Sunday, July 27, 2008


Second Part of the Hit Single that Established Coldplay as a Viable International Act. Both Back Tracks Are Not Found on the Album "Parachutes" and Are Exclusive to this Single.
Customer Review: Good purchase
The cd arrived in time and in good conditions. Very good purchase for the coldplay fans. Thank you.
Customer Review: No More Keeping My Feet on the Ground with Coldplay
I can never say enough good things about Coldplay. They are fantastic and getting better and stronger even more now. The single cd of "Yellow" contain one of their biggest hits, as well as two other tracks, "Help Is Round The Corner" and "No More Keeping My Feet On The Ground" which are b-sides of the single, are just testament to their greatness today! Don't hesitate to get this!

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Exitos en Video

Customer Review: Sound engeneer where are you?
The sound quality is horrendous, Mana make a lot of money off there fans I could not believe my ears. I end up play the cd and the videos Simultaneously to be happy. A live concert DVD is needed MANA.
Customer Review: Great Mexican rock band, great songs but...
When they made the DVD, there are some things they should have changed on it. If you're a Mana fan, you'll know all the songs. One live track, a cover of "El Rey" filmed in Montreux Switerland shows of Alex Gonzalez's drumming, something that doesn't come through on their studio tracks. As far as the videos themselves go, you see it going from something that is borderline public access video, to some embarrassing videos that are kind of humorous, to a more polished look towards the "Suenos Liquidos" videos, where it ends. Nothing from "Revolucion de Amor" or their song with Carlos Santana "Corazon Espinado" (which is on Carlos' "Supernatural" DVD) is included. Here's the complaints that I found more annoying than anything: the cover of Led Zeppelin's "Fool in the Rain", straight off of the "Econium" tribute video is them in the studio talking about recording the song. It either should be the full song or in the "extras". It's something that you wind up forwarding and gets annoying real fast. "Clavado En Un Bar" has 5 minutes of the "making of", yet you can't skip the making of, you have to forward it. Another one that belongs in the "extras". It's something that we should be able to enjoy with the TV on or off. The "in betweens" can get a little noisy at times but isn't a big deal. It's not in Surround Sound, but you can hear it playing in all the speakers. I'd like to see them revamp this one a little bit to make it more "DVD-friendly" and put out a live DVD which shows off how great they are in concert. Even if you don't understand Spanish, the music alone is good enough to enjoy...

You see the dancers on TV dancing behind Britney or Justin Timberlake. You're inspired to take up dancing so that you can become just like your idols. And you find that pretty soon, you wouldn't mind being up there yourself dancing with your very idols.

Sounds cool doesn't it? Dancing in music videos or doing backing dancing is the dream of most aspiring dancers and if you're reading this probably yours as well. After all when you've danced in a music video, that's when you know you've made it, right? But how do you actually do it and find yourself on TV screens across the country?

Well there are a variety of ways. Some of them super glamorous such as being spotted by a very intelligent scout who obviously knows talent when they see it and says that's you.

If this happens to you, congratulations, you've truly had it made. But for the rest of the people out there, there are ways to appear in a music video that are within your control. Being scouted is generally the exception rather than the rule.

The most common route is to go and find a good agent or agency who will find dance auditions for you. Most top dance jobs come through agencies who will put you forward for jobs that match your skills and attributes.

The first rule of thumb when applying for dance agencies is to make sure you're good enough. There is no point in auditioning for agencies if you've just stumbled into the industry and just picked up 1 or 2 dance moves from a dance class. Auditions are tough and you'll need to be good to go through.

Different agencies work differently. Most will ask you to send through your CV and professional pictures. If they like the look of you and what you have to offer they may offer you a place on their agency immediately. Especially if you've done a lot of high-profile work or are otherwise a well-known dancer.

It's more than likely though that most agencies will invite you to an audition to become represented by their agency. There are often many dancers at these auditions, especially for the well known agencies where it's not unusual to have several hundred auditionees.

If you do well at the audition they may then decide to take you on. And then they'll start putting you forward for work and sending you to auditions where you're auditioning for specific jobs such as music videos.

There are some agencies which will insist that you do not need any experience. You should be cautious with these agencies. By all means have a look to see what they have to offer, but exercise special caution. Many operate on the basis that you give them some money to get a place on their agency books, and then they won't send you on any auditions at all. Generally you should not pay to join an agency, if you do make sure they have a good record and send their people to good auditions.

There will also sometimes be open auditions and castings which means that you do not need to be with any agency and anyone is free to attend the audition. Open auditions can be very packed, but if you don't have an agent yet then you'll have to go to these auditions to start building up your CV and if you want to find work. They can be advertised in newspapers, websites and notice boards.

So all in all, it is possible to succeed and get work without being represented by an agent or agency, but a good agency can help your career tremendously by sending you out on a lot of quality music video auditions which can only be attended via an agency.

Ryan Heddik has enjoyed a successful dance career dancing on TV numerous times and is the author of the groundbreaking e-book' Dance In A Pop Video.' The book teaches aspiring dancers the exact process they can follow to find work in music videos with tried and tested principles that actually work. Find out more about it at

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The Latin Bass Book

This is a practical, comprehensive approach to learning Afro-Cuban, Brazilian and South American styles of bass playing, featuring 3 CDs of Berklee professor Oscar Stagnaro playing with three different world-class rhythm sections. The book consists mostly of transcriptions of every note Oscar plays on the accompanying CDs. Some amazing music, and logically progressing from simple to complex examples of each style.
Customer Review: What does one say?
This is a MASSIVE book (262 pages!) of latin bass in all it's various styles. We are not talking simple repetive patterns here either, we are talking from moderate to complex lines with excellent notation and a top notch CD set behind it. If you want to learn Latin Bass, you can start here, and stop here, as you won't find more and better probably anywhere else. Although it is not a Real Book, You can think of that kind of setup and variety.
Customer Review: Good intro to latin bass playing
This book is well thought, thorough and enjoyable. Comes with 3 CDs that stand alone on their own, if you don't mind having bass on one side and the rest of the band on the other. This arrangement allows you to pan the track and play along with the band, or focus on the bass line only. I googled some of the guys who play with Oscar in these CDs and they are first rate musicians with impressive resumes (try Rebeca Mauleón). It comes with no tab, but the first bass lines are simple enough so it wouldn't be a bad place to start reading, and once you understand the beats and where the bassline falls, you should be in a good position to read almost anything! The book takes you to a series of concepts that become more complex from track to track in a well thought way, so you build on your understanding of the subject. Probably the hardest part is to keep yourself from dancing while you play along to the CDs! A good purchase.

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Santa Fe Chamber Music 1998; Spanish Village by William Lumpkins,27 in. x 21 in.

  • Artist: William Lumpkins
  • Title: Santa Fe Chamber Music 1998; Spanish Village
  • Frame: None
  • Image Dimensions: 23.5 in. W x 15.31 in. H

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Verdi - La Traviata

Opera superstars Renée Fleming and Rolando Villazón star in the sumptuous 2006 Los Angeles production of Verdi's tragic masterpiece, La Traviata. This performance was the highlight of James Conlon's much-anticipated inaugural season as the music director of Los Angeles Opera, a post that followed his impressive tenure at the Paris National Opera. The lavish production was filmed in Hi-Definition Widescreen to capture all of the excitement and drama on stage. Veteran Verdi baritone Renato Bruson rounds out this dynamic ensemble. Renée Fleming's heart-breaking portrayal of Violetta, as captured on this extraordinary DVD, has earned her rave reviews from press and Rolando Villazón returns to the role that made him an international powerhouse after his critically-acclaimed, soldout performances at the 2005 Salzburg Festival.
Customer Review: Old style opera! In the bad sense.
Well, this is a good oportunity to watch and listen Fleming, Villazón, Bruson and Conlon together. But the mise en scene by Mrs. Placido Domingo is so bad. Looks like a poor old style in a little town! And Fleming, one of my favorites sopranos, is not Violetta.
Customer Review: I saw this live
and it was not remotely close to being a great Traviata. Fleming did not project well; Villazon seemed stiff and nervous; Conlon is clearly not an accomplished Verdian conductor; the sets were average at best. Too many USA people just give any Fleming performance an inflated rating because she is attractive and is from the USA.

There are so many different perks to living in New York City : the culture, the restaurants, the education and of course, the music. Music is everywhere, and not just one type, but all genres. No matter what type of music you like, you can find it in the city and in a number of different settings.

If you are looking to spend a night on the town and hear some great music, that is not a problem in New York. There are plenty of bars, clubs, and lounges throughout the city that feature live musicians. Try going downtown to the Knitting Factory where you'll find indie-rock bands, jazz groups, and plenty of local bands on the rise. For a different type of music, check out the BB King Blues Club in Times Square. Of course, those are just two examples. There are music bars all over the Big Apple.

There are always big name concerts in NYC, and there are plenty of venues to host them. Concerts are always held in venues such as Madison Square Garden, Lincoln Center, and Radio City Music Hall. Each year these halls, as well as many others, host a number of different concerts. Check out their schedules to see if anything interests you.

Less-formal concerts can also be found all over. On a nice day, take a walk through Central Park or Washington Square Park, and you are bound to find someone singing or playing an instrument. You can even find music when you are riding the subway. Musicians are always set up in the subway stations. Sometimes these little concerts are the best ones.

As much as New York is a great place to enjoy music, it is also a great place to learn music. There are a number of music schools in NYC, including some of the most prestigious in the world. With all the great schools and the endless opportunities, music students should want to be nowhere else.

For a less formal music education, spend a day at one of the Big Apple's many museums that feature musical displays. There is the Museum of Television and Radio and the Dia Center for the Arts to name a few.

A completely different way to celebrate music in NYC is to visit the John Lennon Memorial in Central Park. This memorial, known as Strawberry Fields, is 2.5 acres landscaped in memory of John Lennon. The memorial is a mosaic with the word, "Imagine" in the middle and a peace sign made of flowers. It is located on Central Park West at West 72nd Street directly across from where John Lennon lived and was murdered.

No matter what type of music you chose to listen to, you can find it in New York City. No matter how you chose to enjoy your music, you can find it in New York City. Manhattan is full of music, and that is just one of the many benefits to being here.

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Coldplay (A Rush of Blood to the Head, Group) Music Poster Print - 24" X 36"

We bring you the best selection of Movie Posters, Music Posters, Sports Posters, Art Prints, Television Posters, College Humor, and more! This is the premier destination for finding entertainment posters. Find authentic movie advertisements, increase your celebrity photo and poster collection, locate that missing pop idol piece you need to complete your set, or discover rare concert sheets from your favorite musicians and bands. Whether its that one rare framed art print youve been looking for, or you need to wallpaper your dorm room with the hottest, sexiest posters, this is the place to find everything. Brand new, perfect condition, fast shipping! Buy from the best!!!

Where music meets licensing, there's money to be made. How much money? "I have synched quite a few thousand songs into productions over the years," states Peter Jansson of Janssongs, Inc., "and have charged anywhere between US$1.00 and US$250,000 for each one."

That's correct: he said a quarter of a million dollars. And there are a great many places to earn money from music. For example, there are more TV shows on more cable channels than ever before. There are oodles of commercials. There are tons of electronic games and toys. There are corporate video productions galore. There are big movies, little movies, and direct-to-DVD movies. And they all are potential places to put your music, if the rights can be cleared.

Goldmine or Minefield.

The world of music clearance can be a goldmine or a minefield. We heard about the quarter-million-buck goldmine. "Having said that," Jansson adds, "I think an average fee is usually between $4,000 - $6,000 per side (i.e. Master & Synch). It depends on how badly they want to use the song and how big a hit it was." Those two words, "Master" and "Synch" indicate part of the problem for the average singer/songwriter who hopes to have a song appear on a soundtrack. Before you can start earning money, there's a lot to know.

The facts are so important that NARIP, the National Association of Record Industry Professionals, has Stacey Powells lead workshops on the topic. Powells, currently clearing music for On Air With Ryan Seacrest, says "This is a much more complex part of the business than most people realize, but it can be extremely lucrative for artists, so theres a great feeling to passing along this information."

A Little Tech Talk.

Music can be used in four broad categories under copyright law: Adaptation, Recording, Reproduction, and Public Performance. Depending on where and how someone is going to use a song, there are mechanical rights and synchronization rights that have to be negotiated, and the various parties involved may include the songwriter, publisher, and record company, usually holder of the master rights.

Well, that last part doesn't sound so complicated. Oh really? Consider that there may be multiple songwriters, each with their own publisher for their share of the song. Song copyrights are held by music publishers (which may be the artist, but more often is a third party), while sound recordings (the masters) are controlled by record companies (which also may be the artist, come to think of it).

The Facts of the Matter.

So what, exactly, is "Music Clearance"? Simple: getting permission from rights holders to use music in your production. But what rights? The song's copyright is held by the writers (or the estate of the artists, or whoever was sold the rights). The master recording is held by whoever controls the recorded version of the song. Ah, but which version of the song? The one the singer/songwriter recorded? The one recorded with Russian lyrics? The jazz instrumental? The one recorded by the metal-reggae band?

Consider this: you can get permission from the publisher without permission from the record company -- if you record a new version of the song. But without the publisher's permission, the master recording license does you no good at all.

The field is very competitive. Don Grierson, former head of A&R at Epic/Sony, Capitol Records, and EMI-America, and often a music supervisor, consultant, and executive producer, notes that "nearly everyone in the music industry seems to be aiming at the film/TV and commercial licensing markets. There is intense competition. It can come down to relationships on some occasions, but often it is determined by the ease with which you can obtain the clearance."

Negotiating the Fees

Janssongs' Peter Jansson quickly lists some of the variables: "When it comes to Synch Licensing, there are a number of factors that determine what the fee is going to be, such as: territory (USA? World? Provincial?), media (Theatrical only? Radio? Television? DVD/Video? New technology?), usage (Featured Instrumental/On Camera? Background Instrumental? Background/Vocal?), length (Entire composition? 30 seconds or part thereof?), version (re-record or original recording), to name just a few."

But even once you have sorted out who owns what and where something is going to be used, there's the legal terminology, with contracts likely to contain such phrases as "World excluding the BRT's," "Rear Window," "now known or hereafter devised," "MFN," "Pro Rata Share," "Third Party Payments," and even "Audit."

True, you don't need to know all of these things if you're a songwriter, recording artist, manager, agent, record executive, film/TV production professional, or advertising agency executive. But the more you know, the better. Not only will you be more comfortable with the business side of the music business, you'll be in a better position to guide a career -- your own or your clients' -- to more rewarding choices.

"Just knowing a little about these topics allows you to follow the conversations these clearance guys have with my clients and all their other representatives," says one manager of several musical acts. "And knowing a little can help a lot."

Real-life Examples.

Sometimes you learn by doing. "The very first time I licensed a song on my own," says Marc Ferrari of MasterSource Music Catalog, "I never got paid for the license. The production company released the movie (Son of Darkness 2) then went bankrupt. What a way to start a business!! I have had better luck with nearly 1,600 licenses since then!"

Don Grierson, when acting as a music supervisor for motion pictures, says "Those who represent songs often call me and ask 'What are you looking for?' and it's amazing how rapidly that can change. The music requirements for any given project, or even any given scene in a film, can change depending on the director, the producer, etc. And whatever mood is being established in the scene may change in postproduction, requiring a change in the music."

Mistakes to Avoid.

Where people are involved, there can be errors. "Publishing and record companies sell and sublease and assign rights, some of which they did not own to begin with," points out Janet Fisher of Goodnight Kiss Music. She quickly lists a few more potential problems: "New companies file new cue sheets and suddenly a song is attributed to the wrong writer, a title is changed, a publisher forgotten; or sometimes a copyright holder just stops filing all paper work, including change of address forms."

One indie artist who has had several compositions in TV shows says, "Being an indie artist can be a huge advantage. Music supervisors are always looking for quality master recordings. An indie artist can sign off on a master synch music license in a day. Time is always an issue, and TV supervisors love indie artists because of the lack of major label red tape which often leaves them without clearance in time."

Goodnight Kiss' Fisher agrees: "Obviously dealing with an indie catalogue is going to be more affordable, and easier to work with. The large entities are not as hungry as the small, and our songs are no more than once-removed from the source."

Another who agrees is music supervisor Frankie Pine, who has worked on all the Steven Soderbergh film and TV projects in the past decade. "I have had at least one indie recording in every film," she states, "and it is often much easier to get them to sign off on an agreement. In a business that is so time-intensive, that is a real plus."

Helping out indie musicians is Barry Coffing of Uprising Entertainment. "We go searching for great independent music," he notes, "and the great thing about this business is that there is so much excellent music being made in so many categories."

Musician vs. Music Supervisor.

Nancy Luca is a musician who plays so often on both coasts, she has an L.A. band, a New York band, and a Florida band, and does session guitar work (her solos were on two Heineken commercials during the Super Bowl broadcast). She observes that "There are people who make a lot of money writing music for television that 'sounds like' other artists. It would be great if they would use the real artists like me who have great songs but no break with a big label. I am for licensing just to let people hear the real music -- the stuff that was written with heart and mind, not just for a paycheck."

Joel C. High, Vice President of music and soundtracks for Lions Gate Entertainment, displays the excitement that many of us have for making music work with images. "We often have directors who are greatly inspired by music and who may be passionate about acquiring a song that wouldn't normally fit in the budget of that film or television project. That's when we, as music supervisors, have to try to bring that same fervor to the negotiating process. We try to go to bat for our filmmakers in such a way that it benefits the picture and gives the best possible exposure for the musical artist. We want to get the absolutely perfect music for the scene and often the only way that can happen is by getting the recording artist to see the merits of having their song in a film to consider the way their song is used so they will see benefits beyond just the financial one."

A Director of Copyright and Licensing at a major independent publishing company had this to say: "Obviously, licensing music in film/TV is a wonderful way to get exposure, although for new artists, it will probably not be lucrative. And of course, there are things writers/artists should take into consideration when someone requests to use their music: Avoid giving broad rights away for free! This sets a bad precedent in the community, especially for new artists/writers, and it de-values their work."

Did this person have any ideas for working out a compromise? Certainly: "If a writer is eager to be involved in a project, and the producer wants the use for FREE, here are a few suggestions when negotiating. First, try and reduce the terms (e.g. instead of perpetuity, reduce the term to 10 years; instead of all media, reduce to all TV or theatrical only; and instead of worldwide rights, try and reduce to U.S. only). If the producer is not agreeable to this, then the writer should request some sort of 'step deal.' Very little money (if any) is paid up front, but should the production be successful, they are obligated to compensate the writer at certain 'milestones'." The feeling is that "if the producer starts making money, so should the writers of the musical works involved."

Music supervisors Frankie Pine and P.J. Bloom have the best piece of advice for artists placing music: "When you get the call, say Thank You!" says Bloom. "There are so many people trying to get songs onto soundtracks, that it is important to get in the door and create a relationship."

The Bottom Line.

Fisher has a lovely metaphorical summary for this story: "Like any part of the music business, licensing can be feast or famine, goldmine or plain old shaft -- but like any part of any business, the best protection resides in employing those with experience and integrity. If I were looking for a goldmine, I'd find an experienced miner who had found gold before."

URLs of principals in this story include:,,,,,,,

Scott G (The G-Man) writes and produces radio commercials at G-Man Music & Radical Radio. He also composes music for commercials and has albums in distribution via Delvian Records, iTunes, and many online stores and sources. A member of NARAS (the Grammy organization) and NARIP (National Association of Record Industry Professionals), he writes about advertising, marketing and music for the Immedia Wire Service and Samples of his music and commercials are on his site:

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Brothers & Sisters

Often I have been asked, "Jolita, How do I become a pop star or recording artist like you?"

After much thought, I have decided to do something new for my fans. So, I shall answer that question here with some guidance and suggestions. Be sure to check in, or better yet, subscribe to my blog if you wish to keep in contact with me and/or follow my career.

I shall covers topics of vital importance to anyone who wants to break into the music business and become a pop star or recording artist. Some people choose to pursue both sides of the aisle, while some choose to be either a pop star or a recording artist. I shall write this article for either.

Whether your specialization is pop, rock, R & B, alternative, metal, hip hop, rap, country, jazz, Christian, gospel, or classical music, the techniques can be applied in all genres, no matter what type of music you want to perform or record.

I can't guarantee that you will become an overnight success. It takes hard work and practice - lots and lots of it. What I can tell you is that I shall write about what you need to know to build a following, get a record deal, and eventually succeed in the music business.

When you become a pop star or recording artist, you will touch people's lives through your entertaining and music, while making money doing what you love to do.

Here are some of the things you will be called upon to do, when you enter this exciting and rewarding career:

* appear and perform in music videos of your own and possibly with other singers and entertainers;

* conduct interviews for radio, TV, magazines, and newspapers;

* go on promotional tours across the USA or around the world;

* do autograph signings at record, video, and book stores;

* appear for album cover and promotional photo shoots;

* attend award shows as a presenter or entertainer;

* be invited to lots of music industry parties;

* entertain in live performances; and

* interact with your fans.

And on top of all that, you will be paid handsomely for doing something that you enjoy. Now, that's not a bad way to have a career.

Do Your Homework First

Before you even embark on your new career, there are several things you need to do to make sure that this is what you really want and to ensure your chances for success. So, your homework should include:

* creating your best image;

* making the most of your singing voice;

* identifying and refining your musical style;

* developing the key elements of your "star quality"; and

* creating a killer demo package that should include:

> ensuring you include the important and effective elements of your photos and bio;

> choosing songs that will give you the best chance at getting a record deal;

> recording your demo at minimal cost; and

> picking the right producer for you.

Becoming a "Home-Based Music Entrepreneur"

One of the best ways to land a recording deal is to learn how to start promoting and selling your music on your own. There are many involved steps. Here are a few of them:

* Record your own songs at home.

* Learn all you can about digital distribution.

*Build a following of fans through self-recording and self-promotion.

* Use the best home recording software to produce your own demo or full-length CD.

* Gain popularity through online self-marketing techniques that includes:

> Creating inexpensive music videos;

> Sharing yourself on blogs;

> Podcasting interviews;

* Increase your online exposure by getting your music onto popular sites like:

> MySpace;

> CDBaby;

> iTunes;

and others.

* Use other resources that can help you bring your music to a wide audience.

* Use other resources that can help you sell your music on your own.

Getting a Record Deal

So, to continue my chats with you about becoming a pop star and recording artist, here are some more thing you need to know and do:

* Get your foot in the door through music industry jobs and internships.

* Use effective methods to shop for your best record deals.

* Know the types of record deals you may be offered.

* Collect contact information for record companies.

* Find a manager and an entertainment attorney.

* Choose between major labels and indie labels.

* Learn how to select your best deal.

* Pick your target record companies.

* Hold out for what you want.

* Turn your name into a buzzword:

> Get your own press.

> Make the most of your live shows.

> Learn the ins and outs of showcases.

> Get into networking events to meet music industry insiders.

> Get your songs played in commercials, movies, and TV shows.

> Audition for shows such as American Idol and Making the Band.

From Signing to Stardom

To continue, let us look at what it takes to go from signing your first contract to reaching stardom. So, here are some things you need to know:

* Recoupable expenses and their effect on your signing bonus and artist royalties;

* Marketing and publicity including your first single and music video;

* What you need to know to maximize your earnings:

* What to expect on your first recording project;

* Getting paid for your songwriting;

* Live shows and merchandising;

* Advice on handling stardom;

* Income from producing.

Your Singing Voice

Singers come in all types of skills and talents. Patti Labelle and Mariah Carey, for example, have an enormous vocal range and dead-on technical ability, but there are singers, like Madonna and Janet Jackson, who don't have the same technical ability or range, but have had long and successful careers. Despite your talents and technical abilities, you can have a long a successful career, too.

The first thing to remember here is that you don't have to have to be a Patti Labelle or a Mariah Carey in order to have a career as a singer. The important thing is not to measure yourself in terms of other people, but to make the best of the abilities and talents that you have.

The best way to improve your singing voice is to take voice lessons from a vocal coach. There is a science to singing and techniques that have been developed using that science. These things like methods of proper breathing, placement of your voice, hearing and pitch, how to extend your range, and how to keep from damaging your vocal cords are just some of the techniques you will have to manage. A good vocal coach will help you put these techniques into action to help you get the most from your singing voice.

When to Get a Vocal Coach

Now, getting a vocal coach to help you get your singing career off to a good start. Once you've been signed to a record company, maybe they will pay to have you work with a vocal coach. Nevertheless, I think that it is worth it to invest in vocal coaching in advance. But, there are a couple factors you need to consider.

Let me share them with you: The first factor to consider is whether or not your voice is capable of handling the demands of your type of music. There is a big difference in the vocal requirements of different styles of music. The way you would use your voice as a gospel singer is a lot different than the way you would use it as a rapper.

* If you're having difficulty meeting the vocal demands for your style of music, then you will need to invest in some voice lessons right away. I say right away because that is what you will have to do if you're serious about getting your career started and having it become successful.

* If you have serious problems with your pitch, such as singing flat or sharp often, then consider a vocal coach to help you.

* Also, if you have an extremely limited range, don't think a record company will sign you right away. You will need to work on it so that you will have an extended range.

* If you notice that your voice gets fatigued quickly, you will need lessons to learn to strengthen it. Some signs of vocal fatigue include your voice cracks, your throat feels strained, your natural vocal range diminishes, and you get hoarse easily.

* Final factor to consider: If you, your closest friends, and your family think you are tone-deaf, then it's time to think seriously about getting a vocal coach. Tone-deafness is an inability to accurately reproduce a note of music. People who are tone deaf always sing off-key, no matter how hard they try. Tone deafness is not very common; what is common is a tendency for singers to go a bit flat or sharp sometimes (instead of all the time).

A vocal teacher can tell you if you are actually clinically tone-deaf. Most likely you are not and you simply need to work on improving your hearing and pitch. Voice lessons can help tremendously. A big part of the process is learning how to hear and reproduce notes accurately with your voice.

Finding Your Vocal Coach

I hope that it has been helpful to you so far. Remember, it is just my brief thoughts and comments on building your career in the music business. If you're truly serious about having such a career, then I strongly recommend that you get the music guide that I'll mention at the end. Now, here are my comments for today.

The best way to find a good vocal coach is through word-of-mouth within the music community. Other singers are the best sources for reliable information on who's good. Talk to singers active in your local scene, call universities with music programs and music instruction schools in your area, contact music industry organizations, check with choir members from your local churches.

The top vocal coaches in the music business can be expensive ($100/hour and up), but it is possible to find reasonably priced voice lessons. Music instruction schools and lesser-known private instructors are your best bet.

One important thing to remember about voice lessons and vocal coaches: there are quite a few different methods and techniques that can be used for voice training. The method used depends on the teacher. To get the most bang for your buck, monitor yourself closely. Is your voice getting stronger? Is your vocal range getting wider? Are you getting better at consistently singing on key? If several months go by and you aren't seeing any improvement in your problem areas, you may need to switch teachers.

Jolita Sakmanaite is a singer/songwriter from Lithuania who has been often told that she's a multi-talented singer with a vocal range of 4 octaves. She plays the piano and the guitar; composes music; writes songs; produces her own music; and dances professionally. Visit Jolita at for more information about her career

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