Music Lessons in Burbank CA | Los Angeles Music Teachers

Differences Between Nylon and Steel String Guitars
Acoustic guitars are available with either steel strings or nylon strings. Guitars with nylon strings are often referred to as classical guitars. Here are some of the main differences between the two different types of guitar.

Genre
When deciding what type of acoustic guitar to get, the most important factor is what type of music you want to play. The nylon strings on classical guitars contribute to a warmer, mellower sound, which is well-suited for classical, flamenco, and folk music. An acoustic guitar with steel strings would be more well-suited for playing country, rock, bluegrass, or just about any other type of music.

If you plan on playing with a pick, a classical guitar may not be the best choice for you. Most classical guitarists stick to fingerstyle playing and strumming, and most nylon-string guitars do not come with pickguards. Without a pickguard, your instrument can be quickly damaged by playing with a pick, so we discourage using anything other than your fingers when playing a classical guitar.

Differences
Classical guitars have smaller bodies and wider necks than standard acoustic guitars. They typically have slotted headstocks with poles that the strings are wrapped around. A full-size steel string guitar will have a larger body and strings which are held in place on the guitar's bridge with the help of bridge pins (nylon strings are tied on to the guitar's bridge).

You will see a lot of steel-string guitars with pickguards in place to protect the instrument from damage that is caused by using a pick. This is not the case with classical guitars since nylon strings are not usually played with a pick.

Which is better for beginners, Steel Strings or Nylon Strings?
If you are a beginner, you may be wondering which type of guitar is easier to learn on. Nylon strings may seem like they would cause less pain for your fingers if you are just starting out. The truth is, your fingers will take some time to become adjusted to playing a guitar regardless of what type of strings you are playing on.
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If your guitar is properly set up, the type of guitar you have should not effect your ability to learn on it. Above all else, choose a guitar type that is best suited for the type of music you want to play and practice diligently until you get the hang of your new instrument.

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​

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​

This is the basic form of showing a student how to count a basic beat and separating it by steps. In this guide you will see the breakdown of the beat and then when it is all together, you will be playing your very first beat. 

First we will start off counting 1-2-3-4 and Repeat 1-2-3-4 because he will be playing to these numbers. Each Number represents a beat. And I will show you during the lesson and put it on the sheet for your son. So you can practice his homework with him.

Hi Hat: (If he is a righty, use right hand on Hi-Hat) (If Lefty he plays Hi Hat with his left Hand)

Snare: (If he is a Righty, He will use his Left hand on the Snare) (If he is a lefty, he will use his right hand on the snare)

Bass Drum: (if he is a righty, his right foot will be on the bass Pedal) ( if he is a lefty, His left food will be on the bass.. pedal)

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Would look like this below: R-Right Hand, L - Left Hand

Snare: R,L  1,2 
Tom 2: R,L 3,4
Tom 3: R,L 5,6
Floor Tom: R,L.  7,8
Crash Cymbal R. Crash

Lesson Number 1 (first Beat)

Step 1

Tap Hi Hat on Every Number. 
Tap on 1, on 2, on 3, on 4 (Count out loud when doing this)
Repeat (Twice) It will look like this when I write it out.

Hi Hat: 1-2-3-4

Step 2

Next we will add the Snare
Tap Hi Hat and Snare on 2 and 4 at the same time. (So we will Count 1 then have him hit the hi-hat and snare at the same time. So we will count 1, Tap on 2, count 3, then tap on 4) it will look like this.

Tap Hi Hat and Snare on 2 and 4 with sticks
Count:    1-2-3-4
Hi Hat:       2     4
Snare:        2     4

When he’s comfortable doing this, we will tap the hi hat on every number

Tap Hi Hat on all numbers and Snare on 2 and 4 with sticks
Count:    1-2-3-4
Hi Hat:    1-2-3-4
Snare:        2     4

Step 3

Next we will add the Bass Drum/Pedal
We will be taping the Hi-hat and bass pedal with his foot and we will be doing this at the same time but on number 1 and 3 (So we will tap and step on 1, count 2, then tap and stomp on 3, and then count 4) it will look like this below

Tap Hi Hat and step with foot on 1 and 3
Count:    1-2-3-4
Hi Hat:    1     3  
Bass:      1     3  

When he’s comfortable doing this, we will tap the hi hat on every number

Tap Hi Hat on all numbers and Foot on 1 and 3
Count:    1-2-3-4
Hi Hat:    1-2-3-4
Bass:      1     3

Final Step


Next we will put step 2 and 3 together
Now we will slowly put step 2 and 3 together. (On 1 it will be Hi Hat and Bass Drum, on 2 hi hat and snare, on 3 hi hat and bass drum and on 4 its hi hat and snare. Then we will end with a crash cymbal.


Tap Hi Hat and Bass on 1 and 3 and Snare on 2 and 4 I’ve color coded for you. (The Hi Hat will be going all the way through

Count:         1-2-3-4
Hi Hat:         1-2-3-4 
Bass/Foot:   1    3 
Snare:             2     4  

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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.

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. 
​
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. 
​
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.

If you're interested in taking 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-piano-lessons-in-burbank-ca.html​

Can’t play a convincing shuffle? You might as well cross a whole range of potential gigs off your bucket list. Shuffles play a crucial role in every professional drummer’s vocabulary, and those still struggling to get the hang of this particular feel might be surprised to learn there’s a lot more to it than meets the eye. 


Shuffles can lightly bounce behind a track or drive like a freight train, and everything in between. You may be content knowing a handful of basic patterns, but there are dozens of types of shuffle grooves that can help you develop greater control and coordination while expanding your fluency. So let’s take your shuffle to the next level.

WHAT IS A SHUFFLE?
As you dig deep into shuffle pedagogy, you’ll find that they’re sometimes written as triplets in 4/4 and other times as 12/8. So, to help you adjust to this idea, we’ve presented the following examples both ways—in either case, they’re more or less equivalent. I’ll refer to both patterns as being counted as 1 & ah 2 & ah 3 & ah 4 & ah because it’s easier to count them that way, even though my music theory teacher would slap my wrists for that.

Shuffles generally sound like a child skipping, with a cymbal pattern playing the pattern 1 – ah 2 – ah 3 – ah 4 – ah. However, as you’ll soon see, there are countless variations on this idea. Sometimes the feet play the shuffle, or it’s divided among several limbs, or occasionally it’s just implied.

GETTING STARTED

For those new to shuffles, we’ll start with a few blues beats that aren’t technically shuffles, but will help you get used to the feel of triplet-based beats. These grooves are written in 6/8, and since they’re shorter, they’re easier to master. Practice each slowly until it becomes comfortable, and then try speeding up the tempo. 

Keep your snare and bass drum medium strong, and play your hi-hat softer using the tip to create a musically balanced sound. Once you’re comfortable with these, you can link pairs together to create longer and more interesting patterns. The second line has some simple shuffles. 

When playing these on the ride cymbal, you may close your hi-hat with the snare note. The third line is trickier. To master these, play the unaccented snare notes very softly. More advanced drummers can expand these by buzzing or playing soft drags instead of ghost notes for different textures. Feel free to add variations on the cymbal, foot, or snare patterns to spice up any shuffle once you’re comfortable playing it.

As much as every budding violinist would love to pick up their instrument and begin playing beautiful music, the work required to get there is much more mudane. Every breathtaking performance requires strategic and focused warm up exercises beforehand. These routines help develop and maintain your basic violin skills as well as gear for more advanced techniques too. 

For beginners, it may be difficult to know even where to start; after all, everything seems to need work. However, using the beginning of each practice session for a warm up will optimize each days result and pave the way for strong playing for months and years to come. 

Although warm up excursuses will vary from person to person based on the advice of your violin teacher, there are certain exercises that can benefit everyone. Here are five beginner violin tips that will help you grasp the fundamentals.

1. Long Open Strings

Playing long open strings does several things: it lets your practice consistent intonation from each stroke, it allows you to become familiar with your bows weight and speed across the strings and lastly, it helps ensure that your bow remains in the proper location on the strings in relation to the bridge. Look into a mirror and place the bow on the string in the proper point and pull the bow across the string, listening for a clear, clean and consistent note. As you play, continually check in the mirror for your bows contact point. Repeat at least five up and down bows before moving on to the next string.

2. Finger Placement

Correct finger placement is essential for playing the right notes on the violin, and to learn this correctly, you must practice! One of the tried and true beginner violin tips is to play simple scales in first position. This trains your finger to understand where they belong on the fingerboard in relation to other fingers, and it trains your ear to hear each note as it should be played. To practice, pick any scale, and play each note slowly, separately and precisely. Always play with a tuner so that you can tweak your fingers placement for a proper intonation. 

3. Fourth Finger Practice

Placing your fourth finger on a string creates the same note as the subsequent higher open string. Some beginner violinists use the open string to play the note because it is much easier and you know that the note will be correct. However, as you advance, there will be times where you cannot access the open string to play the note, or it is much less efficient to do so. Therefore, you need to strengthen your pinky finger! Start by playing the open string, then mimic the note using your pinky on the lower string about five times for each string. Listen carefully - does the fourth finger note match that of the open string? Don’t get discouraged if its difficult to even stretch your pinky at first - it will take time for it to gain strength and flexibility

4. Slurs

A slur allows you to play two or more notes in a single bow stroke. To do this, start by placing the end of your bow close to the frog on the string. As you slowly but steadily bring your bow across the strings, place and then remove your first finger in the proper place while keeping your bow straight. Also, make sure that you place your finger on and off the strings at regular intervals - using a metronome will help. Start with two notes per stroke.

5. String Crossing

The final of the beginner violin tips is the ability to make a clean change from string to string while playing. Keep your elbow at a right angle to form a square - include the bow and trace an imaginary line from your shoulder to prove where the bow hair touches the string. Rock the bow to each string while practicing your long bow strokes. Make sure that your arm and bow remains in the same plane and use the natural weight of your arm on each string.

Because these warm up exercises set the tone for your practice session and for your learning overall, always perform them with focus and intent. They don’t need to take long, a dedicated five or 10 minutes should be fine. If you are unsure of what to practice or how to practice, ask your violin instructor for some violin tips - they have the knowledge and experience to guide you in the right direction

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​

Top 10 guitar styles to learn online with Los Angeles music teachers 
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Several cultures have managed to influence the way the guitar is played in times gone by. Today, there are various ways of playing the guitar. Learners need to understand the various playing styles available so as to be able to choose a suitable guitar style. It is highly recommended to avoid monotonous tendencies by learning various styles of play. Undoubtedly, you stand to gain more impressive recognitions among friends and colleagues when you learn to play in varying guitar styles. 

Interestingly, the guitar space is so diversified to the extent that players can colorfully create their own styles by simply learning more musical scales and techniques. Here are some of the top styles to learn on guitar to help you improve your own playing skill.

Rock
The electric guitar is mainly used to create the rock music style it features a typical 4/4 beat that is influenced by country, rhythm, and blues, and blues music. 

Rhythm 
Learners will need to understand how to support a vocalist with the right beat when playing the rhythm guitar. 

Percussive 
Of all top styles to learn on guitar, the percussive could be the most challenging as it requires lots of practice to master. Aside from playing on the strings, players will need to learn how to produce percussive sounds by hitting the body of the guitar with their nails, finger edge or palm. 

Lead 
Virtually any type of guitar can be used to play a solo and practice several other techniques for lead improvisations. 

Jazz
Typically characterized by improvisations and polyrhythms, swing and blue notes, this is an independent art form of music that can be purely instrumental. When playing on a jazz guitar, it important for learners to understand its complicated chord structures. 

Folk
Anyone can pick up a folk guitar to play in a piece of folk music as it doesn’t require any form of professionalism. All you need to do is to flow along with the story that is sung about common people. 

Flamenco
Flamenco features a vigorous Spanish style of play that involves fast and dynamic movements. Playing the flamenco guitar can provide the groove to the dancer by establishing percussive hits through a distinct picking pattern. 

Slide 
Learning to play the slide guitar will also require you to learn how to change pitch with the slide instrument. 

Bluegrass
Originating from the southern United States, this unique style of country music features a happy spirited, fast tempo that is supported with a resonating guitar on the bass line. 

Blues
Often performed over a repetitive harmonic pattern, blues is a melancholic style of music that features a simple chord progression presented in a slow sad manner. During musical performances, the guitarist often serves as the main point of focus.

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​

Every professional guitarist starts a session the same way: by warming up.

Whether you’re playing a gig or recital, planning a monstrous guitar practice session, or preparing to impress your friends at home with your killer chops, a precursory limbering up session is mandatory. A thorough warm-up will help bring your playing to peak level and prevent hand injuries.

Here are 11 ways to get your hands and fingers ready for action, both off and on the guitar.

GET 'EM HOT
Here’s an excellent way to get the blood circulating in your fingers and hands and make everything nice and loose.

Simply head to the nearest sink and crank up the hot water. It doesn’t have to be that hot—you don’t want to scald yourself—but it should be warm enough to get your hands loose.
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While running your hands under the water, stretch out your fingers. Don’t apply any external pressure to your hands or fingers; simply stretch them out just as you do when you’re playing.
Now before “prune hands” take effect, let’s start working on the warm-up exercises.

FOUR-FINGER EXERCISES
The four examples that follow are designed to loosen up all four of your fret-hand fingers as well as your picking hand.
Before you get started with the specifics of each example, there are a couple of general rules to follow for all the exercises here.
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First, always start at a slow tempo to ensure that you’re playing the music correctly, and then gradually increase your tempo as you progress. Remember: it’s always better to play something slowly and correctly rather than quickly and sloppily.
Second, alternate picking (down-up-down-up, etc.) is essential for all of the single-note exercises in this workout. This technique may seem difficult at first, but you’ll develop much more speed and accuracy in the long run.

FIGURE 1 is a relatively simple starter—a pseudo-chromatic line in 5th position. We’ll use this example as our “base” pattern for the three examples that follow. Pay strict attention to the fingering, making sure to use all four fret-hand fingers (including the pinkie) for each string grouping. Once you’ve got this base pattern down, move on to its more extensive—and more challenging—offshoots.
FIGURE 1

FIGURE 2 is a “double-back” pattern reminiscent of a Charlie Parker–style bebop line. Notice how it develops independence between your first two (index and middle) fingers and your last two (ring and pinkie) fingers. To extend the exercises in FIGURE 1 or FIGURE 2, simply shift the entire pattern down one half step (one fret) at a time.
FIGURE 2

FIGURE 3 kicks things up another notch by applying the original base pattern to sequential strings (E A D G). (From a harmonic standpoint, this one probably won’t win any Prettiest Ballad awards, but remember that the goal here is to warm up your hands and fingers.)
FIGURE 3

Once you’ve completed the initial four notes, simply invert the pattern, playing in a descending fashion. This completes the motif. To get the fullest impact possible, try this one on all three sets of these four adjacent strings.

FIGURE 4 adds notes between those that compose the base pattern. An octave is added between the first two notes, a minor 6th between the second two. This example is a great dexterity builder and, again, you should move it up and down the fretboard.
FIGURE 4

Feeling loose yet?

CHORDAL WARM-UPS
Have you ever seen a show in which the lead guitarist does nothing but solo? Me neither. So obviously at some point you’ve got to be a rhythm guitarist. Since rhythm playing varies so from genre to genre, I’ve included a nice cross-section of different chord voicing that will get both of your hands active. Even if you don’t jive with the style of a certain exercise here, try it anyway. It may open some new paths in your musical evolution.

FIGURE 5 is a descending open-chord sequence in the key of C, shown here as an arpeggiated exercise (though strumming your way through is also a viable option). For the sake of variety, try transposing this chord sequence to other keys as well. For instance, this same chord sequence in the key of G major would be G–D/F#–Em–D–C–D–G.
FIGURE 5

FIGURE 6 is a great power-chord workout that doubles as a dandy barre-chord workout. Try it with the power chords first, and then extend them to full barre chords simply by adding the notes in parentheses.
FIGURE 6

FIGURE 7—a James Brown–style funk rhythm using E9 and E13 chord shapes—is a great workout for your pick hand. Work through the rhythm slowly until you perfect it, and then gradually bump up your tempo. For some tonal variety, try moving the exercise to different areas of the fretboard. For instance, if you wish to play this as a typical blues sequence, such as a I–IV–V progression, you can play the IV chord—in this case, A9—with the root on the 12th fret. The V chord, B9, is located on the 14th (or 2nd) fret.
FIGURE 7

STRING SKIPPERS
Now that your pick hand is moving, let’s kick it into high gear, this time with two devilish string-skipping exercises, each written here as a three-notes-per-string pattern in A major (A B C# D E F# G#).

FIGURE 8 is simple enough in nature. Start on the low E string with the first three notes of the scale and then skip to the D string for the next three notes. At that point, backtrack to the A string, which you skipped, and continue the pattern in the same fashion. Use alternate picking throughout, even when skipping strings. That is, start by picking the first three notes (on the low E string) in a down-up-down sequence, and then pick the first three notes on the D string in an up-down-up sequence. (Repeat this picking pattern for the skip from the A string to the G string and so forth.) Taking this approach makes for a challenging sequence, but you’ll be rewarded in the long run.
FIGURE 8

FIGURE 9 is a pivot-picking, or pedal-tone, exercise. The concept here is to return to the root of the scale between the other scale tones. This technique is used often in classical music, both in ascending and descending fashions. Each of these string-skipping figures is pattern based, so try using various scales or modes to maximize your warm-up.
FIGURE 9

THE FINAL STRETCH
FIGURE 10 uses some stacked power chords (or sus2 chords) to great effect. These chord shapes are a staple of quite a few rock classics. Thumb placement is key here. For instance, since the first chord covers a four-fret distance (the 5th fret to the 9th fret), your thumb should be centered on the back of the neck at the 7th fret. This allows you to reach back to the 5th fret and forward to the 9th without shifting your hand position.
FIGURE 10

The same can be said for FIGURE 11, which covers a whopping five-fret span. This exercise is based in A minor, and as a bonus it makes for a pretty crazy soloing line if you so choose.
FIGURE 11

That concludes our warm-up exercises. Note that we aren’t suggesting you should perform each of these guitar exercises before you play, but working through at least two or three will benefit your playing, whether you’re hitting the stage,the studio or the rehearsal room.

f 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​

What is the difference between violin, viola, and cello?

When you are learning a string instrument in Los Angeles, it is important to know the main string instruments of an orchestra. Despite the fact that all are made from the same material and combination of parts, there are less similarities than differences. Following are the main differences of these, whether you are curious or your child is trying to choose an instrument for her elective:

Size -Violin Viola and Cello

Size-wise, violin is the smallest and cello is the largest.  Although viola is bigger than violin, it is only a slight difference and hard to tell to an inexperienced person. No matter the size of the instrument, your child can learn anything he or she wants! This is because all instruments come in small sizes. I have seen the smallest girls play bass and tallest guys play violin just as successfully!

Range and Strings of each String Instrument

Tuning-wise, violas and cellos are the same (A,D,G,C) and violins don’t have the C and have the E above the A. The strings go from shorter and thinner to thicker and longer based on instrument size. The violin range goes from G3 to A7. The viola range is C3-E6, as well as possessing a deeper tone. The cello range is C2-C6.

Position

The main difference between viola and violin vs. cello is how to hold it. Cello is played sitting down and in between the knees, with the end pin on the floor balancing the instrument. Violin and viola are positioned under the chin. The bow hold is also different between violin and viola vs. cello.

Orchestra role

The traditional melodic instrument in the orchestra is the violin, and the violinist closest to the conductor on the outside is called the concertmaster. This is the most important role in the orchestra, communicating directly with the conductor and helping lead the orchestra. Violas are mainly harmonic instruments, with cellos supporting the upper strings and interchanging between bass lines, harmony and melody.

Advantage competitively

Cello and violin are the most popular instruments. Viola is the hidden gem in the sense that you have an edge if you play it really well. Additionally, violin and viola are easier to play interchangeably so consider adding viola to your list of skills if you are a violinist.
It’s never too late to learn another instrument and Los Angeles Music Teachers is here to help you do that, whether it’s your first or an additional instrument.

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​

Drumming With Eighth Note Rock Beats and How to Read

It is easy to argue that the most important skill a rock drummer must have is to play grooves. There is also no argument that the most common grooves in rock are eighth note based. Therefore, if you want to be a rock drummer, and you’re just getting started, learn this lesson sheet.

Here’s what the notation means. The top line, with the “X” noteheads represents the hi hat or ride cymbal, played with your right hand (we’re assuming you are right handed). The second space from the top represents the snare drum, played with your left hand. Finally, the bottom space on the staff represents the bass drum, played with your right foot on the bass drum pedal.

Any of the examples on the sheet can be counted correctly by saying “one and two and three and four and” sequentially while you play each of the eight notes in each example. In other words, when you play the first note in example #1, say “one,” and then say “and” when you play the second note and then say “two” when you play the third note and so on and so forth.

“Muscle through” these patterns very slowly at first by just literally doing what the notation says to do. For example, with beat #1, which is the beat in the upper most left hand corner of the sheet as pictured, if you simply do the following, you will be playing the beat:

1) play the hi hat with your right hand and the bass drum with your right foot simultaneously. (say “one” out loud while you do this)

2) play the hi hat with your right hand. (say “and”)

3) play the hi hat with your right hand and the snare drum with your left hand simultaneously. (say “two”)

4) play the hi hat with your right hand. (say “and”)

5) repeat the previous steps but substitute the words “three” “and” “four” “and” for each step in sequence. (“one” becomes “three”; “and” remains “and”; “two” becomes “four”; and “and” remains “and”)

6) repeat the above over and over, and space the notes evenly, and you’ll be playing the beat. start very slowly and practice the pattern until it becomes easy to play. then you can gradually speed up.

7) use this same process for all the beats on the page the music sheet
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You will need to go deeper than this, but for a complete beginner, this is a really good way to get started. Try this and if you have any questions about how to work through it, feel free to to ask us with the links below. Or if you're ready to take drum lessons contact us about finding a drum instructor near you!

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

If you're reading this article, that means you are thinking about piano lessons and looking to make a big purchase and buy a Piano. It's no easy decision because you have to be mindful of costs and the amount of space it will take up in your house. so you would have to take your time when researching which piano is perfect for you. I have done some research to help you on your journey. Below you will find a list of pianos with some detail to help you start looking for the right piano for you!

Grand Pianos:  

The reasons for the preference which most people show for a Grand to an Upright piano are probably aesthetic and psychological. A Grand looks better in a room, and the pianist is more favorably impressed by the “view” when he sits down to play a Grand, compared with an Upright, which usually stands with its back to a wall. Another advantage is that the top, when raised, deflects the sound to player and room. Unfortunately, this preference brought about the production of miniature Grand pianos which are inferior in tone and touch to a good Upright and are described in the trade as “Baby Grand Pianos”. The action in such models was cut down in size and price, and the strings are too short; in fact, the minimum size for a Grand seems to be 4 ft.10 in. if the instrument is to be considered as a serious rival to a good Upright. 

Sizes and Types:

​The standard width of a grand piano is also about 5'. The length varies from 4½' to 9½'. The total floor space allowance for the smallest grand should be at least 5' wide by 6½' long, including bench space. Grand pianos are measure by the length from the very front of the keyboard to the farthest end of the piano along the spine, with the lid closed. The smallest Steinway is 5 ft. 1 in. (The size stated is always the over-all length of an instrument.) There are several types of grand pianos, based on piano length.  Click on image for example of size and specifications:

Tonal Quality

The soundboard and strings of a grand piano are positioned horizontally inside the piano case. When you press down a key, the hammer of the key hits the strings from below to produce the sound. The movement of the hammer falls back with the help of gravity, which makes the sound of repetitive notes crisp and allows the pianist better control of the keys. The size of the soundboard and the length of strings influence the tonal quality of a piano. Larger soundboard and longer strings produce greater volume and resonance of tone.

Since the tonal quality and the volume of the piano depend mainly on the size of the soundboard and the length of the strings, you want to start from the largest vertical or grand piano you can afford. You also need to consider the space you have. The sound of a Small Grand can get lost in a large open room where a Medium Grand in a small room can be too loud.

Types & Sizes of Vertical Pianos

A craze for very small size also afflicted Upright pianos. With the result that miniature models appeared which could only be classed as toys. The height was reduced by lowering the position of the action in relation to the keyboard, so that the lever was pulled up by the key instead of being lifted in the normal way. This type of piano sold as a “Spinet”. When compared with the small Grand pianos condemned in the previous paragraph, these miniature Uprights sink to about the same depth of tonal and acoustic banality. I can appreciate the demand for small pianos for small rooms, and in small orchestras where space is limited and the player must be able to see the leader, but I cannot see the sense of mutilating the tone and touch of a piano merely to reduce the height by a further three or four inches.
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Sizes and Types

The standard width of an upright piano is about 5' and the depth is between 2 - 2½'. The total floor space allowance should be about 5' wide by 5' deep, including bench space. The height of the piano makes no difference in the floor space needed but it makes a major difference in the quality of sound the piano produces. The height of a vertical piano is measured from the floor to the top of the piano. There are four types of vertical pianos, based on piano height:  Spinet, Console, Studio, and Upright. The size is measured from the floor to the top of the lid. The spinet piano measures less than 36" tall. The console measures 40 to 44" tall. The studio or "professional upright" measures 45 to 50" tall. The largest of the vertical pianos is the upright, which measures over 50" tall.

Spinet Pianos 

The spinet piano is the smallest of the vertical pianos. The spinet piano has what is called a dropped action. The piano action is the part of the piano that transfers the force of striking the key to the hammer striking the string. In appearance the spinet and console pianos are very similar. Some technicians charge more to work on spinet pianos because they feel they are more difficult to repair. There are more working parts in a spinet piano than a console but a qualified piano technician should be able to service the spinet piano at no additional charge.

Console Pianos

The console is the most popular of the vertical pianos. The action of a console piano sits directly on top of the keys and as with all vertical pianos the hammers sit in an upright position. Once the hammer strikes the string and the key is released a spring pulls the hammer back to its original position, ready to strike the string again. The action of a vertical piano is usually not as "quick" as the action of a grand piano.

Studio Pianos

The additional height of the studio piano gives it a richness and tonal quality comparable to those of many grand pianos. The location and feel of the action is also different in a studio piano. Many of the newer studio pianos mimic the feel of a grand piano.

​Upright Pianos

The tallest of the vertical pianos is the upright. Today this term is usually used to refer to the older, tall pianos - Grandma's piano. There were many wonderful upright pianos made in America in the 1920 - 1940's. If properly preserved these old pianos are some of the most esthetically beautiful and durable instruments ever made. The key is "properly preserved". If not properly maintained an old upright's only value is as a large piece of furniture, beautiful to look at but nerve racking to listen to.

We Hope that this is a starter point for you to find the right piano for you.

Click here to edIf you're interested in taking 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-music-lessons-burbank-ca.html

In this piano lesson, we are going to discuss one of the most basic concepts in music. What is an octave and what does it mean, and what does it look like on a piano?

Over the several hundreds of years the piano has taken to develop, the number of keys has changed dramatically, from as little as 32 keys when the piano was first developed, to up to 96 keys on a modern Bosendorfer Imperial. But why is this important to you when buying a piano today? Is it important to know how many octaves your piano has? Acoustic pianos usually all have the same amount, but when you're buying your first beginner piano for your kid you may only want a 61 key Keyboard instead of the full 88 key electric piano. There is no need for 88 keys until you or your child is more advanced. Those last 12 or so upper keys and 12 lower keys are rarely used except in classical music.

Generally, a piano has 7 and 1/4 octaves.

A standard modern upright, grand or digital piano has seven and a quarter octaves; seven full octaves, and three extra treble notes; B-flat, B and C. That's a total of 88 keys. There are variations, mainly in digital instruments, which we'll discuss in this article.

What is an octave?

​An octave is defined as a series of eight; the term is derived from the Latin word "octo," meaning "eight." The same reason an octopus is called as such; because it has eight legs. See the image above to see how it looks on the piano keyboard.

You can easily identify the 7 octaves on any piano by looking for the pattern of 2 black keys followed by 3 black keys. That is where every octave starts and ends. The note C is to the left of the first group of 2 black keys and then it ends on the next C. That is a full octave. Every beginning piano lesson starts with that discovery.

The word "octave" can refer to two different things in music; an interval and a scale. An octave scale is a series of notes, iterating through the seven notes of any particular scale until you arrive on the note you started on, but one octave higher.


G, A, B, C, D, E, F#, G.


You'll notice that we start on G, we iterate through all the notes of the G Major scale, and we finish on G. However, it's not the same G that we started on; it's the next G up on the piano. 

We refer to this as being an octave higher; essentially it's the next occurrence of the note you start on. This also ties into the octave as an interval; in the same way that a fifth is five notes apart, and a fourth is four notes apart, an octave is eight notes apart.

​On a modern piano, the very bottom note is A. There are seven more As on the piano, making for a total of 7 A octaves. Older pianos finished here and just had seven octaves; modern pianos have an extra three notes; a B-flat, a B and a C, to make seven octaves plus three notes.

If you're interested in taking Piano lessons on Zoom or In Person in Burbank, Glendale or North Hollywood, we have some of the  best piano lessons in Los Angeles. Our piano 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/online-piano-lessons-in-burbank-ca.html​

After vocal warm-ups and singing, it is essential that you also cool down your voice. You can use the same vocal exercises you used during your warm-up, starting with the most intense and working down to the least intense. Simply using the humming vocal exercise will also allow your voice to cool down and relax. Following these tips will keep your voice strong and allow you to perform at your best.
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Vocal warm-ups are a critical part of any singer’s practice and performance routine. These quick and easy vocal warm-ups will refine your technique, build your vocal power and control, and help expand your vocal range.

At Los Angeles Music Teachers, our trained vocal instructors teach students all aspects of singing, including warm-ups and other vocal techniques that thousands of professional singers use every day to keep their voices in shape and sounding their best.

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

We're going to cover one of the first parts of learning how to play lead guitar. I'm going to show you the 5 essential guitar scales. These scales are the ones you'll find yourself using the most in your lead guitar playing. For all of these scales, we are going to be using A as our tonal center.

The Major Scale
The major scale is a 7 note scale made up of a pattern of whole-steps and half-steps. When we look at our fretboard a whole-step is 2 frets, and a half-step is 1 fret.

The pattern for the major scale is whole-step, whole-step, half-step, whole-step, whole-step, whole-step, half-step. 

So when we apply that formula, starting on an A, we get the following notes.

Now that you understand how the major scale is made, we're going to take a look at the most common shape you'll use.

Tip: Look for patterns within scale shapes to help you memorize them.

The Major Pentatonic Scale
The major pentatonic scale is very closely related to the major scale. For this scale, we'll follow the exact same pattern as the major scale, except we'll leave out the 4th and 7th notes. This gives us a simple 5 note scale. Here's the most common major pentatonic shape.

The Natural Minor Scale
The third scale we're going to take a look at is the natural minor scale. There are a few different ways to approach this scale, but we're going to focus on relating it back to the major scale. The way we do this, is by simply taking the notes in our major scale, and lowering the 3rd, 6th, and 7th degrees down a half-step. Once we do this, we're left with our minor scale.

This is the most common shape you'll use for the minor scale.

The Minor Pentatonic Scale
Just like the major pentatonic scale, the minor pentatonic scale is very closely related to another scale. In this case, the natural minor scale. To make a minor pentatonic scale, we'll remove the 2nd and 6th scale degrees from our natural minor scale.

The Blues Scale
The final essential scale is the blues scale. If you know your minor pentatonic scale, then this one is really easy. All you have to do is add one note. This note is called the flat 5 (or sharp 4) note.

​The last step is to apply these scales to some relevant music. I've created a jam track for you that you can download. You'll see it right below the video on this page. Do your best to get some of these shapes under your fingers and work on playing them along to the jam track I've provided or a metronome.

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​

If you're interested in taking Piano lessons on Zoom or In Person or In-Home in Burbank, Glendale or North Hollywood, we have some of the  best piano lessons in Los Angeles. Our piano 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/online-piano-lessons-in-burbank-ca.html​

The Advantage and Disadvantages between Learning on an Electric and Acoustic Guitar
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When it was first launched, all acoustic guitars could project sound acoustically. No amplification was necessary from outside. In fact, they were not designed to take outside amplifications. However, modern acoustic guitars are designed otherwise. They can take amplifications from outside.

Advantages of learning with an acoustic guitar
•    Acoustic guitars generally have calm, nice and pleasant tones so no matter how bad you are, the tone projected from your guitar will not be so bad.

•    It is more difficult to play an acoustic guitar than an electric guitar so if you learn with the former, playing the latter will be a breeze. This can be likened to learning how to drive. Acoustic guitars are like cars with manual transmission while electric guitars can be likened to cars with automatic transmission. Since manual cars are harder to drive, if you learn with them, driving an automatic car will just be as easy as ABC.

•    Acoustic guitars do not require amplifiers and additional cables so it saves you some cost.

Disadvantages of learning with an acoustic guitar
•    One of the things that make acoustic guitars more difficult to play is its higher gauge strings which makes it harder for users to hold barre chords. Electric guitars offer better gauge strings.

•    The higher gauge strings on acoustic guitars are more likely to produce buzzing sound so they require better skills.

•    Acoustic guitars usually have wider fretboards and these are more difficult for beginners to handle. Besides, they are more fragile than electric guitars.

•    Beginners usually find it difficult to play the heavy strings of acoustic guitars.

Electric Guitar
Unlike acoustic guitars, electric guitars make use of electric amplification to produce sounds. They pick up string vibrations and convert them to electric signals which are sent to the amplifier.

Advantages of learning on an electric guitar
•    They have headphone input for you to practice without disturbing people around with noise.

•    It is easier to hold barre chords on electric guitars because they have softer strings.

•    Since the pickups and amplifier project all the sound, the strings are easier to learn.

•    Electric guitars have lighter gauges, thinner necks, and smaller bodies, so they are not only easier to carry around but they are also easier to play than their acoustic counterparts.

Disadvantages of learning on an electric guitar
•    Being able to play an electric guitar does not mean you can automatically play an acoustic guitar.

•    Being able to find a good tone is more difficult on an electric guitar.

•    An electric guitar requires an amplifier and that is an additional cost.

Conclusively, whether you learn with an acoustic guitar or an electric one, you will need several years of practice and dedication to be a master of the game. Even the best guitarists around the world still continue to learn. Lastly, it is also necessary to bear in mind that newer guitars will still be produced and they will have better features than older and existing ones so you need to be abreast of the new guitars that are coming into the market.

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​

Guidelines for not making rookie mistakes when you  start cello instruction near Burbank in Los Angeles

First of all let me congratulate you on deciding to learn the cello! It’s a beautifully versatile instrument and you will not regret choosing it. Similar to the vocal range, it has been a favorite for centuries. In order to be successful, you need to know the pitfalls to avoid. If you follow these guidelines, you will be motivated to keep pushing through.​

It’s easy to be disappointed when you're taking beginner cello classes near Burbank. This is why it’s crucial for you to use this blog as a model. This way, you won’t waste precious time and energy into the wrong resources. Following is a list of things you should definitely do in order to be the best novice cello student close to Burbank:

*Choose an instrument that is the right size. Cellos come in various sizes, and it is imperative that they are proportionate to the pupil. It’s much more crucial for the cello to be the right size than to get an expensive one. For optimal guidance, ask your instructor or your local instrument shop.

*Learn how to properly tune the cello. Don’t underestimate how important it is to learn this right away! You will probably need to tune it every day because of changes in temperature and humidity, and beginner instruments need more frequent tuning anyway. There are a number of free tuning apps you can install on your phone that make pitch checking a quick and easy start to your practice. If you don’t tune the cello every day when you are starting out, you won’t get used to the correct pitches and your intonation will greatly suffer. Remember, it is much harder to break bad habits than it is to form good ones. Make sure your tuner is set to 440 frequency and always go from the A to the C strings.

*Learn the correct way to rosin your bow. If it is not applied evenly, you will have gaps in your sound. The right amount is also very important because the bow will slide off the string if there is too little rosin and will have way too much grip if you put too much on. You will soon learn the right amount that helps your bowing be effortless.

*Have your cello set up by a professional luthier for optimal sound.

*Be patient during practice. You definitely don’t want to get an injury or learn bad habits. Have your teacher help you develop practice methods that focus both your physical and mental energies. This way, you will progress in a consistent way and will stay motivated.

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

Lesson on How To Create Melodies For Your Song Writing based on Your Chords

Melodies are easy to create once you have created a good chord progression. First you need to learn all of your chords in Major and Minor Keys. Here is a list below in the key of C Major. Then a list of all of the secondary dominant chords that are possible. Just those two things will give you lots of possibilities, but outside of that you can then "borrow" chords from the parallel minor. That will give you almost anything that has ever been done in pop and rock music.

​Here's lesson below with a list below of all of the Major Chords, Parallel Minor Chords, and secondary dominants (every chord can be approached by it's dominant chord). 

I     ii     iii    IV    V    vi     vii dim
C    Dm    Em    F       G    am     B dim
       A7      B7    C7    D7  E7      (Secondary dominants) for interest
Cm   Ddim Eb  Fm     Gm    Ab     Bb   (Parallel Minor Chords) 

Here's some common chord progressions that use some of the "borrowed" chords.
I     IV      bVII     I
     Vm     IV       I 
I      IIImaj       IV      IVm     I   Creep by Radio Head
Using Parallel Minor Chords 
Eb C Eb C Eb C Bb Ab F Ab F 
Bb - C (bVII - I)
Ab - C (bVI - I)
C - Db - Eb - Fm
C - Gm - F - C
C - Ab  - F  - C
Cm - Ab - Eb - Bb- Cm

Here's a complete list of all the chords available from all of the scales above.
C, Cm, Dm, Ddim, Eb, Em, E, F, Fm, G, Gm, Ab, Am, Bb, Bdim (all of them)

You can also take chords from any of parallel MODES.

No matter your level of proficiency, you can create great melodies along with your chord progression using any of the two approaches outlined below.

First Approach
It is a good idea experiment with different chord inversions while playing your chord progression. You can try each of the inversions one at a time as you move on with your progression. You may seek the guidance and supervision of an experienced keyboardist or guitarist on this.

The melodies will be obvious as you make connections with the chords. Bear in mind that you may not actually hear the whole of the melody at once, but you should be able to filter out the skeleton of the melody from what you hear. As you continue to practice, you’ll be improving on the melodies and more parts of it will be coming out. With time, you’ll be able to produce an interesting melody. 

At this point, you should not bother about whether you are getting the notes right. Rather, follow your ears. Listen to the melody and continue to make corrections as you deem necessary. Let the process flow naturally and organically. Getting the notes correct will come naturally. The more you practice with the chord progression, the more the notes will fall in the right place. If you don’t like this approach or it is difficult for you to follow, you can adopt the next one, discussed right below.

Second Approach
The approach involves attaching a particular rhythm to your chord progression. Lay it down on a recorder. You can then play it repeatedly. Listen as you play it. If you play the melodies so many times, you’ll be able to listen to them without recording. 

After playing the chord progression, close your eyes and try to hear the melody. Try to arrange the musical set pieces mentally. At this point, you should be able to come up with several melodies. You may also record the melodies as you align them with your chord progression. The more you memorize the progression, the easier it will be for you to hear organic melodies naturally. You’ll no longer need to fiddle with your musical instrument to come up with a nice melody. 

Instead of focusing on your musical instrument, unleash your creativity. Listen to your head and dig out the melodies in them. Letting your voice run at the same pace with your ears is one of the best ways to come up with nice music.
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Of course, there are several other ways to create melodies and music, but the two approaches above are easy to adopt and they are effective as well. Most importantly, regardless of what approach you choose, always let your imagination work. Don’t focus on only instruments. The musical instruments are distractions. They’ll sever the synchronization between your ears and voice. So, it is better to use your voice, record it, and transcribe it. When you get the hang of it, you’ll be able to create nice melodies more effortlessly.

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