% 50% of what a live music performing band charges. However, the allure of live music is something that is irresistible if one can afford it. Some live music performing bands capture and reproduce the tone of music that were not recorded properly by the unsophisticated recording machines of the 50s and the 60s.

A DJ can mix songs to provide you the ultimate music entertainment. What needs to be done though is that you should give the DJ a list of your preferred song long before the event. That gives the DJ time to arrange the CDs for you. The variety of music becomes enhanced when a DJ plays CDs. A sudden request from the guest also may be honored by the DJ and the song may be played. Most DJs come prepared with a number of CDs to meet immediate requests.

The success of any event depends on the music entertainment. If the guests hear the music they enjoy your party will be a success.

Copyright @2006, 4th Media Corporation

You have permission to publish this article electronically free of charge, as long as the bylines and links in the body of the article and the bylines are included.

Natalie Aranda writes on on art and entertainment. Though people can listen to songs and music on stereo systems and walkmans, however, they do not think twice before lining up for live music concerts the reason passion. It is the power of passion that attracts them to see the stars perform in person and live. Nothing beats it.

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

free music downloads are they cool

Free Music Downloads - Are They Cool?Writen by Charles Cruz

The has been a lot of legal drama about this because after all, music is still a business. I'm sure we can relate to working hard for something and then expecting a profit from it. However, I think there can be some benefits to someone downloading your mp3 for free.

First of all, there can be a scenario where someone, who wasn't going to buy the artist's record, downloads an mp3 for free, he then really starts to like the song from the artist. He goes ahead and buys the album, he loves it. The next thing you know he is buying every album that this artist releases.

What's important about downloading music for free is that it can be viewed as samples. Personally I've bought albums from songs that I've downloaded in mp3 format. It's not that unusual.

Another benefit that can be found when you download a free mp3 file, is that you can discover about new artists and styles of music, music that you would have never have heard otherwise.

The internet is growing fast, and artists are starting to use it to get more exposure everyday. This is where you come in. It's all about what you do. I feel great when I discover a great artist, the stuff you don't get on mtv, and then I'm able to track their album and buy it. This wouln't be possible without free mp3 downloads.

What you need to do when you do download music online, is the following:

1) View it as sampling music, it's just a teaser for when you download mp3's online, you go ahead and purchase the albums of the artist you really enjoy.

2) Keep the music you download to yourself. Just don't sell it or be giving it away to everyone and you'll be safe from any legal issues.

3) Get a good software to download music online. Be warned that there are many people taking advantage of inocent visitors to their sites, that they give you a free mp3 download, but in return they plant a huge virus in your computer. Be sure to get a top download software to avoid these unnecesary troubles.

4) Get a fast connection. This, in the long run, will save you tons of time and make it a smoother process.

Be sure you're doing all the above stuff and you and the free music downloads will get just fine.

Learn how to Download Music with Charles Cruz CEO of Download Music Online (http://www.systemmastery.com/DownloadMusicOnline.html) Educating people on how to properly Download Mp3 Music

music and television programming good inexpensive production music

Music and Television Programming: Good Inexpensive Production MusicWriten by Michael Sweeney

Television has taken on an entirely new look and feel, even in the past decade. What was once an industry based on three major networks with very limited programs in the 1950's has erupted into many major networks and thousands of cable channels available throughout the world in every imaginable language. Television has truly become a three-dimensional experience for producers, directors, project coordinators and other professionals in the industry, not to mention a multi-dimensional experience for viewers. With a variety of genres and styles of programming available, from news programs and specials to different types and lengths of commercials, sit-coms, dramas, reality programs, game shows and countless others, being someone involved in television production is both wrought with opportunity and teeming with challenges.

Finding inexpensive background music and production music for television programs can be much more difficult than finding it for other types of media projects because the medium is so diversified and so societally pervasive. As a director or producer of television programs looking for ear-catching television music for your show, you have to be very cognizant of not only your target audience, but also what you are up against in your allotted time slot. Sometimes whether a show succeeds or fails has nothing to do with its quality. Success in television programming has more to do with what you are up against and the time and day your program airs. If you are producing a talk show, for example, you might be on at the same time as more than five or ten other talk shows. Or your program might conversely be when no other talk shows are on television, but at a time when typically people are more likely to watch news programs, Sit-coms or other types of programming.

Still, choosing the right television music can certainly help you make the most out of your particular project. Again, because of the diverse nature of television, there are many different types of production music and background music to choose from. There is music for commercials, music for dramas, music for news programs and specials, music for sit-coms and many others. As a producer of a television show, you probably also will have to consider how your music will blend in with the music of commercials that might air during your broadcast. Because the line between commercials and programming has been blurred, starting in the 1960's commercials have become an integral part of all television shows, sometimes not only on network television but also on cable television. Before the mid-1960's, commercials used to have to be signaled in all television programs by an announcement that they would begin. Similarly, announcers were responsible for signaling the return of the regular program. Now, there is not always any clear sign where the show ends and the commercial begins or vice versa. It's all about the timing.

Because Copyright Law has become stricter to account for the proliferation of diverse recorded music, finding and affording production music and background music for television programming has been further complicated. Before the 1980s, music in commercials and even on many television programs was limited to jingles and transitional music, most of which was instrumental or with very brief and simple vocals. Occasionally lyrics to popular music would be changed to fit a particular product or the theme for a show, a phenomenon that would not work easily or cheaply under today's copyright standards, and didn't come inexpensively then either. Still, while some pop and rock songs were re-recorded for television programs and commercials, the cost of licensing original recordings was very daunting until the late 1980s when it became more doable.

Today commercials use many popular songs as background music and production music, and many programs, particularly those geared towards young people use popular music regularly in an effort to promote burgeoning music groups. Television has become such a cultural phenomenon and a showcase for music that many shows, including Dawson's Creek and The O.C. have even gone on to put out music compilations based on music heard in episodes of the show throughout specific seasons. Previously, songs were often used without artist consent, but thanks to stricter Copyright Law this is no longer a possibility. Still, most artists are willing to accept often high payment for use of their songs in popular television programs and enjoy the exposure they get as a result to very specific markets made up of people that will buy music they make in the future.

Using popular music in television programs and commercials can be incredibly expensive for the typical producer and director. Whether your show is a hit with a large budget, or a smaller show just starting out, you want to make an impact musically at minimal cost, as there are so many other elements to consider in the production of television projects. Fees for use of popular music can total thousands of dollars, and when you multiply that by how often you will probably use songs as themes, production music, background music and other incidental elements, the numbers can add up quickly. But, even though you want to save money on television music, you certainly don't want to skimp on quality.

What are your options when it comes to production music and background music for your television projects if you want to build a collection inexpensively and still honor the spirit of your project?

As a producer or director of television programs, you most likely travel in circles of artists and musicians. You might know some good composers or bands, or people you know might know some that would be happy to help with music for your project. Because of the almost culturally invasive nature of television, most struggling musicians or composers would not object to helping you out with your project in exchange for exposure and the chance to work on something beyond the norm. Many bands have been launched when their song was chosen as a theme song for a television series, and many composers have broken into the film, television and music industry after working on scores for television programs.

Finding under-appreciated talent in your network is a good option and often one that could help get you a deal on production music or background music, but it is by no means a simple solution, nor one that is long-term. If your show is a hit, or your theme song or the band that sings it is a hit, you will be morally, if not legally obligated to pay more for the music you are using. This either leads to the same problem you had before of expensive music or back to square one, looking for inexpensive television music.

Another option for inexpensive production music, and one that more producers and directors are choosing every day, is royalty free music provided by reputable music companies. Choosing royalty free music allows you access to a catalog of music in varying styles and can be downloaded directly from a centralized royalty free music company website online. Well-known companies such as Royalty Free Music.com give you music libraries with songs you can add permanently to a collection. This means you can build your own store of production music and use it in present and future projects. And because of the nature of the music, you just pay a very low upfront fee to satisfy all aspects of Copyright Law.

Television production gets more complex as time and technology progresses, but directors and producers will never lose the ability to control what production music and background music fits best with their projects. Television music is critical to keeping a program or a commercial at the top of its game, and helps communicate important themes to viewers. As a producer, director or project coordinator, the musical choices you make are some of the most important decisions.

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so you want to be a music teacher

So You Want To Be A Music Teacher?Writen by Rhiannon Schmitt

I've overheard teenage musicians mention casually they are considering teaching music to make extra money. I am compelled to butt in, “Do you enjoy teaching?” the answer I interrupt with “Are you patient?” Their response: “Like, I play wicked, teaching will be an easy gig.”

My response: maniacal laughter.

Teens, let us hear the wise old violin teacher preaching a holy sermon from atop a glorious mountain of experience: Teaching music isn't a luxurious life of sleeping in late, illuminating the unquestioning minds of flocking prodigies through 30-minute jam sessions and writing off all your music gear and fast food meals come tax time. Lord have mercy on our souls.

Simply put, teaching music is weekly customer service, with occasional late night support calls when the instrument falls out of tune or the player is struggling. A teacher is dealing with customers who are exploring new ground, hence requiring lessons in the first place, and is responsible for helping advance them into musicians who no longer require our services.

Sounds easy, except that the most trying aspect of customer service is, oddly enough, the customer. The human collective is a random grab-bag of mixed egos and inhibitions, fears and potential, attitudes and limitations. Even the ideal customer, who listens closely, asks exactly the right questions and retains everything they have ever been taught, cannot master music in an afternoon. (At least we teachers have a semblance of job security).

Music, a vast system of pitch, velocity and rhythm that can take a lifetime to understand, has been further complicated with pedagogy. There are more styles to teach violin than there are ways to cook an egg. Each method claims theirs is the most effective way to master the instrument, they have countless scientific studies to prove it and please enter your credit card number here.

A teacher has to weed through the dogmatic hype and come out with a cohesive teaching concept that jives with their own approach to playing and learning. They also have to understand their instrument inside and out, keeping in mind a clear idea how and when to introduce new concepts as to not overwhelm the student. After carefully formulating a perfect lesson plan, the teacher will then scrap it all and reinvent their method when it inevitably doesn't fit the student's learning style.

A good teacher is not locked into one method or way of explaining ideas. Instead they receive feedback from the player and interpret it into a lesson that will make an impact.

What makes the most impact, you ask? Repetition. Repetition. Then you do it again. Detach yourself from how many times you've played “Fur Elise” or corrected that particular eighth note. There are pin-sized holes in my eardrums from “Twinkle Twinkle” and I develop an itchy rash prior to our annual Christmas recital, but I've found a Zen peace in accepting my fate.

I see each lesson as a new chapter in the life of a musician I am helping along. With experience, lessons have developed their own rhythm and my teaching days swoop past me.

The repetition can get to some people, like the crusty old piano teacher, the one everyone seems to have had as a child, who wielded a nasty ruler for discipling unwanted notes. I knew a guy in high school who whacked his violin students on the head with his bow whenever he, the teacher, became frustrated.

A teacher cannot crack when the student plays the wrong note for the hundredth time, so impatient musicians must carefully consider their suitability as teachers. “Penny whistle teacher needed: Psychopaths with Intermittent Explosive Disorder need not apply.”

Instead of whopping students with a pernambuco stick with hair, my aforementioned colleague could have channeled his infinite aggression into another enjoyable branch in the music industry, such as fending off broken beer bottles at the country bar or smashing double-neck guitars for screaming mobs at GM Place. Last I heard he's still teaching at the music store, but has invested in a heavy carbon bow and a cocktail of barbiturates.

Once a player has established that teaching is a good direction to take and they have passed all the inkblot exams without incident, he or she needs to lay down a teaching foundation. Selecting a method book to use is one thing, but the teacher needs to develop a mission statement and their goals in teaching.

My mission focuses on two words: Inspiration and Encouragement. My goals include “music as a life experience” and sharing my love for violin among friends. The mission statement and goals serve as a guide whenever I am faced with a decision or problem in my work, it's sort of an operations manual for my business. And that's what teaching music really is: a business.

I urge all musicians who plan to make their music more than a hobby to take business classes on marketing and promotion, finances and taxes, and business plans. Learn to promote yourself because no one will know who you are if you just sit at home chatting on MSN. Keep good financial records so you are prepared for tax season. There are far too many exceptional musicians, performers and teachers who are stuck on the dole or playing for the coming and going liquor store clientèle due to poor business practices.

You don't have to be a marketing whiz or a lawyer, though your mother would prefer such a career change so she can have her basement back. Just learn enough to keep yourself out of trouble with the tax man and to maintain a full compliment of paying, regular students. For more guidance I suggest the book “Making Money Teaching Music” by David and Barbara Newsam, available for a free read through the Okanagan Library system.

It seems to be an oxymoron, but it is possible to make money teaching music! So teenage musicians, nod your head, say “yes Rhiannon,” and do exactly everything I have ordained in the article above, then watch the money pour into your bank account.

Hallelujah!

And try not to spend it all at the music store filling the blank slots in your gear rack.

Amen.

**Rhiannon Schmitt (nee Nachbaur) is a professional violinist and music teacher who has enjoyed creative writing for years. She currently writes columns for two Canadian publications and has been featured in Australia's Music Teacher Magazine.

Rhiannon (age 29, she's not really old) has worn the hats of businesswoman, performer, events promoter, classical music radio host, school orchestra music arranger and music columnist in rural British Columbia, Canada.

Her business, Fiddleheads Violin School & Shop, has won several distinguished young entrepreneur business awards for her comittment to excellence. Her shop offers beginner to professional level instruments, accessories and supplies. http://www.fiddleheads.ca provides a rich resource of information on her school, violin, products for sale and more.

Rhiannon is also Founding President of the Shuswap Violin Society. http://www.violinsociety.ca She dedicates much of her time to community music projects and helping young musicians.

Related Music Sites : http://www.entertainbox.com > http://www.guitarready.com > http://www.learntomasterpiano.com