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Caribbean Magic and Culture: Holder's Season in Barbados
The United States has Mardi Gras, Brazil has Carnivale, the Germans have Oktoberfest and Barbados has Holders Season. Each spring marks a nearly month-long celebration of culture, culinary delight, and fellowship in Barbados. Holders Season is indeed one of the premier cultural events in Barbados and the Caribbean. If ever there were a time to visit this island paradise, the visit would have to coincide with this celebration.
Holders Season is a celebration of opera, music, and theatre, and takes place in the beautiful gardens of Holders House, a 17th Century plantation home owned by John and Wendy Kidd and their family.
The venue is truly a beautiful outdoor setting under the trees with a history of fabulous events performed by musicians, actors, dancers, singers, writers and comedians from around the world. Visitors to Barbados in this time might enjoy the wide range of performing arts. Opera companies may perform a classic story set to Mozart, and playhouse companies may offer up their own interpretations of a Shakespeare tragedy. From classical music to the rhythmic beat of Caribbean and Latin American styles, the beat can be felt all over the island, and there is always occasion to dance and make new friends in Barbados during the Holder Season.
Although you can buy food and drinks before the performances and during intermission of most performances, most prefer to take personal picnic baskets with wine and champagne in order to enjoy an uninterrupted, sophisticated night under the stars. Holders Season is a celebration for couples and families alike, and anyone with an interest in island culture and island interpretations of other cultures.
At BarbadosBarbados.com, you can learn more about Holders Season and current schedules of performances. Don't forget, too, to plan ahead for this wonderful time.
Billy O'Dell is, with his wife Carolyn, the owner of BarbadosBarbados, an online concierge to Barbados tourism, and owner of Food Affairs, a Bajan catering company.
music on so you think you can danceLearn To Play The Piano Better By Learning To Arrange Chords & Chord Progressions
Piano arranging is the process by which you take a written piece of music and rework it with chords, adding new bass accompaniment, fills, or even slightly altering the song's structure. And while it's a process that takes years to truly master, anyone with a basic education in piano and a working knowledge of a few key techniques can create an inventive, satisfying arrangement. It all boils down to one thing: chord recognition. And anyone who plays a little piano can learn piano chords to add excitement to their piano playing.
Most people learn to play the piano by playing just the written music. Playing by written music is exactly what the phrase says it is -- playing the exact notation on a piece of sheet music. But playing by chord symbol is a little different. Instead of following the harmony note by note, you follow the chord symbols (i.e. C7 or F) written above the harmonies, filling in the gaps with...well, whatever you want as long as it sticks to those chords. Of course, you'll still read the melody (it is, after all, often what makes the song recognizable) but even that is completely open to interpretation. Playing by chord symbol allows you a freedom that playing by written music simply doesn't. The freedom to create. The freedom to invent. The freedom to arrange chord patterns in the way you want.
Does that mean playing by written music is less important than playing by chord symbol? Absolutely not! The ability to play by written music is an extremely valuable skill, one that even some of the most famous musicians don't possess. And while you don't necessarily need to know the skill backwards and forwards to create great arrangements, it's a tremendous help.
Think about it this way. Some of the most revered modern artists create paintings that look very simple, very rudimentary. But the majority of those artists went to art school for years before they began creating that sort of work. They learned the fundamentals of drawing and painting, of color composition and light; they learned to draw or paint something exactly as it actually looks. Only after they mastered those skills did they move on to create the simple, yet often innovative, work that hangs in galleries and museums -- work that still abides by several basic principles. They learned the craft before bringing their imagination into it; after all, you have to understand the rules in order to break them.
So after you have learned the basics of reading piano sheet music, consider learning chords and chord symbols (such as G7, Fm, etc.) and chord progressions. There are many places online where you can learn all about chords just type in chords or chord piano into your search browser, and you will find several to choose from. When you can both read the written sheet music and then add chords and chord progressions to your piano playing, you have the very best of all musical worlds.
Duane Shinn is the author of over 500 music books and products such as DVD's, CD's, musical games for kids, chord charts, musical software, and piano lesson instructional courses for adults. He holds advanced degrees from Southern Oregon University and was the founder of Piano University in Southern Oregon. He can be reached at http://www.chordpiano.com. He is the author of the popular free 101-week e-mail newsletter titled "Amazing Secrets Of Exciting Piano Chords & Sizzling Piano Chord Progressions" with over 56,650 current subscribers. Those interested may obtain a free subscription by going to http://www.playpiano.com.
latin music comDJ Mixing Tips - 5 Secret DJ Mixing Tips & Rules For The Beginner
As a DJ, one of the basic fundamentals of performing is knowing how to mix music. Keeping
that smooth flow, rhythm and energy on the dance floor is essential to a Dj and their
performance in front of their crowd! In this article we will mention 5 secrets of Dj mixing
tips that any beginner needs to know in order to become successful.
Beat mixing has become easier than it used to be because most of todays dance music tracks
have lengthy introductions to a song and also long outro ductions to a song. With this in
mind, it has also become easier for for newcomers to come into the scene and get involved
because Dj equipment is as expensive as it used to be!
Here are some of the Dj mixing tips you need to know -
1. Almost all dance tracks have an intro where you can mix in the music and a break or outro
where you can mix out of a track. Commonly, the outro area on a dance track is often the
final opportunity to mix out of the song. You can also mix out of a dance track where there
is a breakdown in the record!
2. When listening to dance music and its structure, make sure that you listen to the drum
beat of the song. This is normally a 4/4 structure. Eg. 1,2,3,4 - 2,2,3,4 - 3,2,3,4 - 4,2,3,4
Counting the beats will help you understand where you need to place your mix with the other
record you wish to mix into.
3. So now, as you listen to the tune that is being played (song one) on the output (dance
floor) you need to cue the song that you want to beat match through your headphones on the
other turntable or cd. When tune 1 comes towards its outro section, you then need to start
the second tune on its first beat in which case this is the intro of the second tune. This is
where you start to beat match the to songs. As you match the drum beats of the two songs keep
your hand on the pitch of the tune that you are trying to introduce. Adjusting the pitch will
help you speed up or slow down the tune you are trying to introduce!
4. As one hand adjusts the speed of the incoming song, the other hand needs to be to be
adjusting the volume of the mixer and gradually sliding the cross fader from tune one to the
other. What happens when you do this is that song one decreases in volume and song two
increases in volume Thus completing the change over from one track to the other.
5. One of the most important things for a DJ to understand when in the mix, is to make sure
that he/she always keeps their hand on the pitch when adjusting a mix. Some Dj's don't realize
this, but touching the vinyl may create a swoosh sound that can disturb the mix and make it
sound like its not running smooth! So avoid touching the vinyl or platter when you are
adjusting the speed on a live mix!
These are the DJ mixing tips exposed. I hope they are some sort of use to you! Learn and
understand them as best you can and they will help you become better at mixing your music!
Yo DJ! Are you interested in more DJ mixing tips? Want to learn how to beat mix, scratch etc? Tired of searching the net for tutorials that give away limited info? Want to learn from a proven method that has helped hundreds if not thousands of beginner/intermediate DJs? Then please visit DJ mixing tips, or visithttp://www.musicinstrumentreview.info/djmixingtips.html
irish dance musicThe Four Stages of Awareness in Learning How to Swing Dance
The difference between the Basic, the Intermediate and the Advanced levels of dancing proficiency are defined by more than just their core curriculums. In the aviation world, for example, it is the difference between driving an airplane and flying one! A basic pilot can fly straight and level, climb, descend, and turn. An intermediate pilot can combine these basic "stick and rudder" airwork fundamentals with good airspeed control and make acceptable take offs and landings; however, only an advanced pilot can take full advantage of his airplane's capabilities by being able to fly it safely to the edge of its performance curve. Switching our focus now from the cockpit back to the dance floor, let's put the Basic, Intermediate and Advanced levels of swing dancing into their proper perspective by looking at them within the context of the four stages of awareness in the process of learning to dance.
1) UNCONSCIOUS INCOMPETENCE: At this first stage of awareness, a dancer has never given the subject of swing dancing any conscious thought. He has never been formally introduced to it and, although he may be quite adept at other styles of dancing like freestyle or Country and Western, for example, until he takes his first Basic level swing dance class, he is really at a stage of unawareness because he is simply unconscious of his incompetence.
2) CONSCIOUS INCOMPETENCE: At this second stage of awareness, the new male dancer or "leader," has been formally introduced to swing dancing at his club and he now fully appreciates its social and recreational potential. He has taken several Basic level classes but he realizes that his performance is marginal at best and that he needs to take many more swing dance classes and workshops to sharpen his skills. He is grateful for any helpful tips that might improve his dancing; for example, he may determine his lead hand by looking to see which thumb and forefinger form the letter "L." This is the awkward stage for the new swing dancer. His hand-leads are generally too strong and his body movements tend to be too stiff and mechanical to suit all but the least experienced of his female partners or "followers." At this point in his training, he is more prone to be repeatedly answering the question: "how long have you been dancing" rather than "where do you dance." All in all, the conscious incompetent clings to his patty-cake, the think-step pattern like a new western horseback rider clings to his saddle horn.
3) CONSCIOUS COMPETENCE: At this third stage of awareness, the male dancer has completed all of the Basic and Intermediate level classes offered by his club, and he is now an accomplished, well rehearsed dancer. He almost always executes his triple step footwork flawlessly in every direction to varying tempos of the music; he seldom misses that important "3 and 4" count of his footwork that often eludes less experienced dancers, and he has developed a gentle yet firm lead that guarantees him a willing partner for every dance. All in all, he has developed into a smooth dancer who confidently performs the different swing patterns that he has learned over the years. The conscious competent leader knows what he is doing!
4) UNCONSCIOUS COMPETENCE: At this final, fourth stage of awareness, the male dancer has achieved the highest level of proficiency where he has cultivated a signature style that transcends being well rehearsed; instead, he has become just as intimately familiar with each inherent part of the patterns that he has learned over the years, as he is with the overall patterns themselves. As an advanced dancer, he can intuitively "mix and match" the specific handwork and footwork elements of different patterns to create new patterns, and he has the versatility to frequently intersperse steps from other dance disciplines to physically embrace the beat of the music. His extensive knowledge of the dance, combined with his fluid lead authority enables him to maneuver his partner to the edge of her capabilities so that as a couple, they are able to consistently deliver award winning performances. Simply put, the unconscious competent is the dancer that the dancers enjoy watching!
TEACHABILITY INDEX: How quickly a new dancer progresses through these four stages of competence depends upon how "teachable" he or she is! All of us may compute our own Teachability Index (TI) which is the product of the following two variables that are rated on a scale of "1" (lowest) to "10" (highest): our Willingness To Learn (WTL) and our Willingness To Change (WTC). If our willingness to learn how to "dance centered," for example, is a 10, but our willingness to change our body positioning to accomplish this goal is just a "5," then our Teachability Index is only 50% (WTL x WTC = 50)! In other words, the maximum effort that we made in class to LEARN the correct way to "dance centered" is half wasted if we are not willing to CHANGE the way we lead our partner! Always remember that both learning and change are the inseparable, twin handmaidens of dance proficiency.
Copyright 2008 by Skip Culver, Certified Swing Dance Instructor. Member of the West Count Swing Dance Club and author of the manual: Imperial Swing Dancing - visit: http://www.ImperialSwing.com
Henry H. "Skip" Culver, Jr. is a member of the West County Swing Dance Club in St. Louis Missouri. He is a Gold Seal Instrument Flight Instructor and the author of the bestselling book on navigation titled: IFR 'Pocket Simulator' Procedures that was selected as the Main Selection of the Jeppesen Aviation Book Club. In 2000 Skip turned his attention from aviation towards the dance floor. He became a Certified Swing Dance Instructor in 2004, and then with over seven years of detailed notes from various classes and workshops in hand, he began assembling the Imperial Swing Dancing manual which he published in June of 2007. Skip is a frequent contributor of articles on swing dancing to different club newsletters throughout the United States.
90's dance musicLex Parsimoniae
Lex Parsimoniae is Latin for "Law of Parsimony", which pulled out into its simplest form is the The Law of what can be spared, should.
This is a theory that I have been studying for the past year and through observation believe that this can be applied to all situations that require a more efficient, functional solution. This paradigm has many names, but is best know as Occam's Razor. His razor suggests that when resources are limited or when speed of function is essential, design / complexity trade-offs should be based on what does the least harm to the probability of success, however that is defined.
Form is Function
There is a school of thought that beauty in design results in good function, but I prefer to subscribe the fact that just concentration on the functionality will by its very nature, create its own aura of design. Sometimes, the focus on functional efficiency inspires a feeling that goes beyond aesthetics and ultimately give us the sense that its form is of a higher echelon.
Barrier To Entry
The brain is an amazing piece of kit. One of its most amazing functions is its ability to optimise when processing data. Each brain has been trained over many years (or maybe it inherently has the ability) to simplify individual objects into groups. Instead of seeing each individual blade of grass, the mind sees a field. Millions of pieces of data grouped into one object because it knows, to comprehend millions of pieces of grass would take and enormous amount of effect. Effect that could be focused elsewhere. So it generalises to make life easier. This sort of information overload can happen in design as well; Too much will distract from your likely objective. Remember that 7 Second Rule? If your web app or website has 7 seconds to impress then wouldn't you prefer showing off your functional muscles? How useful your app is? and not long it takes to load the really cool (bandwidth crunching) design? Remember how it easy it is to make your mind up about someone when you them for the first time. Same rules apply.
Just Do It!
What are your objectives and goals? Hopefully, when developing a web app or website, to make your (or your users) life easier! And let's remember, this 'thing' we call the Internet is broken. So don't break any further with dodgy CSS and bloated javascript. Functional Turn Around is the most impressive aspect for me these days. Spend time developing how the app works, refine it, refine it again, then again. Then when it works, design around the edges. If you like Latin phrase then try this one:
"entia non sunt multiplicanda praeter necessitatem", or "entities should not be multiplied beyond necessity"
or just remember, K.I.S.S - Keep it Simple, Stupid!
For more information about Occam's Razor and various other development theories, read this Design and Development Blog at www.gammatan.co.uk
Liked what you read? Check out Richard Healy's other ramblings on Design and Development at http://www.gammatan.co.uk
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