Music Lessons in Burbank CA | Los Angeles Music Teachers

So, you (or someone in your family) has finally signed up for those violin lessons you've been wanting for ages. What to do about an instrument?

We at Los Angeles Music Teachers firmly believe that for beginners, rental is the best option for the first few months (at the very least). Purchasing an instrument is a very personal thing which requires the development of the musical "ear", or the ability to distinguish the qualities of one instrument from another.

It takes time to reach this point. From our perspective, it makes sense to wait until one has sufficient experience before making a major investment in an instrument.

Another advantage to renting a violin or cello is that size exchanges can be made at any time. As your child grows the size of the violin or cello also needs to grow. At some point, your child will outgrow the first instrument. The rental insurance coverage for theft or damage assures peace of mind, which is particularly important when it is a child who is handling the instrument.

Considering all of these benefits, making rental payments for a time can constitute money well spent. And, if one decides to purchase an instrument later on, Depending on where you rent the Violin, a percentage of what has been spent in rental fees can be applied towards this purchase.

Tips on care and maintenance:

• Never do home repairs: one false move can destroy the value of your instrument. We strongly recommend that all repairs be done by a professional.
• Keep the instrument away from radiators. It's best to keep it in a humidified environment in the winter, as dryness can cause cracks. As an alternative to expensive room humidifiers, try using a "Dampit" These small accessories are extremely affordable and fit right in your case.
• Never leave the instrument in the trunk of your car. Summer heat can actually cause varnish to bubble or melt off. Glue also dissolves in heat, leaving the instrument vulnerable to open seams. It goes without saying that you should never (ever!) expose an instrument to direct sunlight.
• Never leave the instrument unattended in your car. This can be an invitation for a thief, and is not covered by your JSI renter's insurance.
• Do not put scotch tape, masking tape, or lick-on stickers on your instrument, bow, or case. (If you must, use adhesive tape or peel-off stickers ONLY, and only on the fingerboard.)
• Always loosen the bow after playing.
• Use a natural fiber or other lint-free cloth to wipe rosin off the instrument whenever you've ceased playing for the day. Too much leftover rosin is bad for the sound, as well as for the varnish.
• Periodically check your bridge for straightness (or have your teacher check it). A warped bridge will eventually fall over and/or crack.
• Occasionally check any fine tuners to make sure they are not wound too tight. If they are, loosen them and re-tune with the pegs. It is possible for tuners to get stuck; in some cases the tension can cause a string to break.
• When you need to change an entire set of strings, do not remove all of the old ones at once. You will lose the proper placement of the bridge, and the lack of tension may cause the soundpost to fall down. For instructions on the correct way to replace strings, look here.
• Be careful not to tap the tip of your bow against anything solid (even gently). This very delicate part of the bow breaks easily and is very difficult to repair. If any parts of the bow should fall off (such as the ivory button or slide), hang on to them and take the bow in for immediate repair: these are very expensive to replace.
• If you use a shoulder rest, be sure to remove it before closing the case over your instrument. Forcing the case closed could crack the top of your violin or viola.
• Always check to see that the case is fully latched and zippered before you pick it up.
• Cellos should be carried in an upright position against the body - not down like a suitcase.
• In crowd situations, put your instrument in an out-of-the-way place so that no one will sit on it, step on it, or trip over it. Cellos in soft cases are particularly vulnerable.
• Label the instrument case with your name, address and phone number, just in case.

If you have any questions you are welcome to call us for advice on best practices for renting or buying a string instrument like violin or cello. Our teachers will also help answer any questions and guide you as you take lessons. If you're interested in signing up for lessons on Zoom or In Person in Burbank, Glendale or North Hollywood, please contact us at (818)902-1233 or on our website at https://www.losangelesmusicteachers.com/online-violin-lessons-in-burbank-ca.html​

Music is not a competition. 

​But if it were, the guitar would win that competition and there would be trophies, a podium, champagne, fireworks, plus an abundance of large and colorful sashes. Here's our list of measured reasons why guitar is an Amazing  instrument.

1. It’s portable
When a guitarist wakes up on a glorious summer’s day, they simply amble down to the park with an acoustic. The same can’t be said for a drummer with a 10-piece kit, who has to lurk in their waterlogged basement, battering away in the gloom like Gollum, and eventually dying from a vitamin D deficiency.


2. It’s cheap
After a shaky start back in the 70s, budget guitar factories in Asia can now make their CNC routers perform like keyhole surgeons, and you can now pick up an electric for around $100..


3. It looks awesome
Well, obviously. But, too strap on a guitar is to feel yourself imbued with outlaw cool. To hit a power chord is to send a tidal wave of pheromones sloshing through the venue.


4. It’s handy in a fight
When a gig turns nasty, it pays to have a solid slab of timber in your hand. Just ask Keith Richards, Pete Townshend or Pete Doherty, who have all felled foes with a well-timed swing of their Guitars.


5. It’s sociable
“This is a chord. This is another. This is a third. Now form a band”. So went the advice of 70s punk fanzine, Sideburns - and it pretty much sums up the lightning-fast transition between picking up a guitar and finding yourself in a van hurtling towards a Festival.


6. It’s versatile
Some days you want to be Nick Drake, others you want to be Kerry King. Guitar is the only instrument out there that truly sheds its skin.


7. It’s expressive
If you’ve got a personality, the guitar will bring it out, with your soul seeping through your fingertips in the form of bends, vibrato, slides and slurs.


8. It’s therapeutic
Somehow, smashing through a few visceral open-position chords makes everything feel better, in a way that tooting on a kazoo doesn’t.


9. It’s best for songwriting
Whether you switch things up with an alternate tuning, stick on a capo, stomp an effects pedal or batter on your soundboard like you’re in Stomp, there’s a thousand ways the guitar can unlock your creativity. It seems unlikely that Jimmy Page could have written Communication Breakdown if he’d played the triangle.

10. These Amazing Guitarists play it
Slash. Jimmy Page. Keith Richards. Kurt Cobain. Jimi Hendrix. Johnny Thunders. Joe Strummer. Noel Gallagher. Are you noticing a pattern here? By picking up the guitar, you’re running with a baton handed down by rock’s most untouchable Icons.

If you're interested in taking Guitar lessons on Zoom or In Person in Burbank, Glendale or North Hollywood, we have some of the  best guitar lessons in Los Angeles. Our guitar instructors are picked by interviewing hundreds of guitar 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-guitar-lessons-in-burbank-ca.html​

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.
​
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​

I always advise parents to allow their children to take music lessons because of its numerous advantages. I love music and I know music has shaped my life in many ways. I developed a strong passion for music at an early age, and I followed my passion. Music made me who I am. From recording songs to selling cd's, and from performing my songs to winning awards, I can say I have been living a fulfilled life because of my passion for music. So, I can authoritatively say music brings out the best in kids and adults. 

Even if your child has little or no experience or he is not even interested in it, you need to enroll him for good music lessons. Also, music enhances kids’ ability to learn in formal classes too. It motivates children to dig deep and tap into their inner strength and skills. Music will make them hit a gear they never knew they had. 

Another reason to encourage your child to learn how to sing, how to compose songs, or how to play certain musical instruments is quick language development. Over the years, it has been established that music education promotes language development and it also makes people more social. 

Now that you know some benefits of music lessons, you may want to enroll your child for music lessons. It is better to choose a good service provider. Here are the qualities you should look for in music teachers/school.

Conducive environment
You need a music school with a conducive environment. When it comes to music lessons, the environment where it is done plays an important role in the effectiveness of the lesson. The environment should attract kids. For instance, there should be toys for kids and a lounging area for adults. 

State-of-the-art musical equipment
Your child needs a music school that has numerous pieces of musical instruments. This will give her a variety of choices. Besides, there’s nothing wrong in learning how to play multiple instruments. Some musical artistes can play both keyboard and guitar very well. Multi-instrumentalists are usually more successful than artists that can play only one instrument. 

Experienced and qualified teachers
Your level of success in anything depends on the experience and expertise of your teacher. So, if you want your child to get the best from his music lesson, you should enroll him in a school that has experienced music teachers. You need a school that has teachers that are good in singing, composing music, and playing different musical instruments. 

Flexible schedule
How flexible is the schedule of the school? You would want to integrate the music lessons into your child’s academic routine. So, how about teachers that can come around early in the morning or during his break? Some musical schools are very flexible. 

Learning to play the piano can look like a pretty big challenge to a beginner. You might be staring at your keyboard right now, wondering where to even start?
But don’t let all those keys intimidate you! Making sense of the keyboard is actually quite simple, you just have to know what to look out for.

Identifying Octaves
The first thing we’ll do is break the piano down into more manageable chunks. If you look closely at the keyboard, you’ll see that there is actually a pattern to how the keys are laid out. They’re laid out in such a way that after 12 keys the notes repeat themselves. We call this sequence of 12 keys an Octave. A traditional 88 key piano can be split up into just 7 octaves. Learning to identify this octave pattern is crucial for finding your way around the keyboard.

Finding Middle C
Now that you know how to split your piano up into discrete octaves, finding specific notes is easy! Let’s start with the most important note on the piano, Middle C. How do we find it? Take a look at the black keys of the piano, and notice how there’s a pattern of black keys across the whole keyboard, alternating between groupings of three black keys and two black keys.

To find any ‘C’ note, simply take that grouping of two black keys and play the white key just below the lowest black key. You can see this pattern across the whole keyboard, so if you want to find a ‘C’ note anywhere, all you have to do is find that grouping of two black keys!
Middle C is the fourth ‘C’ note from the bottom of the piano. Take special note of it as it’ll be your home base for learning the entire instrument.

Naming the Notes
Knowing middle C is one thing, but what about all those other notes in the octave? These notes are all given letters as well. For now, just focus on the white keys. Walking up from middle C, the note order is D, E, F, G, A, B, and then the octave pattern repeats with C again.

Number The Fingers
In order to play the piano to the best of our ability, you need to be sure to play with the proper fingerings. The first step to proper fingerings is to number the fingers themselves. For both hands the fingerings go from #1 for thumbs to #5 for the pinky finger.

Playing Scales
Now that you know the numbers for your fingers and the names of the notes, you can apply your knowledge to play a C major scale. The C major scale consists of eight notes from C to the C in the octave above. This means that you’ll need to learn some special finger techniques to get your five fingers to play an eight note sequence fluidly.
The fingering pattern in the right hand is 1, 2, 3, 1, 2, 3, 4, 5. Notice how there’s a fingering reset between the 3rd and 4th notes of the scale. In order to play this order of fingerings fluidly, you’ll need to master a technique called the thumbtuck. A thumbtuck involves curling your thumb under your hand in order to play reposition your hand and continue playing a phrase. Although it may seem simple, the thumbtuck is one of the most important skills in a pianist’s bag of tricks, so make sure you’re always aware of it during your practice sessions!

When playing scales in the left hand, all the same rules apply, except our hands are mirrored. This means the fingering pattern is 5, 4, 3, 2, 1, 3, 2, 1. Keep an eye out for that fingertuck between notes 5 and 6. It’s a similar motion to the right hand, but this time your middle finger will cross over to continue playing the scale.
Practicing scales is just one of the many ways you’ll build confidence and musicality as a piano player. When you’re practicing them make sure you’ve got your technique and fingerings consistently solid. Prioritizing good technique in your early days as a piano player will pay off HUGELY moving forward!

If you're interested in taking piano, guitar or singing lessons on Zoom or In Person in Burbank, Glendale or North Hollywood, we have some of the  best piano, guitar and singing lessons in Los Angeles. Our instructors are picked by interviewing hundreds of drum 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/contact-us-for-info.html​

You have probably heard many times that the trumpet is one of the most difficult instruments to play. Maybe you play the saxophone and you’re wondering where the famous trumpet ego comes from, or maybe you’re thinking about learning the trumpet. Either way, there’s something to what people say about it, let’s learn why. 

The trumpet is considered a difficult instrument because the sound of the trumpet is reliant on the delicate embouchure. The brass embouchure, particularly the trumpet embouchure, must be capable of producing frequencies upwards of 1000 HZ.

Who Makes The SoundMusic is practically the same as vibration. The way sound works is vibrating air (or another medium… bone-induction headphones prove that.).
The vibration from an instrument vibrates the air which in turn vibrates our ear drum which in turn vibrates our inner ear’s cochlea which in turn excites nerves that our brain can understand. 
For a trumpet to make sound, the trumpet player’s lips must produce the vibration.
It helps to understand the challenge here if we compare what is required of a trumpet player vs. other instruments. 

• For a saxophone or clarinet player, the player’s breath moves a wooden reed back and forth.  The reed is what is vibrating back and forth to create the sound
• For a flute player, their breath causes wind oscillation within the instrument, and so the flute player controls the pitch by wind speed. This is true of concert flutes and other flutes like the recorder or the tin whistle. 
• A piano player presses a key and the piano strikes a string with a hammer which produces the sound
• A guitar player plucks a string which vibrates and produces the sound
• A drummer strikes a taut drum head and the vibrating drum head vibrates the air which produces the sound
• A melodica player breathes through an aperture and presses a key to pass through tuned reeds to make the sound
• A harmonica player works very similarly to a melodica.  The player blows through an aperture which vibrates a reed which makes the sound

In all these examples, and most examples of other instruments, the player provides the power through wind or through kinetic energy (like pressing a key on a piano) which vibrates something else which produces the sound.

• Trumpet: F#3-D6 (And higher. You will see High Gs in music now and again
• Trombone: E2-F5
• Tuba: D1-F4

Does lower mean easier to play necessarily? Definitely not. Low instruments have their own challenges, particularly with breath support.

Again, so what? Why are higher notes hard to play?

As you play higher, the trumpet player has to buzz higher frequencies. To play High C, the trumpet player has to buzz around 1046 times per second! 

To be able to play this frequency takes an enormous amount of practice. In fact, culturally, being able to “hit the high notes” is a huge deal for many trumpet player. 

The embouchure is so complicated that there are entire books and theories written specifically for training an embouchure. Not all experts agree on the best system for developing an embouchure because there are so many complicating factors.  Everybody’s mouth and lip configurations (shape of mouth, placement of teeth, etc) are different. Therefore, everyone’s embouchure and embouchure development is different. 

What further complicates matters is that many trumpet players in K-12 school programs do not get formal embouchure training, and so get bad habits.

This can lead to several problems. 

• Plateaus where the player never can get above a certain note no matter how much they practice. 
• Endurance problems where the player can’t effectively play for more than an hour, and loses any range they had.
• Poor form leads to applying too much pressure from the trumpet to the lips causing pain and even embouchure damage.
• Fuzzy or Sloppy Sound. Embouchure problems can lead to poor sound.

​All this is to underscore that the trumpet embouchure is difficult and tricky enough to get the hang of that if you don’t learn decent enough technique you could struggle for months or even years with endurance, good tone, and range. 
Although it’s not unusual to learn to play around 15 notes for a beginner with 6 months, it can take much longer to play with good tone.

Embouchure Shelf LifePerhaps one of the more unfortunate aspects of the embouchure is that if you don’t use it, you lose it. Very similar to athletic conditioning–advanced trumpet technique (or chops as they call them) will be lost quickly if you are not continuously practicing.  Some experts experience a noticeable difference even after only a day or two of not practicing.

But even with the trumpet being so difficult to learn, it is majorly worth it! Would recommend looking into finding a great teacher like ours to help you push past these obstacles and become an amazing Trumpet player. 

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.