Music Lessons in Burbank CA | Los Angeles Music Teachers

The Grand Staff
​This is what is known as the grand staff. It includes the treble clef and bass clef. Pianists read from the grand staff.

Note that the two notes shown above are the exact same pitch. Each is called "middle C."


Clefs in Relation to Middle C
Middle C is the note exactly between the bass and treble clefs, as noted in the image above. It is known by many other names, but for these tutorials I will be calling it "middle C". Middle C is located in a different spot for each clef, but it remains the exact same pitch. To show how each clef is related, here are images of each clef with middle C. Yes, this means that the clefs overlap each other.
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Treble Clef
The treble clef is also known as the "G clef." The easiest way to remember this is seeing that the clef circles the note G (second line from the bottom).

Bass Clef
This clef is also known as the "F clef." One way to remember this is that the line between the two dots is F (second line from the top).

The tenor and alto clefs are referred to as the "C clefs." Notice that middle C is located at the middle line of each of those clefs.

Why all of the clefs?

Each instrument has a range of notes that it can play. If every instrument read from the treble clef, for example, there would be a lot of ledger lines for lower instruments, which would make the music very difficult to read. Different clefs are assigned to different instruments based on the notes each instrument is able to play.

Most violinists stick with the strings they’ve been using for years, while others constantly seek different strings that might improve their instrument’s sound or make playing easier. These days, string players face a multitude of choices when it comes to picking violin strings, including a cavalcade of E strings that come plated in platinum, gold, and silver, among other materials. Trying every available string on the market to find your dream strings is probably unrealistic, but you can make an educated guess about a string’s sound if you understand some of the qualities of its core and winding materials, string tension, and the general tonal and playing qualities of each brand.

Of course, talking to other musicians about their experiences and preferences is also helpful in building your knowledge about different strings, but keep in mind, each instrument has its own characteristic sound. And while your violin can be adjusted and tweaked, changing to a new brand of strings alone probably won’t make a huge change in the tone or playability of your instrument.

CORE MATERIAL, TENSION & GAUGE

Gut core 
These are the original type of strings and their design goes back several centuries. Typically made from sheep intestines, gut strings are lower tension than synthetic- or steel-core strings and have a complex tone that is rich with overtones. Because of the low tension and winding method, they are more pliable under the fingers than other strings, tend to have slower response, and require players to finesse the sound from their instruments with the bow. Gut-core strings also need more frequent tuning, especially if there is a rapid change in room temperature, like stepping under hot stage lights.

Steel core 
The steel E string was introduced for violins at the beginning of the 20th century and was followed by the other steel-core strings and various windings, usually chrome steel. The steel E quickly became widely used and cellists took to steel-core strings fairly quickly. In general, steel strings have a quick response and a clear, focused, brilliant tone. But, don’t expect a great deal of depth and tonal complexity from steel-core strings.

Normally, classical players prefer other types of strings, but others, such as fiddlers, tend to prefer steel-core strings. They’re also widely used on fractional-size instruments. Generally, they are the least expensive strings on the market.

The violin E strings are available in three different types: plain steel, plated steel, and wrapped steel. The original is the plain steel E. In recent years, a number of steel E strings plated with various materials like tin, gold, and platinum have been introduced. The gold-plated steel E, for example, has a brilliant, clear, pure sound that many like, though they do tend to wear out quickly (the gold-plating wears off, and some instruments tend to whistle when going from the A to open E). The wrapped E has a steel core, usually with a chrome steel wrapping, and tends to have less edge and brilliance than unwound E strings, leaving them a bit warmer and mellower, but slower in response. They might be a good choice for someone who finds steel E strings too shrill or for instruments that tend to whistle when going quickly from the A to an open E. In a situation like this, I recommend the Kaplan Solutions E from D’Addario.

Synthetic core 

About 40 years ago, the Austrian string-making company Thomastik-Infeld introduced Dominant strings with a core made of  Perlon (a type of nylon). They were an instant success, and some would say that Dominant strings changed violin playing forever. Synthetic core is much more stable in pitch than gut. Though “gut-like,” they tend to have a more focused tone with fewer complex overtones. In the last 15 years, other core materials have been used that combine different synthetic materials for a more complex sound, thus the commonly used term “composite” core. While not quite sounding “just like gut,” these newer strings have interesting and sophisticated tonal characteristics.

String gauge 

Though often used interchangeably with string tension, a string’s gauge, or width, is different altogether. Unwound gut strings are a great example of this. Tuned at the same pitch as a steel- or synthetic-core string, a gut string will need to be thicker than other types of strings, even though its tension will be lower. Players who switch to a wider type of string, like gut, may need to have a luthier widen the slots on their instrument’s bridge and nut to accommodate the thicker gauge of the strings.

Still, at a basic level, when shopping for strings, you will be confronted with three gauges of the same string and it’s helpful to understand the differences. Compared to a medium gauge set of the same make of string, a thinner (also sometimes called “weich” or “dolce”) string will be lower tension, with a brighter, more responsive tone, but it will be lower in volume. A thicker (“stark,” “forte”) string, will do just the opposite, giving you a darker tone, but with a slower response.

String tension 

Though it’s one of the biggest factors determining the tonal differences between different types of strings, string tension is often confused with string gauge. Within specific types of strings, tension and gauge are related, but they are not the same.

Almost all strings, even the least expensive student strings, are available in different tensions: light, medium, and heavy. Gut-core strings tend to have a lower average tension than either synthetic- or steel-core strings. You can feel that lower tension as pliability under the fingers—the strings are easier to press down and you can feel them roll. Synthetic-core strings have a higher tension than gut-core strings, with the darker, warmer-sounding strings (e.g., Pirastro Evah Pirazzi) tending to have a slightly lower tension, although there are some exceptions to this (Thomastik Infeld Blue vs. Infeld Red, which have almost identical tensions). Steel-core strings tune up to a higher tension better than any other types.

When experimenting with different strings, it’s usually best to begin with medium-gauge strings first and then go to a different gauge only if necessary. On some instruments, the higher tension can actually choke the sound.

String winding In recent years, a number of string manufacturers have offered interesting and exotic winding materials, especially for steel-core strings. Altering the winding material allows manufacturers to change the string’s response and tension with such heavier materials as tungsten, resulting in a high-tension string that is thinner than one made from a less dense metal, like aluminum or silver.

A player’s chemistry may also be a factor in choosing strings. Some players, with acidic perspiration, will find that their sweat tends to corrode aluminum-wound strings. The wrapping quickly develops a rough gray surface, which usually doesn’t happen with other kinds of wrappings. Those players might want to try a silver wrapped D, for example.

MATCHING THE STRINGS TO YOUR NEEDS

Each violin, viola, cello, or bass has its own tonal characteristics that may be improved by a skilled luthier. If you would like to fine-tune the sound of your properly adjusted instrument, you may want to experiment with different strings.

Before you begin experimenting, you may want to answer a few questions about your current sound. What is your instrument’s characteristic sound? What strings you are using now? What sound do you want to hear?

Once you’ve addressed these questions, you can use the following guide to get the sound you’re seeking.
If your instrument is too bright, you may want a string that has darker, warmer characteristics. You may want to try something with a synthetic core, like Pirastro’s Obligato or Violino, or the Aricore brand, or Thomastik’s Infeld Red or Vision Solo strings. If you want gut-core strings, consider Pirastro Eudoxa. Pirastro’s popular Evah Pirazzi strings are more brilliant than these others, but still have some warmth compared to the more brilliant strings.

If you are on a budget, try D’Addario Pro-Arté or Super Sensitive Octava strings. While lacking in complexity and character of tone, these can be useful on inexpensive student instruments. If your violin is bright to the point of sounding shrill, a low-tension string, like Larsen Tzigane, may tone down a harsh-sounding instrument.

An instrument that’s too dark may benefit from a brilliant string, like Thomastik’s Vision, Infeld Blue, or Dominant strings, or Pirastro’s Tonica or Wondertone Solo. Gut-string fans may want to look at the new Pirastro Passione Solo or the Oliv. If steel-core strings are your preference, try D’Addario’s stranded steel-core Helicores.

If your instrument is unclear or unfocused, light-gauge versions of the brilliant strings that can help an instrument that’s too dark or dull will usually help focus an instrument with a mushy core sound. Players are frequently looking for more (or occasionally less) volume. Different strings don’t seem to offer much volume difference, but you perceive brilliant, focused strings as sounding louder under the ear and they may project better.

SHOULD YOU MIX STRINGS?
The ideal instrument is balanced on all four strings, with no single string jumping out in comparison to the others. Sadly, the reality is different, leading many string players to mix and match strings to get the best sound out of the instrument.

For years, many violinists and violists used the same kind of string for the three lower strings, sometimes using a different top string. For instance, a standard setup was Thomastik Dominant A, D, and G, and a Pirastro Gold-Label E. Violists have used Dominant D, G, and C, with a Jargar (or Larsen) A. But this has changed with the introduction of so many new strings, so experiment to find the best match for your desired sound. However, strings alone don’t determine the balance.

If you have an unbalanced instrument, the first step should be taking it to a qualified luthier for an adjustment. Sometimes, just moving the soundpost can make a difference. If you want to solve a balance problem by changing strings, start first by trying a different gauge on the offending string. Thomastik introduced the Infeld Red and Blue strings (red=darker, blue=more brilliant) with the idea that you can mix and match them to get a proper balance. Keep in mind that if you mix different brands and types of strings, a difference in tension might affect the sound of the other strings as well. You may also find the difference in actual thickness of strings to be distracting.

Things are a bit different for cellists, who seem to mix and match strings far more often than other string players. For a long time, a favorite set up was Jargar A and D with Thomastik Spirocore Tungsten G and C, though some cellists opt for Larsens on the upper strings. This setup is fairly brilliant. If you want a complete set that is warmer, you can try the new Kaplan Solutions from D’Addario or Pirastro’s Evah Pirazzi.

Lifetime of a String: When to Make a ChangeWhich strings last longer? Given the price of strings, it’s a reasonable question. It doesn’t seem like any one type of string lasts longer. What seems to be most important is how you play on the strings and how your body chemistry affects them. Depending on your sweat and technique, you may need to change strings every couple of months, or perhaps, once a year. Either way, you should wipe off the strings after every playing session. Also, remember, strings deteriorate, the core fatigues, and the sound gradually becomes more dull and dead. The process is so slow that you usually don’t realize it until you change strings.
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Choosing strings can be very complex, and you may wonder: what’s the best string? The answer is that there is no best string—there’s only the best string for you and your instrument, so consider your needs and examine your options.

If you're interested in taking Violin lessons on Zoom or In Person in Burbank, Glendale or North Hollywood, we have some of the  best Violin lessons in Los Angeles. Our violin instructors are picked by interviewing hundreds of violin instructors and we have really high standards on both their teaching ability as well as their personality. If you'd like to talk to one of our instructors or set up a first lesson we have a guarantee that if you don't absolutely love your first lesson you don't have to pay for it. Please contact us at (818)902-1233 or on our website at https://www.losangelesmusicteachers.com/online-violin-lessons-in-burbank-ca.html​

Musical performances have always been part of history. Since the advent of the piano, as a musical instrument, performers have always stunned their audience at concerts so phenomenally. History is replete with the remarkable achievements of piano grandmasters such as J. S. Bach and Franz Liszt. Generally, learners can gain the right technical approach to this practice by seeking the best piano lessons in Burbank. Here are some helpful piano training tips that can substantially elevate a learner’s skills when incorporated.

1. Maintain a natural posture
Keyboardists are always advised to maintain a calm posture and portray good deportment when addressing the keyboard. This can be effectively achieved by ensuring a comfortable seating posture while maintaining an appropriate distance from the keyboard for enhanced ease of movement.

2. Ensure proper use of the full arm
As a constituent of the full arm, the forearm provides support to the hand which in turn supports the fingers. It is best to ensure that the forearm is well-positioned to ensure easy movement of the hand (sideways, upward and downward).

3. Make the wrist flexible
Playing with a supple wrist can bring about a seamless execution of gestures. The legendary music tutor, Beethoven strongly advocates the development of a unique feeling of musical impulse when playing slurred notes. This would require the light withdrawal of the hand purposely.

4. Play with a compact hand
By default, the hands are meant to be kept in a compact position when playing the piano. Apart from helping to keep the arm and hand calm, this also helps to enhance finger movements.

5. Flow naturally with the fingers
There is no need to exert force while playing the piano. As a best practice, players should try to keep the muscles relaxed, as well as maintain a natural arch when working with the fingers.

6. Follow the right finger motion (fingering)
It is very easy to play the wrong note when adopting the wrong fingering. To avoid creating execution difficulties, pianists should ensure that they articulate gestures with the right fingering.

7. Try to be consistent
To achieve greater reliability, it is best to ensure full consistency by maintaining a regular hand shape.

8. Understand the structural function
The left hand is the foundation of playing the piano. This is where the bass line which is responsible for clarifying harmonic rhythm, maintaining timing, providing direction, sustaining the rhythmic energy, and setting the tempo is located. Ensure to work with the left hand by listening and building from the bass up.

Conclusion
As it is commonly said, practice makes perfect. Following the best piano lessons in Burbank can set anyone on the right track to perfection.

Right now there are a lot of lessons being moved online because of the corona virus. So we put together a list of tips and best practices to help you make the most out of online music teaching.
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Sound Quality​

All of the platforms that are readily available to us are not designed for instruments, they are designed for voice. This means that tone and dynamics are very difficult to hear. The best workaround that I have found is to ask the student to record a video of their playing on their phone or computer ahead of time, upload the video to YouTube as an unlisted video (not private) and send it through as a link.

Even the most basic of phones will likely produce better audio quality than you will find in a video call. The pre-recorded video can then be used and referenced in the lesson as you work on repertoire or exercises. The added benefit of this is that it brings a certain degree of focus, preparedness and organization to a teaching session.
In my experience the most impactful element that affects sound quality is the speed of connection to the internet. While you can ensure that you have a fast connection, you will not be able to control that of all your students. To get the best connection possible you can turn the wifi off on all other devices connected to the same router and at best have an ethernet cable run from your computer directly to the modem so that you are not relying on wifi at all.

A microphone will boost your sound quality too but not as much as a good internet connection from all parties.
Teaching with live video can be very off-putting with regards to sound but you also get used to it. I have found over the years that I can somewhat decipher what I am hearing and pick up some nuances that might sound garbled to others.
Facetime, Skype, or Zoom?My recommendation : Zoom

There are many video platforms that can be used but perhaps the most common ones will be Facetime, Skype, and Zoom.
Facetime and Skype will be excellent tools for one-to-one teaching scenarios and many people are already familiar with how to use the programs, which is a big plus. Skype has the added advantage of being able to send files and text messages while also on the call, which can be very useful for sharing scores, links, and pdfs. Facetime tends to be a bit more stable in my experience as a platform and can have better audio.

Zoom is a popular platform that is free to use for sessions up to 45 minutes in duration. For longer sessions you will need to purchase a subscription. Zoom is very useful for teaching because of the extra functions that it provides and I would recommend investing some time to learn this platform. For this reason I will focus on using the Zoom platform in this article, but many concepts can be applied to other platforms.
Zoom features for music teachingBy the way, I have no affiliation with this company.

Share your screen
The share screen function will allow you and your student to read off the same PDF score. As you are sharing your screen this means that you can open the score in a program (like Preview on a Mac) where you can annotate the score and point out sections with your cursor. Anything that you can see on the screen can be seen on the students screen. Just remember that people tend to be on smallish screens so you might need to zoom in on the score if you want to refer to small details.

Record the Lesson
It is very easy to record a Zoom lesson. Simply hit record whenever you like and a little red dot will appear on the feed showing that the session is being recorded. You have the possibility to pause the recording at any time – perhaps if you want to engage in casual conversation or there is a technical issue – and continue when you are ready.
When you end the session Zoom will take a few minutes to render a movie file that you can playback, upload to youtube or send to the student.

“Turn on Original Sound”
Zoom does have a setting that let’s you get around the dreaded sound quality that we normally experience and it is called original sound. This means that the software stops trying to be smart and detect when you are speaking and just transmits the raw audio feed of the microphone. This is GREAT but it comes with a couple of problems.
This is currently only available to the host, which means the teacher can better demonstrate sound but not the student.
It causes echo.
The sound quality gets better and in part this is because the signal gets a little more complex. The buffering needed to carry this signal puts you slightly out of synch with your student you will get an echo. The solution for this is to use headphones.

​Multiple Students
The biggest advantage of Zoom is that you can have multiple people in a “room”. This means that you can work with more than one person at a time and have a shared discussion.
When there is more than two people in a room, you can choose to toggle your screen mode from featuring the person who is talking (or making sound) to a grid of video feeds where you can see everyone.

Shareable Links
In order for people to join your session you will need to give them a link that looks something like this
“Join Zoom Meeting
https://zoom.us/j/422347″
When you have a zoom account you will have a default “personal meeting room” link and also the ability to create new rooms with distinct names and links. This means that you could create a room called “Tracy’s Teaching Room” and send out the link to all your students.
When a student clicks on a link the first time they will be promoted to download the zoom app to their device. Once this has been installed for the first time it will simply launch the meeting room directly from the link. The apps are free and easy to set up, even for the technology averse.
If someone comes to a room early, before you initiate the session on your side, they will just see a screen saying that the host has not started yet. If they come in while you are in there with another student they will still get access but you can mute them until it is time to work with them.

Multiple Cameras
One benefit for music teachers is that you can set up multiple webcams to use for your teaching session. I am a guitarist, so it can be very useful to have one camera set up for a shot of my right hand whereas the main camera is the typical view from the front.
To toggle between cameras all you need to do is select what camera you are using from the video icon.

Muting
As the host in Zoom, you can mute participants. This is incredibly useful if you are in a group of people and you don’t want to hear the various sounds coming from all the microphones. You can “mute all” or mute one at a time. Participants can also mute and unmute themselves.

Dealing with Dropouts
If the internet cuts out for you or the student the room is still there and it won’t disappear for everyone. This is inevitable at some point so it is nice to know that you or the student can simply fix the problem (usually plugging the computer into power) and re-join a few minutes later.
Best Practices and SuggestionsPreparing Materials
Save yourself a lot of time by making sure that you both have the same materials to refer to. If you have different scores you might spend a lot of time trying to communicate exactly what part of the music you are referring to. It is possible to hold up sheet music to the camera but it is not particularly convenient.

Talking differently
One of the more subtle changes that you will have to make is regarding how you talk and listen. In our regular teaching you might find yourself interjecting simply to encourage or acknowledge something. Online, this will potentially stop the flow of conversation with the inevitable “oh, sorry you go ahead – no you go ahead”. By speaking and then giving a clear amount of time to listen to the response or playing you will make the interaction more effective and less frustrating.

Getting Different Camera Angles
If you only have one camera available, which will be the case for most of you, you can still get multiple points of view by physically moving or adjusting the current camera.
Take a few moments playing around with what angles might be useful in a teaching situation. How close do you need to be to see details and what details are visible at what positions. One thing to remember is that you don’t always need to have your face visible. Of course it is nice to see people’s faces but if you need to see a cello bow hold, perhaps you can adjust accordingly.
If you are on a phone or laptop you will have some ability to maneuver the camera either by tilting or holding the device in your hand. Handholding can be very disorienting for the viewer so don’t do it too often, but it can be useful for getting very specific points of view. If you are using an inbuilt camera on a laptop, don’t be afraid to tilt the screen to get the right angle.

​Lighting
The vast majority of cameras will be on automatic settings and adjust for light as they think is necessary. The only real problem that arises for our purposes is if you have a strong light in the background.
If you have strong backlighting – perhaps a sunny window behind you or a strong lamp – then the camera might think it is necessary to adjust for that light source. The result will be that your face will be very dark.
To fix this, aim to have the strongest light source in front of you, or potentially maneuver your torso to cover a specific back light. As soon as you do this you will notice that your camera adjusts on its own.
If you want to look your best, you will want to aim for a large lighting source – like a window -and a soft lighting source – like a window with transparent white curtains. A small and bright light source will give you harsh highlights and shadow.
A simple layout that works is putting a soft lamp next to your computer screen that lights your face from the front, turn on the overhead room light for a bit of ambient light, and potentially have some light in the background for depth. Of course, lighting can get very sophisticated and you can spend some time experimenting to find a setup that works for your space.

The Top 3 things to avoid Bad singing habits. These cringe-worthy bad habits are high up on my list of things that make beginner singers sound well… beginner.

If your voice gets tired after a warm up routine, or you feel a strain in your neck, you might be missing a step somewhere. 

• Don’t forget to warm up your body before warming up your voice.

 

• Don’t neglect breathing exercises.

If you’ve had any formal training, you already know this: expanding your diaphragm is good, raising your shoulders is bad.

To make sure you know how to breathe correctly to improve your singing skills, stand in front of a full length mirror and place your hands at the bottom of your ribcage on both sides to locate your diaphragm muscles. While you’re breathing in through your nose and exhaling through your mouth, your goal should be to expand your diaphragm, while keeping your shoulders down.

• Don’t whisper.

So many singers make the mistake of whispering during their vocal rest days, thinking that if their cords are not vibrating, whispering should still count as resting. 

Not true.

Whispering, especially loud whispering, leads to tense muscles in the front of the neck. When you strain your neck, it becomes more difficult to sing with a healthy technique, because your voice box lacks the support from the surrounding muscles it usually relies on. 

So Try to avoid these 3 vocal warmups that could end up creating bad habits for your vocal lessons. 

Music lessons for children aged 7 and up. We are offering lessons for piano, saxophone, violin, and many other instruments. Our music teachers teach rock, blues, metal, country and classical music lessons. Beginner students can get to work on chords, simple songs, melodies, music theory, and tabs reading. We try to make each lesson joyful to learn. All the theory and technical concepts are divided into small parts and end in something fun. No matter if you want to learn your favorite guitar riff or learn to play your favorite song, you are welcome to bring your CDs or iPod to the class to learn it from the teachers.
If you are wondering who we are and what we do, in this blog we will cover all the aspects of our website and give you an overview of what we do. You will also learn a lot about our mission like why we founded this company and how you can benefit as a musician by choosing us as your music teachers.

Who We Are
We have professional and accomplished teachers and performers in the LA area who combined their expertise to form Los Angeles Music Teachers. In our long careers, we have taught for so many music schools but we were unable to produce the results we wanted due to the restrictions. It was the need of the hour to form a business that could overcome all the weaknesses of the competitors and offer something that could really provide benefits to the young students.

Our Mission
We believe that it is not necessary for a music school to have a complicated website that could confuse the student right in the very beginning. This is the reason why we made a website that is easy to navigate and provides all the information in the best way possible. Secondly, being music teachers, we want to offer lessons that are tailored to your needs and goals. Being musicians, we know that no two musicians are same and they cannot be taught in the same way.
It is one of our mantras to offer special discounts to our students. You can pay all your fees in advance either for a month or a year, whatever you are comfortable with. However, customer satisfaction is our main priority and if you are not satisfied with your first lesson, you can claim your full fee back. We won’t ask you any questions.
As we mentioned earlier that we like to offer discounts to our students, our referral scheme is something we take pride in. Just refer a friend to us and get a full month of free classes as a reward. We never impose our teaching plan on our students. We teach you what you are interested in learning; which is the beauty of our classes. No matter if it is a specific song or a riff, our experienced teachers will teach it to you. This is why we brag that it is a fun learning with us.

Hopefully, this post is enough to answer all your queries and introducing ourselves to you. If you still have any further questions, please call us now at (818)902-1233, or leave your question in the contact form. We will answer you as quickly as possible. Hope you have a good time reading, we look forward to hearing from you. ​

If you are interested in taking lessons on Zoom or In Person, please contact us at (818) 902-1233 or on our website at https://www.losangelesmusicteachers.com/online-music-lessons-burbank-ca.html​

In the world of the electric guitarist, there are great players and then there are legends. What sets them apart from being mere mortals? Read on for ten of the best and why. Who knows, maybe you have a budding electric guitar prodigy in your family that will be inspired to become the next big deal. With guitar lessons for kids readily available, there’s only one way to find out! See how the big names below have made an impact on the world of music through their guitars.

1. Les Paul
Les Paul gave his name to one of the most iconic guitars in the world; he was also a nifty guitar player in his own right.

2. Eddie Van Halen
With a unique sound and an amazing two-handed playing technique, Eddie Van Halen changed the sound of rock for generations and inspired more people to take up playing than any other electric guitar player. Being a ‘tone chaser’, he would experiment with guitar parts to make the perfect instrument.

3. Jimmy Page
One of the first heavy metal bands, Led Zeppelin owes its distinct sound to Jimmy Page. Very few people fail to recognize the opening notes to Stairway to Heaven or the iconic riff to Whole Lotta Love! Jimmy Page was one of the most iconic guitar players in the world.

4. Jimi Hendrix
No list would be complete without James Marshall Hendrix. Hailed as the world’s greatest guitarist, an outplayed Clapton walked off stage when Jimi joined Cream for a jam, saying to Jimi’s manager “You never told me he was that good!”

5. Eric Clapton
When you have fans that spray graffiti on walls proclaiming ‘Clapton is God’, then you must be an amazing guitarist. A blues player, Clapton combines amazing solos and instantly recognizable riffs to be one of the most accomplished artists.

6. Joe Satriani
​Inspired by Hendrix, Joe Satriani is mainly an instrumentalist who occasionally sings. He has an amazing technical ability, and has taught many other famous guitar players. Among his students is Steve Vai, who couldn’t even string a guitar when he met Joe.

7. Slash
Guns & Roses would not be where it is today without Slash. Slash’s style epitomizes the iconic rock guitarist and spawned many trying to follow in his steps across the world. Songs such as Paradise City and Welcome to the Jungle will have you reaching for your air guitar in no time.

8. Steve Vai
A master of the space age sound, Steve Vai pushes the boundaries of what you can do with an electric guitar. With a unique style and technical ability, there aren’t many who come close to him. Steve played with Whitesnake and sold out crowds in the early 90’s.

9. Peter Green
The founder of Fleetwood Mac, Peter Green is one of the most accomplished musicians around. A beautifully soulful blues player, he wrote many memorable tracks including Albatross and Black Magic Woman. When blues greats such as B.B. King say, “He has the sweetest tone I ever heard; he was the only one who gave me the cold sweats” you know he must be good.

10. B.B. KingA legendary blues player, and influence of many, B.B. King was the master of the clean, soulful blues. If you have never heard of King, then you’ve never heard the blues.

Although many deserve to be on this list, these are the crème of the crop. Music has been forever changed by the influence of these legends.

An Octave is one of the most fundamental principles that relates to how music is written, composed, and perceived.

All music you hear on the radio or on TV uses octave relationships in the melodies and harmonies that it is composed of, and the concept of dividing the octave into 5ths, 4ths, 3rds and finally whole and half steps has been around for centuries. It's the basic of what we call the tonal system of western music.

In this lesson, we will cover the basics of what you should know about how the Octave is used in music. 
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However, to best talk about octaves, we should cover what pitches and intervals are first.

What is Pitch?
When we play a note on an instrument or sing a note, that produces a sound. 

We can define that sound by a few different criteria, like how loud it is, how long it is, and what the pitch is. 

Pitch is just another word for the frequency of a note, or how “low” or “high” the note is. All frequencies, have "overtones".  The very first overtone above the fundamental (which is the basic note) is an Octave. The piano keyboard is also laid out in Octaves, i.e. if you look at the basic piano you will see a pattern of two black keys and 3 black keys. That pattern continues up and down the keyboard. That pattern is what is easily visual on the piano and divides up the various 8 octaves of the piano. 

If we hear a note that sounds like a baby’s cry, that would be a high-pitched note. 
On the other hand, a rumbling sound like thunder or train wheels would have a low pitch. 
​A note sounds higher or lower than another if it has a higher pitch, or frequency, than the other note. 

What is an Interval? ​
Now that we know what pitch is, we can discuss intervals.

An interval occurs when two notes – notes with different pitches – are played at the same time, and the interval is the distance in pitch between the two notes.

If two notes produce a really big interval when played together, then their pitches are really far apart, and if the interval between the notes is small, then they’re close together. 

There are many different names for all of the intervals. The smallest interval (shown on the right side of the picture above) is called a “semitone”, or “half step”. 

If you put two semitones together, you get a “tone”, or “whole step”. 
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Other intervals are given numbers as names, such as a “third”, “sixth”, “eleventh”, and so on. 

​This brings us to the octave.

What is an Octave? 
An Octave is a very unique interval. 

It is the interval between two notes, in which one of the notes has a pitch that is exactly double the pitch of the other note.

Pitch, as we said before, is another word for frequency, and we can define a note by giving its frequency as a number.

So, say for example that we have a note with a frequency of 220 Hz.
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We can call it A (in fact, the note with that frequency is an A). 

If we want to produce another note that will create an octave interval with the A, we have to either double that number – 440 Hz – or cut that number in half – 110 Hz. 

Therefore, if we have two notes, one with a pitch of 220 Hz and the other with a pitch of 440 Hz, then those two notes create an octave: 

You can also have notes that are two or three octaves away from each other. 

For example, the note with a 110 Hz pitch and the note with a 440 Hz pitch are two octaves away, because you have to double 110 twice to get 440.

We can then determine the octaves above 440 by doubling (880, 1720, etc.), and the octave below 110 by cutting it in half (55). 

Octaves are sometimes heard as basically the “same” note – like if a man and a woman are told to sing a “C”, they will most likely sing C’s an octave apart. 
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However, it still sounds like they’re singing the same note, because they sound so similar.

Summing Up
To sum up, the octave is one of the most common and easily-identified intervals in music. 
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Each instance of the same note (but different pitch) on a piano or guitar occurs as an octave, and each octave doubles the frequency of the one before it.

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