Moments Musicaux, No. 4 in E Accessories Rachmaninoff

Chelsea, 13, lists this piece for the first time after work for three months. Keep up with me on twitter.com / chelseadock.



http://www.youtube.com/watch?v=try3ERpm-Vg&hl=en

Real estate transfers - such as permits and licenses in a vineyard for sale transfer

It 'almost impossible to get through a publication of the wine trade in these days without a history, the announcement of a sale cellar. What is the latest in a long series of acquisitions by one of the mega-conglomerates, estate, or the late flowering of the dream for a lifetime for lovers of wine, the external trigger various operations, a similar number of esoteric regulatory requirements.

Respect is part of the story does not cover the news, but it is important - perhaps more importantly,You - how much of what is news. "Paperwork success!" In reality, like death and taxes are almost inevitable transfer of real property at least once in the history of each winery. Your item may not for sale, but an unsolicited "offer he can not refuse", or an unplanned change in family circumstances may require a sudden expert on regulatory requirements for the transfer of your assets to a new owner to be. Or maybe you are on the opposite side of the negotiations, see ifIt 's time to grow up and discover that it is easier to buy an existing plant in order to increase the use of a current permit.

Furthermore, the use of planning tools such as common property trusts or family companies need to know the basics of wine cellars, and transfers the change of control. Pass changes in ownership or control may, however, the property remains in the family. The most common scenario of this type occurs when a company's shares owned vineyard locatedplan in a trust or owner of gifted children for the implementation of an estate. A change in control even when there is a kind of unity of asset protection as an LLC or a family limited partnership is created to hold the stock business cellar. Around incremental, not more than 5% per year, one day add up to a change of control if the majority of the owners finally move. These types of very "internal" transactions that create, not a typical distribution, oftenTransfers, technical necessity, like a sale to be provided to third parties.

Good Housekeeping

Any broker will tell you that tidying your home is one of the most effective ways to make your property more attractive to a buyer. Well, that's positive assessment of compliance is also important when selling your estate. Potential buyers are often not "due diligence" on their licenses and authorizations, either before a bid or at least before the completion of the transaction,so it is advisable to check if the record of ownership are up-to-date with the regulatory authorities before your goods on the market. In a surprisingly high percentage of transactions that we can treat the cellar, we have had in the past that changes in key personnel or interests in property of the store sales, has not been reported to regulatory agencies. Such changes have not been reported are likely to add considerable stress, and the transaction is delayed because the regulatory authorities, probablywant to overlook the changes notified to and approved prior to approval of the transfer.

Another good suggestion is to financial management to ensure that all your production reports filed tax returns and excise. Before issuing a new permit to the buyer, your cellar is TTB wants to quit and then set your permission. But before TTB check records to ensure there are no defects. While TTB has made great strides to achieve groped his workload, you may be unpleasantly surprised, Reports heard of a return that is missing or has not yet been identified or prosecuted, but the error occurred some years ago.

If the sale is to think you can get your wine specialist at the TTB National Revenue Center to find out if they have to date in reviewing your documents and if not, ask for his determination, if there are open points that need to be addressed . A deficiency of tax is much easier to solve, without the pressure ofCreate a transaction in an emergency.

Small producer credit problems

A different kind of order and cleanliness is vital for wineries in the "producer" small category. Your reduced rate is dependent on production of your assets each year. If you sell your company before press - which is easy to do, since crushing does not occur until the middle or end of the third quarter of each year - you can not produce by the end of your company last year workcellar. This can have significant tax consequences. In this case, TTB will be forced to take on the basis of its own rules, retroactively re-enter your tax for the entire calendar year to calculate and assess the rate of full eligibility for all small manufacturers claim.

This risk exists for any changes in ownership that took place around the issue of a new permit, including changes in corporate structure for asset protection or estate planning purposes, as mentioned above. It canwell done, for the early death of a general partner or dissolution of a marriage - an event that is impossible to predict.

Fortunately, there is a routine form of "insurance cheap" perfectly able to protect your tax in all conditions. We recommend you to all the wineries in the category small producer that at least a tank or a pair of submerged barrels to keep each harvest, and declare the month of January each year. To start the year with the production, andmust wait for the grapes to ensure that they will be considered your complaint small producer. It is so simple, it is not good excuse for not doing so!

Not all businesses are equal

Wineries change hands in a number of different ways. Sometimes the buyer or seller a clear choice of the method is, in other cases, see those involved in the negotiation process that either method of mutual benefits.

The most common method is the sale ofTreasures to a new owner. This is called "Asset Purchase". In this case, the buyer does not buy the company owned the winery, you just buy the land, improvements, equipment, inventory, trademarks, etc. The seller prefers this method if not the company or companies in other activities to keep the plans in the sale, the buyer prefers, however, if the business owner may want to accept the liabilities that the buyer does not have.

Instead of buying the wineryGoods, the buyer can buy the company. The buyer purchases the property through the purchase of shares of the company that owns the winery. Then the unit will not change the license, but that the people behind it. This is called "buy shares" or "change of control". If the license property is owned by a company, the buyer would buy the shares of the company. If your estate is involved through an LLC or a limited partnership, the buyer would purchase the membership of the LLC orPartnership to offer. With this method, the buyer takes automatically on wine business, including approvals and licenses, and simply assume leasing, credits, etc., in the absence of specific provisions to the contrary.

There are numerous variations on these types of transactions, many of which can interfere with the licenses and permits. For example, suppose your winery has exceeded its current structure and building a new one. After moving into the new district planSell your existing installation. One way is to orchestrate the transition also apply in advance for new permits and licenses for the new facility. This will allow the authorities to issue permits before starting to move, and gives you maximum flexibility in the process of movement. In this scenario occurs, you can also inventory and winemaking operations simultaneously at both old and new places.

This approach also has advantages for the buyer of your summer passed. Since thereScroll through the old licenses and approvals in place with your existing store, it is possible for the buyer at the time of transfer sale. Then, the buyer is able to operations can immediately start using the permits and licenses to wait instead for his new production (more on this below).

In most cases the best option for the new plant with new permits and licenses, license before you are ready a. But sometimes the existing licenses and approvals to move are the new movesThe location is the best choice, they must protect, for example, credit for small producers, if not, consult our "cheap insurance" (above) and there are a lot of tax dollars are made on the game. However, there are geographical limits of the transfer of licenses, so your advisor before taking compliance can be found in permits and licenses for the transfer. Furthermore, the timing may be difficult in this situation. It is much easier to orchestrate a non-producers with a license thatCellar.

(A discussion of all types of business licenses and permits with their cellar is beyond the scope of this column. For more information about the different types of changes to allow wine and how to manage, see the article authors, entitled Business changes to the Cellar on your license, available at http://www.csa-compliance.com/html/Articles/BusinessChanges.html)

The ability to sell the winery, but maintain the authorization and licensing

Sometimes, the company will sell that to keep their permits and licenses, because it will not stop the operation immediately, and continue to sell inventory. In this situation, the contract of sale is the sale of the asset transfer their permits and licenses to the buyer and the buyer must Obtain permission to own. There are a number of challenges inherent in this unconventional approach. A disadvantage is the time required bythe buyer can ask his permission and licenses. Their new winery owners do not want the sale shall be issued until their regulatory approvals to close. Furthermore, the property will sell for a new structure where they can continue their work to find and transfer its permits and licenses. A very convenient for the seller to the buyer as a "guest in a provision store owner have AC, and can sell the estate of a" tenant farm "in the structureonly sold to the buyer.

Sometimes the seller wants to keep some or all shares of the store for resale, but does not intend to continue to produce wine. Without a continuous production, the seller can not legally keep their permits and licenses cellar. This scenario assumes that the seller will ask and various regulatory approvals at the wholesale or retail store before taking possession of the new location. Providing in the contract fordelayed "purchase" of wine withheld may allow the operation without waiting for the new real estate license of the seller to close the exhibition.

The option of selling a brand, but keep the cellar

Recently it was important for buying a successful brand of wine, but not the production of wine. The sale price could be the proprietor of a vineyard or a wholesaler license Négociant. Sales of just under one brand you can use the existing brand portfolio, however, rarely involve thetransfer activities of a winery of others, including permits and licenses. Only the brand and its trademark or other rights sold to the buyer.

Often in these operations, there is a request that the certificate of label approval (Cola) for the mark will be assigned "." Cola create no rights and are not transferable. A Coke is simply a 'authorization with a bottle of wine specific label, and approved COLAS are part of the documentation of production of the fillingWinery. If the new owner is concerned that the winery was once the wine is produced remain in the brand, the new owner would be simply to allow the production of filling real estate companies and the dedication to remove existing labels Cola branded. Appropriate administrative records must be submitted TTB of the new owners told the trade name. Ideally, even the brand itself should be for the owners to add new TTBas a trade name.

What label approvals?

In a sale of winery assets, the buyer should require that they be able to keep the number of log store. TTB routinely grant such a request, and is useful for ensuring the continuity, notably in the labeling. The current seal Cola may be useful for the buyer.

Although in the past have been buyers of wineries routinely request and receive "adoption" of cola, the TTB has started sellerthis period adopted Cola, poses a problem for the old labels no longer approvable under the current labeling policy - for example, a brand that is or varietal type, or geographic names. An agreement of limited duration to the current drop-Cola, which are otherwise used, indefinitely. Fortunately, there is a way to store buyers simply inherit the predecessor COLA, without a formal adoption process. If the buyer claims the brand name store, recordingNumber and address has Position TTB is that no label is required assumptions is taken into account. It is recommended to avoid adopting the label, if possible, in order not to lose value or sunset "safety" labels.

TTB operates as a change of ownership of a winery

Strictly speaking, TTB does not "transfer" of securities from one owner to another store, but a process for the buyer to the seller the right to use when acquiring new permits will be allowed. This user -Procedure allows a smooth transition from operations in each of uninterrupted transfer property, whether it be an asset or the sale of shares.

To take advantage of this process, TTB requires that applications submitted for new licenses within thirty days after the change of ownership or control of the winery. The thirty days, the rule is not a simple policy, federal law provides that if an application made within thirty days of a change of control, stop the vendor permitsautomatically. But if the applications are made for new licenses within thirty days, permits the vendor is still in force, is applied to the buyer's request. With enough planning, there is no buyer TTB applications can not be long after the closing of the sale or be made before, but even if the parties to delay the completion of certain aspects of the transaction until the end, thirty days should be sufficient for completing TTB applications and files - whetherindustrious.

TTB recognizes implicitly that the new owners and is operated by the seller thereof shall be during the period of transition. excise tax returns and monthly reports of activities under the name of the seller and filed tax code. To facilitate the preparation of documents must be provided for the seller to the buyer or his representative on the joint power of representation and to report at this time of transition to be signed.

The seller will also request that the TTB has allowed to terminate herIssuance of new permits by the buyer. Here's your good compliance, facilitate the financial transaction. Otherwise, TTB will extend the transition - and the period of vendor liability for operation of 'buyer - must be addressed during any outstanding issues or deficiencies.

Since the state authorities to manage a change of ownership of a winery

In California, the ABC will issue a temporary license to a purchaser who is in operations of aexisting store at the current position of the filing of an application for license transfer. This transfer must apply in advance of the completion of the transaction are stored, so that the temporary license will be issued effective as of the date of closing. Although TTB does not require the submission of applications for new permits for thirty days after the change, as discussed above, the ABC California often requires a copy of TTB questions when applying for a temporaryLicense, which means that the TTB should be completed applications before the completion of the transaction.

If the transaction to acquire a share or change in ownership does not change said the licensee on the license, then goes California law that requires a transfer application must be made within thirty days of the changes. A temporary license is not necessary because the licensee remains the same, only the owners have changed.

Each Member assumes l 'Transfer of its securities in the basement in accordance with their internal procedures and time of the transaction will depend on these procedures. Not all State issues temporary licenses. In some cases, applications must include the transaction will be submitted well in advance to avoid a break in operations. Contact your state regulators or consultants on a date and method of compliance in the initial planning stage.

The ease of transition toThey

How profitable is the best selling wine is much we can negotiate with your potential buyers. But the ease or difficulty of the transition is largely up to you.

The greatest thing you can do to a simple smooth transition and continued good feelings between the parties, in advance, expect to learn what part of the regulatory authorities to initiate and advance the compliance regime. I am certain that under their supervision and control, if your summer will changeHands, and it is easier for a camel through the eye of a needle than to sell your property without their blessing to happen.

Reading this article is a good start. Then, if a sale cellar will appear on your horizon, to consult an expert, just how to apply the requirements for the specific situation or set of options. You will now have to do it!

Note: A word about Escrow in California. . .

One of the most perplexing in the transfer of CaliforniaWinery is a trust account if necessary.

The buyer of California companies can choose an "escrow wholesale" to prevent the debt of the seller. With alerts in California Uniform Commercial Code is specified, a purchaser from any liability for unpaid debts of the seller is relieved. This type of escrow is optional, if a California winery is sold.

In some operations liquor license California, a different type of escrow is required. The ABCs of the California Coderequires all retail licenses through an escrow account to pay. The estate license (Type 02) does not require an escrow account because it is not a license to sell retail. But many California wineries hold additional retail licenses, for example, wine sales are not produced by the winery or in a restaurant franchisee or B & B. Operation ABC Under the code, must be through a retail license licenses escrow account paid. If merchants are bought and sold much of SalesEscrow is often carried out simultaneously with a licensed escrow, which are often confused.

Even if a license for alcohol Escrow is required because the store has a license to market, there is no reason for the license of a cellar or basement and plant wholesale store included in this escrow account. You can not complete the transaction to be delayed by a portion of the purchase price for the value of licensed retail and inventory and furniture, furnishings and equipment (FF & E)especially in conjunction with licensing the retail in the purchase agreement. The trustee license can be performed in accordance with its period, prescribed by law, which can last up to 90 days to go so the rest of the transaction on a faster timetable.

Best Sports Bar For the first night out with the boys

They can not ticket for your favorite team play their NBA Finals, I want to live-action with her friends, catching only a drop in the sports bar in the city of New York.

Sports Bar in New York opened its doors to the pro football fan clubs and groups pupils, where they can live-action with drink specials and discounts to capture food. Unlike other bars, where one little tv show the game sports bar has 50 TVs or strategically placed so as not to miss a single action.Watch the game with the other crazy sports fans is almost like in a stadium. The atmosphere is electric with fans rooting for certain teams. These sports bar is also a sports area with infinite billiard, bowling and more ping-pong.

Some of the popular sports bar in the city of New York are slate Plus, Tonic East and ESPN Zone.

Slate Plus is one of the most spectacular and unique New York. Located in the Flatiron District is Slate Plus is spread over 16,000 square metersFeet. This is a bar two floors, surrounded by a magnificent glass steps in the shape of a triangle. This quiet room is huge plush couches and chairs that create a bright room and social life. Few games are like 3 ping pong tables and offer 6 pool tables. They also offer a complete service and food excellent. The cuisine in Slate Plus is sure to satisfy your hunger and thrill your palate.

ESPN Zone is also one of the best sports bar in New York. This is a2 History-Sports Bar, which distributes more than 33,000 square meters. People love the sport in a big room show to see. Has eleven seats tray area tables and chairs with speakers. You feel as if you like the live game at the stadium.

The sports bar in New York City is the best place to go if it is for one night. These places are like the dream of an admirer of the sport has been fulfilled.

Van Cliburn plays Liszt's Liebestraum No. 3

Composer: Franz Liszt (October 22, 1811 to July 31, 1886). Composition: Liebestraum No. 3: "Dreams of Love". Performer: Harvey Lavan Van Cliburn Jr. (born July 12, 1934).



http://www.youtube.com/watch?v=8ZTwkBhC1qg&hl=en

Substitute Marsala - Cooking Alternatives

What is Marsala? It is a substitute for Marsala, if a recipe calls specifically for this particular wine?

Marsala in Sicily, with different varieties such as Inaolia, Catarratto Grillo grapes and produces among others. Moreover, there are three varieties which are classified by color and sweetness, are: Gold, which is a light golden color, amber, a mix of sweet and true dark ruby red wine grape. Marsala wine is a very sweet, andoften in Italian cooking, used in many dishes use their names, like the famous chicken Marsala, and has served at Italian restaurants in the world. It is also often served as an aperitif before dinner.

If you have any alcohol of any kind or against the use of wine in the kitchen, you can leave some recipes without too many problems. For example, in tiramisu, you can completely omit the wine and then follow one of the many non-alcohol recipes are available, which stilldelicious.

It 'a different story, if you plan to be a substitute for Marsala, as Chicken Marsala, then it would be better to use a very sweet wine, port or sherry. Although this will change dramatically over time the taste of the recipe, and that it then called the best wine instead of chicken and chicken Marsala.

All in all, it's really no substitute for Marsala in some recipes. This wine is often used as a flavor base for sauces. Has a largedifference in taste when it is reduced. It offers a taste that is often the key and the foundation of an entire pot.

This is good wine of communication has been reported that the antioxidant properties and a reasonable amount for a moderate diet have been reported as well. Even for those not wishing to participate in alcoholic beverages, all property and alcoholic content of wine cooks during cooking, leaving only the essence of the flavor. Marsala is also very easy toand are generally stored in almost all retailers of liquor. It is generally removed from the ports and sherry. It is inexpensive and is a great addition to any kitchen and pantry, once used, are safe in a stable in many of your favorite recipes.

Ultimately, the decision not to lie to you, or, alternatively, Marsala? Alcohol or no? Change can often be a good thing, but sometimes it is better to follow the recipe and the list of ingredients recommended for best results. As the oldProverb says: "If it is not broke, do not fix it."

Port-food industry - Have a Go!

Porto is seen by many as a great complement to many foods. Porto is generally regarded as something to have after a meal, after dessert, or really like around a fire, while in the wild. However, from the time you read this article in full, there are some interesting times tastings.

Not a big change in thinking to agree that the port is a good complement to desserts. Try a good tawny port with all the nuts or cream has. Flavored Icemaybe a little 'far-fetched, but hey, it's going too far. If you do not try you will never know! Quality Vintage Port is a good complement to dark chocolate and dark fruit such as cherries, blackberries and the like. White Port is with most cheeses and white chocolate - What a feeling!

But what is the main course - and groped to provide a quality vintage tawny port with blue cheese or cheese salty. For those who harbor and blue cheese love this is not a surprise. HardCheddar style cheeses go well with the door. Try to door, with a rich pumpkin soup, or pea soup and ham, even if Sherry is the best option for them. I once saw someone actually tip of a glass of port in the broth - is not so sure, though. You never know to go! All our tastes are different.

The main meals are a bit 'more of a challenge. If you have doors with food, it is best to remember that the alcoholic strength of the port is fifty to one hundredPercent higher than that of red wine. It is the people first and surely will again in the future trapped. Tawny ports are generally lighter and sweeter than vintage ports. Ruby ports are a bit 'sharper. With steaks, pepper and garlic to try to get the ruby door, as a supplement. For the chicken dishes that are not so strong, try Tawny Ports. Mix and match until you add the flavor that the food given to taste better.

Whatever the opportunity to try new things and enjoy theCompany of others in this process. Use a Sippers brings the best ports and other fortified wines with alcohol.

Remember: If you try, you may even like it!

Chopin: Etude Op.25 & Op.25-3-12

Alexander Lubiantsev (Russia) Chopin: Etude Op.25 & Op.25-3-12



http://www.youtube.com/watch?v=WU7tkhjrw3Y&hl=en

How do you spend your time practice guitar wise!

"You have to practice this week?"
"Man, I think the section might be a bit 'more practical to use."
"No, you can go with your friends until you've practiced."
"We did not buy the guitar to collect dust. Go practice."

Noticed a trend here? Yes, it's all about practice. I noticed a trend quite fascinating to my fellow musicians, some of my conservatory trained, regular live music. Too many of them do not know howpractice. Some of them do not even know what really is "practical." Do you? Perhaps we should explore.

My first year in college, I learned a lot about what 'doing'. In fact, I realized several important epiphanies about what was practical, and as my time management studies, the best results.

Epiphany # 1: The practice is different from that of implementation. The practice is different than playing "too much". Do you play for fun. The practice is a job.

Epiphany # 2: Quantity is not equalQuality testing room. Not long.

Epiphany # 3: The practice is very similar to working out.

Oh, there were many more, and we meet them, but these are great, and we need to think more, and these great things that kids in place.

No. 1, the practice of performing differently. You have to divorce the two. If you hold to a ridiculous level where you can not make mistakes, younever been better. The practice can make a better musician. They practice the right way of doing things so that they then transferred to the performance. The two do not occur simultaneously. For example, say that say that not bending the fingers over the keyboard, and I'm eating with your fingers instead of a flat top. Great! I have something to work on. While I practice, I can work hard to ensure that my fingers are not flat out no. ThisI mean, I will make more mistakes? Probably. Have patience with him. Sometimes you will do great changes to the style of play, and you feel like learning your instrument all over again. In the rehearsal room, which is good. You are entitled to make mistakes, it can sound awful, until you have taken to make something out of it, and focusing on correct technique. Its more about the process and outcome.

But until I learned l 'The art is playing with the fingers curved, not sure that I take in my performance. The execution is where you earn money, you have to be on your game. Here we focus more on results of the process. When I play with my fingers flat, then so be it. Its good for now. Finally, through the proper practice, we will phase this bad habit, and end up playing the right way, that will make us a better player. But until then, we have obtained a livelihood, and wecan not afford to be a good attempt to harm.

To summarize, in the rehearsal room, the process-> results. We focus on the way to play things that do not necessarily play the right things. Of course, if you make a mistake, you correct, but we embrace that as part of 'error learning. In terms of performance, but the results> job. Play the right notes, so that the sounds, which are currently the best. Over time we will continue to enforce our proper technique, and appears inour performance, but until then just play.

Here's the second part of the Epiphany # 1 comes into play if you practice, practice, with a clear objective in mind. They have problems in your game to find and correct them. You can not just repeatedly. If I just "play" in my test room is lit, then I probably still make the same mistakes that I do in performance, and I continue to reinforce bad habits. Remember, we emphasize the process. What's wrong with what they areplayable? How can I fix my mistake? What exercises can I do to solve the problems? Here, too, has nothing to do with performance. In terms of performance, we just play. If we eliminate the practice, which we did.

Epiphany No. 2: quality over quantity. I've heard so many people complain about their practice, "Dude, I practice 4 hours a day, but I'm no better!" Well, good for you paid for your. But I bet you're not really exercise four hours a day. When you practice, you mustconcentrated. And I mean FOCUS. Without distraction. No TV, no visitors. No food. No computer. Getting the point? When I practice at school, I like to go to the lowest possible rehearsal room, which faces the window, and turn my cell phone, or at least mute. The more time I have with me and my guitar, I'm gonna get more achieved.

Once you are up to the point where you can concentrate, isolate, you have information on what you do in the rehearsal room to think.Here's how my training.

1. Warm up for 15-20 minutes.

2. Technology: the things that I can not - 15 minutes.
Things I can do, but I want to do better. 15 minutes.

3 Etude # 1 10-15 minutes.
Etude # 2 10-15 minutes, etc.

4. Literature, Unit 1 20-30 minutes.
Unit 2 20-30 minutes, etc.

5. Cool for 10-15 minutes.

You notice that I compartmentalize, and detailed operation of my time micro-circulation. And above all, I have timeit. And make no mistake, these figures are not vague. I literally, an egg timer, and when it goes off, off, and I am ready to do so. When I'm in the middle, a representative, who will finish the thought, but the game is done. Not go forward. You must strive to maintain the timetable. Because I know that if I'm not going to force me to stop me, I have my head against the wall the same 2 hours and not hit better, I just hit the time I can devote the rest. Well, what does nothere is placed, the current Nitty Gritty Details, I need to do. Why should I play Etude # 1? What is it? What do I need to focus on what it is, then do better? What is wrong with my piece lit # 2? What should I try to solve the problem?

** Please note that the practice schedule is available for a whole day. Nothing says you have to do all this at once. Note that only a warm-up once a day. You just need to cool down once a day. When my first practice session of the day is at 8:30,I'll give hot slot 8:30 full. When I get 2, I could play a few notes, but do not have time to warm up from scratch to spend. The unnecessarily.

Epiphany No. 3, practicing the method of calculation. I once again out of work a week for 2 hours, or every day for 30 minutes? The second, of course. Normally, if you practice a bit 'every day, you end up shelves more time during the week, that if you go after a long game. Plus,These small bursts, you have to be more focused and you will be more to do.

Parallel number two: If I did I am working with the wrong technology, it was considered to be effective? Of course not. If I do crunches, but in my back muscles, then, of course, my abs will not be weakened. When I put my left thumb, in practice, but lets slip in the wrong place, even then it is better to become one. Emphasize the proper technique. It 'a pain in the butt today, but give way to goquick and tangible results.

Parallel number three: They're both difficult, and both are still a lot of willpower to win. If I want to lose weight, I have to try, always in the gym, and I have to push. If I want to play better, forces me to keep in the rehearsal room, and I've always heard and to be vigilant, so I was not fooled. They will not do something good, focusing on. It is easier, but not better.
Thus,includes the three most important things to know about the practice. But wait! There is more! Here are some additional tips to guide children to practice more effectively.

1. Finding a permanent place to practice. If you use the same point over and over again, your mind will subconsciously adjust and be more alert and more focused at this point in terms of best practice
.
2. If you are introducing a new technology, in fact trying to do it right the first time, as soon asjust to force more, playing the same way every time. No step back, never.

3. Know what you are looking for. Ultimately, what you want it to sound like? Always practice with this ideal in mind and are constantly looking to get closer.

4. Are you one of those who find it difficult to motivate, a fellow of practice. Really helps to have someone encourage you to continue to go. Keep honest, let out the other.

5. If you feelalways irritated, fuzzy, or do any other thing, 5 stops the clock, and walk, drink water, shake it out. Then come back fresh.

So, let's go. The intensive course of effective practice. Hope it helps, and, for heaven's sake, GO PRACTICE AND you are good at GUITAR!

For more like this, see: http://how2playguitar.info and subscribe to our free 5 day course!

Alfred Cortot - Chopin Etude No. 7, Op 25

Alfred Cortot - Chopin Etude No. 7, Op 25



http://www.youtube.com/watch?v=54A9A--ED90&hl=en

Etude House VIP Girl - CF Making Film (Jang Geun Suk & Park Shin Hye)

Etude.co.kr credit + JKS Eels Int'l



http://www.youtube.com/watch?v=WBCWikoOZzw&hl=en

Liszt Transcendental Etudes d'n. , 10

Liszt Transcendental Etudes d'n. , 10



http://www.youtube.com/watch?v=PdOyJzieBAk&hl=en

Marc-Andre Hamelin - Supervirtuoso Documentary Part 5 / 10

Part 5: Hamelin plays Godowsky Hamelin Hamelin plays: Extracts from Omaggio a Domenico Scarlatti and three times the étude. Hamelin plays Kapustin and declares inversion symmetric.



http://www.youtube.com/watch?v=iMLVzWInJu0&hl=en

Berezovsky - Liszt - Transcendental Etude No. 5, Feux Follets

Berezovsky - Liszt - Transcendental Etude No. 5 Feux Follets are transcendent 12 Etudes. La Roque d'Anthéron, 2002



http://www.youtube.com/watch?v=wc1nu3Z5xVQ&hl=en

[Part 7] Berezovsky Chopin Etude op25 / 1 + Godowsky version

Berezovsky Chopin Concerto Op 25 / 1 + Godowsky transcription Auditorium du Louvre, Paris 01.25.2006 www.dasdc.net



http://www.youtube.com/watch?v=CThu4kjkFkc&hl=en

SNSD - Tell Me Your Etude + Wish (Caribbean Bay) Live HQ 090,815

5:07 ~ sync miss T_T



http://www.youtube.com/watch?v=FydtAZiss-k&hl=en

Franz Liszt - Concert Etude No. 3 in D Major

Franz Liszt Concert Etude No. 2 in D major. Sorry for the mistakes ... dropped the piano and my piano: D. Enjoy!



http://www.youtube.com/watch?v=Y_G9odTCWM4&hl=en

Gladiator''Yagudin 2001 Japan Open

Fantastic performance Gladiator with knife



http://www.youtube.com/watch?v=Y6TtLuMeipM&hl=en

SO#3 Smokey attending for a adult Halloween

www.cl2425.com Hello, To me, Halloween has always been an event for all the girls around me to be fiercely sexy with no shame and party all night long It would always be the cat women, sexy school girl, sexy police officer or the sexy bunny at parties. So I decided to do a partylicious smokey look so you guys could have a blast during your party if you decided to do a sexy look. I know some might want to dress up as a zombie's bride, but I think a lot of people just go for sexy outfits that need the smokey look. So here's my version :p I could totally picture someone with this look wearing a sexy police officer outfit. Products used -- [ Face ] -- *Missha Pore minimizing first base (primer) * Hera HD foundation (#21) + Skin food foundation brush * Missha the perfect concealer (light beige) -- [ Brows ] -- * Sephora colorful mono mat no.1 + elf angled brush -- [ Eyes ] -- * Etude house - Proof 10 eye primer * Benefit creaseless shadow/liner in pre-nup * MAC Black tied + Missha eyeliner brush * Lancome Erika-F + Sephora blending brush * Tony Moly Party lover Gel liner in Black + Lancome Brush 14 * Skinfood T+i zone + coastal scents small brush * MUFE glitter in #4 * MAC fix+ * barrym Dazzle dust in #98 * Beauty Credit false lashes in #1 * Armani Maestro Mascara * Lancome retractable eyeliner in Noir -- [ Contouring and highlighting ] -- * Sephora colorful mono mat no.3 (nose) * Etude metallic shadow + Sephora brush (highlights) -- [ Lips ] -- * Skin food lip and cheek ...



http://www.youtube.com/watch?v=L84FyvQyEjg&hl=en

Chopin Etudes - Revolutionary Piano Music

Frederic Chopin (1810-1849) composed primarily for the piano during the Romantic era. As a time epoch that witnessed new developments in music, literature, engineering and other disciplines that broke with many traditional approaches, this composer's piano etudes integrated a wide spectrum of pianistic technical attributes into rich, complex musical textures of a unique style.

The 27 piano etudes, of which the first twelve comprise Opus 10, quickly became staples of the piano repertory and enjoyed a public introduction by pianists that included Chopin's friend and fellow composer Franz Liszt. Etudes 13 through 24 were assigned Opus 25, and three additional etudes were titled Trois Nouvelles Etudes and were never cataloged.

The concert etudes of Opus 10 quickly became staples of the great pianists' recitals, and testament to the ingenuity of composition is the fact that these works to this day are featured in live programs, recordings, musicology surveys and writings, and other media. Individual etudes such as the Revolutionary Etude and Tristesse were borrowed and liberally arranged in Hollywood movies, radio broadcasts, ballet music and other formats. Pianists such as Liszt, Rachmaninoff and Earl Wild championed these beautiful works, and each artist imparted certain interpretational nuances that sourced colors and sonorities unique to their performances.

Wrapped within the wonderful music are enormous technical challenges that far exceed placement of proper fingers on the correct keys. A wide range of musical and pianistic concepts are embedded so deftly in this collection of individual masterpieces that the listener must often focus on those specific points to realize they are being addressed because the musical thoughts, so mature and vibrant, often mask them! Virtually all of the individual etudes include multiple technical attributes that the pianist must conquer while never losing sight that the music, not the technical features, must be successfully communicated to the listener.

Prior to this compositional milestone, composers wrote studies for pianists that rarely stood on their musical merits but were instead designed to amplify technical prowess alone. That changed once the Chopin etudes were published. Not only were more fertile advanced piano studies available, but they created a prototype - a foundation - for etudes of the future composed by Liszt, Saint-Saens, Rubinstein, Rachmaninoff and others.

With the composition and publication of his piano etudes, Chopin extrapolated the concept of a piano study into a creative wealth of musical innovation that transcended all previous efforts and built a concept for future composers. Pianists and music lovers will continue to be amply rewarded as they gain a deeper understanding of these pieces and their impact on classical music evolution.

Joe Hisaishi - Bolero

Etude ~ A Wish To The Moon Concert from the 2003 Encore and Etude Tour. Joe Hisaishi on piano and an ensemble of 9 cellos. - Etude - 14 - Bolero



http://www.youtube.com/watch?v=_kq-ozG5U-c&hl=en

Chopin - Etude Op.25 No.11 ('Winter Wind') - Sviatoslav Rich

Chopin - Etude Op.25 No.11 ('Winter Wind') - Sviatoslav Richter - Video.avi



http://www.youtube.com/watch?v=YnShW_Tl9Ds&hl=en

Birthday Song Best

The most popular song in the English language undoubtedly was sung to you on your first birthday - and probably thereafter by you to many family members and friends dozens of times a year.

Grown men and women in service clubs sing it to each other every week with gusto.

It was the first song to be sung in outer space - by Apollo IX astronauts on March 8, 1969.

Only the songs "Auld Lang Syne" and "For He's A Jolly Good Fellow" are almost as often sung.

By now, you have guessed that the famous ditty is "Happy Birthday To You."

Forerunner of the little song was composed in 1893 by two sisters. Dr. Patty Hill was principal of the Louisville, Kentucky, Experimental Kindergarten. Mildred Hill was a teacher there.

In those days, children began school in the first grade at age 6. There they began the journey through the "three Rs" -- readin', 'riting and 'rithmatic.

The Hill teachers were the vanguard of a theory that children were creative and responsive to learning at a much earlier age than 6. They awakened young minds with structured games, rhyme recitations, coloring, music, dancing and singing.

Patty devised the curricula. Mildred drew on her musical talent as organist for her Old Kentucky Church to provide music for singing and dancing.

One day, Patty wrote a few lyrics for a school song to open the day for their pupils and prepare their minds to concentrate on the coming lessons. She titled it "Good Morning To All." Mildred put the words to music - perhaps inspired by a spiritual refrain.

The greeting was included in a collection titled "Song Stories of the Kindergarten" published in 1893. The book sold modestly but well enough to justify reprinting.

In the first revision, the Good Morning words "to all" became "to you" -- on the premise, I suppose, that teachers had no assigned place or shining face.

"Song Stories" sales increased as the kindergarten idea caught on. The Good Morning song was standard for beginning pupils throughout the country. As a kindergartener in 1926 (yes, I'm that old). I and my classmates sang it every school day - after a cheerful "Good morning, children" from teach.

Schoolroom singing to the teacher has gone out of style. However, I remembered "Good Morning To You" all my life - singing it to my children at breakfast -- and to my grandchildren when they stay overnight with us. They love it:

Good morning to you.

Good morning to you.

We're all in our places,

With bright shining faces.

Oh, what a way

To start a new day.

Mildred died in 1916. Patti became professor of kindergarten education at Columbia University. Their ground-breaking book of kindergarten practices was nearly forgotten.

* * *

Thirty-one years after the first publication of "Song Stories," a man named Robert H. Coleman added a happy-birthday-to-you verse to the good-morning-to-you verse and original music notes. Then, without asking permission of Patti Hill, he published the combination as own -- in sheet-music form.

The birthday verse was so popular, subsequent printings were for it -- and the accompanying musical bars -- only.

Dr. Hill sued Coleman and proved that she owned the melody. She and another sister were awarded substantial damages. A new copyright was issued the following year (1935) and acquired by Birch Tree Group, Ltd.

The copyright was renewed in 1963 and sold along with other assets to Warner Communications in 1988 - for $28 million.

The "Birthday Song" brought in $2 million in its 1996 public accounting report published by Forbes Magazine. Rock singer Michael Jackson recently bought the copyright for $2 million which now is earning "at least" $1 million annually.

Every time "Happy Birthday To You" is sung or played commercially, the Moonwalker gets a cut - until 2010 when the verse copyright renewal expires.

The melody copyright of the Hill sisters passed into public domain long ago. Therefore, anyone has the right freely to write and sing their new words to the old tune.

The song is sung so widely, and often, copyright owners and the American Society of Composers, Authors and Publishers long ago gave up trying to collect royalties from families and service clubs.

Sing away Rotary, Kiwanis and Lions.

* * *

No need to worry at all about performing the other two "most popular" songs.

"Auld Lang Syne" originally was a poem written in 1788 by Scottish poet Robert Burns. It is not known when folks began reciting the poem with accompaniment of an old Highland air known as "The Miller's Wedding."

The words and music were first published together in 1796. Very quickly, "The Good Old Days" became a universal good-night song among British and American sentimentalists.

It is rendered most properly among a circle of friends with their arms over their chests and holding hands with adjacent partners.

"For He's (She's) A Jolly Good Fellow" is another party song popularized by the French originally but adopted and immortalized by the British. Keep in mind that "fellow" is an ancient English word for "companion" or "partners in a joint undertaking" and is not gender conscious.

Etude Magazine says the music construction is medieval French in the time of King Louis XIV. French soldiers used "jolly" as an insult for the English general Marlborough.

As is often the case, an enemy's curse can be turned by the insulted into a term of approval -- "Yankee Doodle Dandy" for example.

Marlborough's soldiers took "jolly good fellow" back home after the war, and there it became a popular tune in the pubs.

About 1830, somebody added a second verse: "We won't go home 'till morning, 'til daylight doest appear." The song, therefore, is properly sung as two verses.

We can speculate about how long it will take for "Roll Out The Barrel" also to take its place closely behind "Happy Birthday To You."

If I know Americans, it won't be long.

November 18,2001

Country Guitar Lessons - Discover a Popular Way to Learn How to Play the Guitar

For years, country music has been a very popular form enjoyed by countless millions of people. Historically, there have been performers from Roy Orbison, Patsy Cline, Glen Campbell, and Johnny Cash in the late 50's and 60; to some of today's stars: Tim McGraw, Kenny Chesney, Leann Rimes, and Carrie Underwood. All of these musicians have thrilled fans for decades through the passion and emotion heard in their songs. Throughout history, many country legends have also been excellent guitar players. Are you the person who has always wanted to learn how to play the instrument? Interactive, online country guitar lessons today are probably the best way in which to learn how to play the instrument.

There is no easy way to learn how to play any instrument. You must be willing to put in the time and effort whether you are learning how to play the drums, cello, or trombone. Learning how to play the guitar is absolutely no exception to this rule. Besides mastering the technique required for you to improve on the guitar, it is also necessary for you to learn how to read music. Guitar is the one instrument where instead of reading notes on a music staff; (like you would on the piano, saxophone, trumpet, or violin) you must learn how to read the tabs or tablature. Chords on the guitar, (G, D, A7, etc.), are written on the tablature. This is much easier in comparison to reading the musical notes on the staves written for a Chopin Piano Etude, as example. Still, it requires dedication and practice on your part to learn how to master reading the tablature, in order for you to really excel on the guitar.

The advantages to learning how to play the guitar online should be obvious you. Even 10 years ago, if you wanted to learn how to play country guitar it would have been necessary to find an instructor in your area who worked out of a music studio. If you lived in a remote, sparsely populated area this would have presented a problem. It might have been necessary for you to travel 20-25 miles, one way, just to find a studio that provided lessons. Not all studios specialized in country music, unfortunately. You might find a teacher, but he/she might specialize in acoustic rock, or jazz guitar. You're simply not going to learn the style and technique necessary for country guitar if the instructor was more familiar with a Jimmy Page or Jimi Hendrix. Both Page and Hendrix are all-time great rock guitarists, and are not at all associated with country guitar.

If you are serious in wanted to take lessons in country guitar, you must do your research and homework on the Internet. Find a suitable program that provides instruction in the style of country music that you are seeking. Read the recommendations, which should be posted on the site's home page of students who have taken lessons and invested money into the online program. Pay particular attention to those testimonials stating that former students were able to learn different styles of music; particularly those students who were able to successfully learn how to play the country guitar.

Classical Guitar Lessons - Mini Master Classes or The Five Great Lies?

There is a "Great Need" for a "Real Solution" to the frustration and slow progress many
suffer when it comes to either learning or perfecting the physical skills required to properly play
the Classical Guitar.

And it's long overdue ! Long, long, overdue !

The "Traditional Solutions" that generally have been available to students of the guitar apparently aren't "really" working. I also discovered the same thing 30 years ago when I was trying to clean up the rough edges to my technique.

Things haven't changed much what with same old Method books that have you trying to play
music right out the box which create bad habits due to lack of "real" finger training, live lessons
with teachers that end up being nothing more than spinning the musical roulette wheel
of good or bad misfortune and/or studying with fabulous players who are
notoriously bad teachers that just play for their students during lessons. Maybe you're already
familiar with some of them.

I think most lovers of the Classical Guitar firmly believe they can teach themselves the Guitar
and today, with all of the information on the Internet, many are also convinced they now have all
the free downloads necessary to piece it all together and somehow become a player.

Sadly, none of these opportunities contain any real value or truth because the pieces are
disjointed, sporadic in their placement and only provide the mere perception of hope, what with
little Etudes and Studies that actually require advanced techniques to play properly.

Very few ever realize this fact, however.

When I realized the scope of the problem and the lack of solutions available 30 years ago,
it was mind numbing. Plus, I had just hit 'The Wall' when all real progress stopped
dead in its tracks and the future felt very bleak to me.

If you don't know about 'The Wall' yet, just keep going like you have been and you'll find out
.....all .....about it.

And then... it was a slow.... agonizing ......realization of what was clearly in front of me.

The CG world, in general, is the product of two hundred years of inbreeding coupled with a sort
of amateurism that is now also deeply entrenched in a self inflicted tradition of symbiotic
mediocrity.

A lot of concepts to wrap your brain around but it's true !

And if that statement offends you, then perhaps you're caught up in the middle of it all and don't
even realize it.

Seriously, I am very disappointed that only a small percentage of players ever reach the plateau
of excellence that I believe is available to everyone if only their technique would be pursued
correctly, with a real critical path and not just haphazardly.

You know, like on every other classical instrument, Clarinet, Violin, Piano, etc., etc., etc.. And in
case you're a Guitarist feeling sorry for yourself because the Classical guitar is 'difficult', there
isn't an instrument on the planet that is easy to master.

But musicians do it every day, except Guitarists who seriously lag behind in the accomplishment
department.

So here are what I call :

The Five Great Lies about Classical Guitar Technique

~~~

Lie #1:

'Sight read more music today than you did yesterday'

~~~

If sight reading pieces of music really, actually works for your technical progress then I suppose
you should read through more of them.

But for most Guitarists, sight reading is only a vicarious way to feel like you're really "A
Guitarist". I mean isn't the whole point of it all to play Music ? But if this what you've been
doing for months, years or decades, admit it.....it hasn't 'really' been working. Your technique has
improved only marginally over whatever time period and you're probably only a little happier
about how you play your pieces this year than you were last year. Sad, but true ?

When and if you ever attend a Master Class, here's what you'll witness. A student, who has
played through their piece several million times, sits down and plays it for a Sanctioned Teacher
in front of an audience of CG students who have played their pieces a million times and are
waiting for the truth or at least some truth that will solve their own, unique and individual riddles
of slow progress or no progress.

The Teacher proceeds to tear apart the student's interpretation, sometimes with kindness,
sometimes....not.... and then demonstrates a more effective interpretation along with eloquent

observations, interesting tips and humorous anecdotes.

Oohs and Aahs from the crowd......

Applause, Applause !

The student goes home and tries to muster up the emotional maturity of the teacher and then
plays the piece a million more times, maybe better, maybe not.

Why ? Because the student's technique is 'exactly' the same as it was before but the student is
now one step closer to a great Resume. To be fair, these are great experiences to well,
experience.

What do the Guitarists in the audience do ? They go home, buy the piece that was demonstrated
and sight read through it a million times to see how they stack up against the Teachings and then
suffer severe depression over their inabilities for ...... perhaps months like middle level
executives who just got fired from their boring jobs.

Why ? Because their technique is 'exactly' the same as it was before.

And this scenario repeats itself over and over and over...... like some Guitarists' car wash, feeling
shiny and new for a week and then......back to the status quo.

Actually, only a very small number of extraordinarily talented players ever independently move
through the hurdles, obstacles and brick walls that the Classical Guitar puts in front of us all and
reach the top.

They are the select top .01 percent who you hear in concert and
are the object of every Guitar Groupie Wanna-be in the world.

If you're in that top .01 percent, congratulations !

But if sight reading music is the major weapon in your arsenal of mastering your technique, then
realize this.....you're living in a bear skin and knives world of survival and it will only get worse
through time in that cold dark cave you call 'Classical Guitar Technique'.

You might as well sit down and become a diamond cutter without any knowledge about
diamonds or cutting !

Here's the TRUTH : If you practice the right things correctly, you CAN start to turn your
technique around, you won't get depressed and you won't need to attend dozens of Master
Classes and Concerts to reach deep inside and discover the player you never thought you were.
And you won't have to take endless lessons with someone who teaches you by having you play
music.

I used to call Lessons 'Mini Master Classes'.

Because that's what they are and if you take these 'Mini Master Classes' from the same person
more than 6 times in a row, I call them 'being in a rut'.

Exposing yourself to the musical teachings of one person can be myopic, damaging, too self
absorbing and only eventually serves the ego of the teacher and gives you only false hope.

If you want to take lessons, take one lesson from 3 different teachers. You don't go to the same
Doctor week after week to get an opinion on your condition, do you ?

No, you go to three Doctors, evaluate them all, and take the most reasonable path recommended
after reflecting on all the issues. End of Doctor visits.

Guess what ? The same thing applies to lessons. Keep it in mind the next time you go to your
lesson. Announce your new plan to your teacher and wait for "The Shock Heard Around the
World" !

BOTTOM LINE IN THREE STEPS :

1) You MUST approach, what I call, the Critical Path of

Technique from the beginning and not from the end.

( hint, music is the very end of the process )

2) You must practice the Critical Path until it's second nature.

3) You must practice the Critical Path until it's second nature.

But....the good news is, once you have it and it works, you don't have to revisit the mastering
technique process ever again.

You just keep it 'Warmed Up'. If that isn't the most desirable goal as a Classical Guitarist to run
and achieve as fast as you can then perhaps you should take up Origami or something.

That's why the time you spend on REAL technique practice is absolutely the best investment you
can ever make - IF... you're educated about what really works and what really doesn't.

And music isn't on the list or in the Critical Path. Anywhere !!

~~~

Lie #2:

'OK, if playing music isn't working, I'll practice some scales'

~~~

Waking up every morning with a lie swirling around in your head is very unhealthy and always
causes you to spend time in the day on the wrong things. But it's your lie and you think it's the
right solution so you go ahead and waste time. How much time have you wasted with your lies ?

I was convinced that this was the inspired path to great technique !

Time to seriously practice some serious scales !

Here we go........first mistake ? No metronome. But what the heck, three octave
scales, mature fingering edits, brilliant note for string choices, brilliant , brilliant !

Just playing them makes you feel a step closer to the Maestro.

So you have at it, following the fingerings exactly as written starting out rather slowly at first
and then more rapidly just as he demonstrates on his teaching recordings. He would play
sixteenths at quarter note MM 60 and then... suddenly ...triple the speed.

So this is how the Maestro practiced ! What a revelation !

And what a joy to listen to the Master make music with scales.

You try, of course, but you can not match his speed and power so you start repeating the scale,
up the fretboard and back down over and over and over.

Then you try to increase the speed gradually but the more you try, the more all sorts of little
mistakes and glitches start happening.

Then certain of your left hand fingers feel like they are lost or something with wanting to place
the third finger but the second finger going down instead.

Your right hand fingers are getting confused as to when to alter a fingering pattern as you shift
from string to string and they start creating a different pattern every other measure without you
even realizing.

Then you start second guessing the edition's fingerings and trying your own but they're about as
effective as blowing up balloons full of holes.

"What the heck is going on ?", You think "I'm not increasing my control ability, I'm actually
losing control !"

Weeks later...only marginal technical improvement, very little gain in finger control and what
feels like muscle fatigue in your whole body.

Then you start looking at the time you've spent and the limited time in the day you have to spend
on your beloved guitar.

And your music ?

It's sitting on the stand just waiting for you to bring it to life !

So you sit down and ask yourself, "If playing music doesn't work and playing scales doesn't
work, then what will work ?"

I mean how does one get to very rapid speed control with loud volume and full tone, you know,
like Segovia ?

You give up the serious scale work. It's too exhausting and you're getting worse as a player
rather than better.

But you love the Classical Guitar and you're determined not to give up, so you think, "There
must be a way to ease into the world of REAL playing ability and not make so many ....

"Mistakes all the time !"

~~~

Lie #3:

'OK, if playing my favorite pieces of music and reading through scales aren't working,
I'll play REALLY simple music !'

~~~

So the accepted and traditional approach didn't work because you had no framework to put it in.
No real critical path to build up to the skills required.

All you did was read through some neat music at your own tempo of choice, probably painfully
slow but a little faster than your playing ability.

Then you read through some scales, the Great Pretenders of Progress, at the same tempos but this
time a little slower at first and then a quick increase to what I call 'finger wiggling speed'. You
know when you close your eyes and have at it, like a dog, madly scratching at the fleas. The old ,
'I'm going to do this even it it kills me'.

Well ....guess what ? It did.

The next Snake Oil to try ?

REALLY SIMPLE MUSIC. I know I can tackle that and SOUND like a Pro !!!!

So you turn to music collection anthologies, if you haven't already and flip to the simplest
looking one of the bunch and confidently place it on the stand, take a deep breath and sound the
first note or chord.

Whew ! Not Too Bad, let's continue. You keep going like you're disarming a bomb or something,
expecting the worst but hoping for the best.

The next few measures come out OK , but then......a finger slips, you miss a note, the tempo
slows to a crawl and you break out in a cold sweat but no REAL mistakes yet so you continue,
cutting through the wires between the timer and the dynamite in your brain at breakneck speed,
you're halfway through the piece and just before you blow it, you stop and go, I DID IT !

Wow, the Lie worked, or so you think and you flip to the next simplest looking piece in the book
and do the same routine exactly the same way as the last.

You do this a few more times and you feel vindicated. 'I found the right solution! '.

Then the cold water of reality hits you in the face. No it didn't, who am I kidding ? That sounded
really terrible !

( And if you have ever recorded youself playing and then listened to the recording, you know
what I mean. If you haven't yet done this, I recommend it highly, but be prepared for some real
"cold water in the face" reality shock ! )

But you persist with the simple pieces, exploring the "extreme musicality" path where with every
note, your face scrunches up with expression and your hands leave the instrument at the end of
every phrase and wave around a little, like a Beauty Queen in a parade and you "Try" to capture
the ear of anyone listening to your gems of poetic tones.

Then, you just peter out, there's not many options left open hope diminishes and you think...

"Gee, my favorite pieces of music, scales and REALLY simple music didn't work,
what's next ?"

~~~

Lie #4:

'OK, there must be a piece of music so my NATURAL ability

will just shine like a harvest moon and I'll be playing like a PRO in a week.'

~~~

This one, as you might imagine, is short and sweet !

There aren't many Piñatas left hanging at this birthday party to take a swing at and the options
are becoming very few so reality starts to creep into your conscious thoughts.

Things like...

"I just don't understand how I can love the Guitar so much and all it does is throw me off like a
bucking bronco !"

So...

The 'Great Search' begins for that one piece of music that your natural ability will take to, like a
duck to water and the music will just 'pour' out of you like some open fire hydrant on a hot day
in the city and all your childlike dreams will romp and dance in the water. Happy, happy,
problem solved !!

You listen to recordings, scour the catalogues, visit the music shops, go online and download
dozens of pieces, scores of etudes, and you go to bed and think, tomorrow, it will happen.

You get up and start sight reading like you never have before, hitting the same walls you've
always hit, throwing each piece on the floor every time saying to yourself, 'Nope, that's not the
one !'

Within an hour, you're surrounded by music on the floor, like some prolific composer writing
masterpiece after masterpiece.

You start downloading Midi renditions of everything you can click on hoping that your inner ear
will tell you , 'It's the One.'

And then..........you find it. It's perfect. Everything about it is perfect, the time signature, the key
signature, it fits your hands like an O.J. glove.

You go to work sightreading it incredibly slowly, then backwards,

like all the greats talk about. 'Wow, I can play this backwards and forwards !'

And it works ! You can actually get through it with just the smallest little glitch, really small.
You learn it over the next week or two and play it over and over but then family members start
saying, 'Play something new for a change, would you please ?'

The anger grows in you because you've found the perfect piece and you can play in with
satisfaction after God knows how long of trying. Deep down though, even YOU start to get
bored with it but you ignore those thoughts at first.

A month later, you're depressed again like the sort that middle level executives get when they're
fired from their boring jobs except this

time not only were they fired due to gross incompetence and extreme dereliction of duties,
they've been job hunting and after dozens of interviews and being hired...........they get fired
again.

'How much more of this can I take ?', you think.

You're logic is stuck in the muck because you can't even come up with "The Question" let alone
"The Solution".

~~~

Lie #5:

'Everything is falling apart. I know, I need Professional help so I'll PAY a teacher to give me
some Lessons. Yeah, that's it, I'll take some Lessons'

~~~

OK, you're about as close to feeling like a complete failure as it gets so you find a Classical
Guitar teacher somehow and muster up the courage ( and this one takes real courage ) to go to
your first lesson.

It's like going to your first psychotherapy, or something, and the student ahead of you comes out
the teacher's studio looking kind of bewildered and confused !

'Oh, great, I should leave now', but the teacher sees you and motions for you to come on in.

You get up and Hope that your guitar case is locked and you forgot the key ...BUT it's not ...and
you didn't so you can't turn back now.

The sound of your footsteps, as you walk into the teacher's studio, is almost deafening and
everything suddenly goes into slow motion.

You sit down, get out your guitar, wipe the sweat that's pouring out of your palms like two open
faucets and wait for the teacher's first gem.

You're instantly dreading the 'Play Something For Me' request....

But instead, the teacher asks....

'So, where you from ?'

Where am I.........?

You think to yourself, ' Why, I'm from the deep, dark cave of failure and depression, that's where
I'm from....... !!!

What else do you want to know about me ??"

But.... you get a hold of yourself and allow the conversation to eventually turn to things like,
posture, straightening your back a little, the seat is too high, your foot stool is too low, dangle
your right arm off the guitar, down, up, that's it, lower your left arm, relax the top of your hands,
picture a field of flowers, go to your happy place......tone, juxtaposition, relax, relax.....bend your
right knee a bit more, turn your right wrist in a little, thaaaat's it, now lower your left shoulder a
touch, ....just a touch more.....Perfect ! Now, relax the muscles in your neck and play the etude
on your stand. Beautiful ! Play it again, but this time...With Feeling ! Wonderful, you have Real
Talent !

By the end of your first lesson, you feel pretty good, you think you learned something ...PLUS...
you even have an assignment, the teacher's X-ray vision of how you should develop your ... 'Real
Talent.'

"Thank God I'm not doing this alone any longer. What a Relief !"

So the teacher gives you your first homework assignment...

You can hardly stand the anticipation of finally receiving the Keys to the Castle. The Golden
Chalice of direction and success like some Miracle Map that will put you on the Road to Rome.
The sweet potion of Hope...you can almost hear the thunderous applause of the audience as you
WOW them with a Third Encore piece !!!

Here it comes...

"For next week......"

Yes ? Yes ?

"I want you to practice this Sarabande in you collection book on page 19 and then
practice the scale in E major in three octaves. Remember to relaaaaax
and go to your happy place. "

What ?...... Why that's the piece my family.... can't stand hearing any more !

And .....that's...... the Segovia scale that ....didn't do one thing for me except create whole body
fatigue !!

Silence for a few pregnant moments....then....

You politely and graciously excuse yourself, get in your car and burn your tires into a glorious
cloud of white smoke down the teacher's driveway, permanently leaving the symbol of your ever
loving gratitude for all to see.

"I guess I won't be coming back here ...Anytime Soon ".

Now What ?

This five part story plays out all over the world over many different durations of time, some
short, some long, although most usually long and maybe there are some additional wrinkles and
variations, more or less time and money wasted. The details are almost unimportant.

But most HAVE to go through this long self deprecating process before the truth of it all sinks in
and you're worn out and say, 'I'm ready to be shown how to get from point A to point B and I'll
accept the truth'.

But sadly, a 5 to 25 year absence from the Guitar is not uncommon in between the point of
quitting and the return to wanting to play again.

Why ? It's obvious. The pain last time was too overwhelming. At least, if you chose Origami
way back then, a cute paper bird was created and you felt creatively successful.

But now you're ready for the truth and you're ready to do anything to rekindle that spark you felt
5 to 25 years ago or just yesterday.

Make no mistake about this one.....

Classical Guitar Technique Has a Critical Path, a Very Specific, Critical Path !

From beginning to end. And that's where the problem is. Most Guitarists hop in mid stream of
some teacher's "Practice Routine du Jour" some in the middle, some at the end, most never at the
very beginning and if they do by some miracle, they don't follow it to the end.

Why ?

Because that teacher doesn't really know what a true Critical Path is and their practice routine
quickly falls apart when others follow it.

You don't start with music, etudes and scales, you start with the individual fingers on each hand
and then multiple fingers on both hands, identifying the weak and strong ones, correcting
deficiencies slowly and gradually more rapidly through a process where eventually, both hands
are working in concert, many times for the first time.

And you'll take years off your practice time and you'll get to your music years ahead of schedule.

It won't happen overnite but it will happen in less time than you think.

Longer or shorter doesn't matter, isn't the point. The point is that you'll have a technique you can
travel with anywhere in the world, sit down and play.

How long have you wanted to be able to do that just once in your life ?

To Your Music and To Your Success !

French Education - Will Your Kids Adapt?

I moved to France four years ago when my kids were 12 and 14. My husband has just been made redundant and it was a 'now or never' moment - we knew if we waited much longer, the kids would have a really difficult time adjusting. Here are my experiences of the French education system.

The French system is split into Maternelle, c.m., College and Lycee. Kids start school at about three years old. They go into College at the age of 11, stay generally until they are 14 and then go onto Lycee. Local villages often have their own maternelles and c.m.'s but when kids go to college, often at some distance from their home, they stay in the 'internat' which is the equivalent of boarding and is closely supervised by 'surveillants'.

At the end of College, children take an exam called the Brevet which has three parts: French, Maths and Sciences. There is no equivalent of GCSE. Passing the Brevet is not essential in order to go onto further academic study but preference is given to those who do pass as they have shown evidence of aptitude for further study.

Children do not automatically go up at the end of each academic year. If the teachers do not feel that the child is ready to progress, it is common practice to 'redouble' or redo the year. This means that in each class of the College, there is a spread of ages.

French school is very formal. Children stand when the Head enters the room. Lessons are very much chalk and talk and group work/essay writing doesnt happen. Drama, IT and religion do not form part of the curriculum. The practice of going to school on Saturday mornings is now rare. Before College, children have Wednesdays free. In college, Wednesday afternoon is usually free with many sports being offered. The french curriculum has a very academic emphasis - my kids had 11 hours of languages (french, english, spanish, latin and occitan), 6 hours of maths (at a level much higher than demanded in England), 3 hours of sport and the rest was split between Education Civic, Art, Science and Vie Communale.

Progress is monitored by 'controles' which are periodic tests and there are regular parents' evenings.

After the freedom of the English educational system, frankly my kids did not flourish and it wasnt just because they didnt speak the language - after a year, they were both managing very well. They felt suffocated by the rigidity of the structure and the inability of the system to allow individuality.

At 14, or at the age when a child finishes College, a choice has to be made between continuing into formal education at a Lycee Generale and going onto the Baccalaureate, or going into an apprenticeship or going onto Lycee Professionale and learning a trade. This is where the French system excels. The number of courses available is truly mindboggling and ensures that a child who is not academic can do a training which will gain them useful employment.

My eldest, who is now nearly 18, went to Lycee Professionale and obtained a Certificat d'Aptitude Professionale (CAP) in electricity and has now gone onto Brevet d'Etude Professionale (BEP) in electricity. He goes on work experience regularly and is gaining in confidence every day.

My youngest, who is now 16, made no head-way in the system and started at International School at Bordeaux a year ago. He is studying International GCSE and took French after one year in which he gained an A*. He is in a class of 6 and is very happy. He boards with a french family who look after him very well and he comes home at weekends. Occasionally he gets on the wrong train and rings me up to say he is going to be a while.....

I have not regretted bringing them to France. Children here are hardworking and respectful. They have no wish to join the 10% unemployed. They do not hang around the streets getting drunk at weekends (although this does happen during fete weeks!!). I cant remember the last time I saw a teenager pushing a pram. They are not obsessed with shopping. I know full well that if we had stayed in England, that my eldest would have emerged from the system with nothing. In an english comprehensive, a child can be easily lost in the thousand plus children. In the french college they went to, the Head knows each child - not that difficult as there were only 80 in the whole school - and any misbehaviour is very quickly nipped in the bud.

If you are wondering whether or not to make the move, I would say 'go for it'!

5 Action Tips to Improve Your Piano Playing

If you are a piano player and or looking for piano study tips to
improve your piano playing read these tips here below.

Are you playing the piano? It´s a great and rich instrument but
before you can really start playing the great masters or that
great jazz tune lots of practicing needs to be done... For this
article I want to mention 5 ways to improve your piano playing.

1. Find a Qualified Piano Teacher

Don´t fall into this trapp from other people saying you don´t
need a piano teacher. I highly recommend you grab your local
paper or phone and find a qualified piano teacher. Why? Most
importantly, you will learn much faster and eventually play much
better then if you have to do this all by yourself.

2. Practice Regularly
Never practice when you are tired you cannot focus and
concentrate well enough to make good progress.

Practice Regularly Piano playing requires good coordination and
music reading skills. To get best results with your piano
playing practice daily for at least 20-30 minutes a day.

3. Set Realistic Goals

When studying your song, set realistic goals. Find a song that
is right, and fits your musical knowledge and skills. For
example if you are studying a Czerny etude make a goal to learn
a new page every day or even a few measures depending on your
level and skills.

4. Improve Your Sight Reading

If you have no trouble reading music notes you learn a new song
much faster. Keep working on your sight reading skills by making
it a routine to start your daily practice with playing a few
bars of a totally new piano piece.

5. Read Music literature of the Composer

When you are playing a Mozart sonate and you don´t know anything
about his life its more difficult to play with a good
"character". Learn all about your favorite composer and try to
find a good approach to play his/her songs.

Take these few tips or read more on my website to to improve
your piano playing. Enjoy music!

[CF] Etude House BB Compact - Jang Geun Suk & Park Shin Hye

credits: rainee (eels international)



http://www.youtube.com/watch?v=vIRwMwsSc6Q&hl=en

Alessio Carbone - Mazurka d'Etudes

Alessio Carbone Official Site: www.alessiocarbone.com



http://www.youtube.com/watch?v=fKxCoAPFyNk&hl=en