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Every year, during the sweltering late summer months, bands from across the country converge on Austin, Texas for one weekend of music, food and hot, sweaty fun. Thousands upon thousands of people, young and old, flock to Austin each year for the massive music event that is the Austin City Limits Music Festival. Some of the biggest names in music show up every year. The festival’s eight stages, spread out across Zilker Park, host more than 100 bands over the course of the weekend, each playing for sold out crowds. In recent years, music legends such as Bob Dylan, Tom Petty, The Flaming Lips, Beck, The Foo Fighters, N.E.R.D., Gnarls Barkley and many others have graced the ACL stages.

Ideally situated in downtown Austin, Zilker Park closes down each year for the massive three-day event, and the music can be heard throughout downtown. But ACL isn’t just about music. A local artisan village is set up each year to allow Austin’s local businesses and artists to showcase their work to the thousands of attendees, who hail from across the nation. Likewise, many of Austin’s top local restaurants have booths set up selling menu favorites at the expansive food court on site. With the coveted three-day passes selling often selling out six months before the festival, ACL poses a prime opportunity for Austin businesses of all kinds to showcase their products and reach new (and substantial) audiences.

But, really, it’s all about the music. With a wide range of genres represented, including country, bluegrass, rock, hip hop, folk, and pretty much anything else you can think of, ACL truly offers something for everyone. There is even a dedicated children’s stage. Attendees of all ages, races, and musical interests can be found here, making it one of the most unifying music festivals in the country.

And it’s not just the biggest names in music that grace the stages at the Austin City Limits Music Festival. In fact, many ACL provides many up and coming groups a break out opportunity. It’s the holy grail of every struggling Austin musician’s career, which adds one more reason Austin thrives as the self-proclaimed live music capital of the world. Competition for a spot in the lineup is cut-throat, yet each year the array of artists manages to remain strikingly varied and comprehensive. From funky bands like G. Love and the Special Sauce and breakout stars like Vampire Weekend, to old school legends Asleep at the Wheel and gospel groups like the River City Christianettes, ACL is quite literally a melting pot of musical talent and expression (and the 100 + degree heat makes the analogy all the more appropriate).

In 2008, Austin City Limits is being held on the weekend of September 26-28. Three day passes have been sold out for months, but stragglers can purchase single day passes on the festival web site for $80 apiece. With almost 50 bands playing daily, starting at 11:00 am and running until the headlining show wraps up at 10:00 pm, Austin City Limits is the place to be in Austin, Texas, (and many would assert, the entire country) for one raging weekend each year.

Ki is an Austinite that enjoys the local music scene. He works as a realtor in the Austin real estate market. He internet site has a tool that graphs mortgage interest rates along with a search for Austin Homes.

Chord symbols (for example, Cmaj7 or G6) are a type of notation used frequently in jazz and other areas of modern music to notate chord progressions and changes. This type of notation differs from that of classical music in that chord symbols don’t show the function of a chord the way the Roman numeral notation does.

Chord symbols, for modern music with lots of changes, are much easier to read. They function as a sort of shorthand for change-heavy music and are written with four chord parts in mind: the root, the quality, the extension, and the alterations.

The first part in chord symbols, the root, tells the musician which note is the root of the chord. In an E6 chord, for instance, the E serves as the root. Chord symbols also allow for inverted chords, or chords with a root other than the bass note. These chord symbols express that by showing the bass note with a diagonal slash under the original symbol.

Quality, the second part in chord symbols, denotes whether the chord is major, minor, diminished, or augmented. In a Cmaj7, the maj tells us that the C chord is major. The abbreviations for this area in chord symbols are maj, min, dim, and aug, respectively.

The extension in chord symbols, written after the quality, shows the musician if the chord differs from a triad (a three note chord), such as a ninth or an eleventh or seventh. This part of chord symbols is not always shown; if there is no indication of an extension, the musician is to assume that the chord is a triad.

The last part in chord symbols, the alteration, is usually but not always expressed. Think of this part as the “notes” section in chord symbols; it gives the musician any specific (and sometimes irregular) instructions for playing the chord and is always written in parentheses after the extension (or the quality, if no extension exists). For instance, (no fifth) would tell the musician that the chord is to be played with the fifth tone left out. “Sus” is short for suspension, would mean to play the 4th scale note instead of the 3rd. A minus sign would mean to lower (flat) a chord tone, such as C-9 which would mean to flat the 9th of the chord. Conversely, a plus sign would mean to raise (sharp) a particular chord tone.

Reading music using chord symbols allows a person to use written music as a map, rather than a note-for-note approach. By just reading the melody note and the chord symbols, musicians can improvise to their hearts content and create their own sounds on the keyboard.

The best of all worlds, however, is to be able to read music as it is written in a sheet music score, but also be able to read the chord symbols. Then the musician is free to choose which is best - the written part, or an improvised part. The sky is the limit for musicians who can do both.

Duane Shinn is the author of the popular online newsletter on piano chords, available free at “Exciting Piano Chords & Chord Progressions!”

To be able to play a musical instrument well is a very satisfying emotional experience. The experience is even more edifying if you are good enough to play in a good band or playing backing for a singer whether professionally or just for the fun of it. So, if you want to learn how to play a musical instrument, which instrument should you pick up?

Well, if you are asking me, then I would say, learn how to play the piano. The next question would then be, why should you learn how to play the piano as the first choice over so many other musical instruments?

Well, here are some reasons why you should pick the piano over the other instruments. See if you agree.

For starters, just like I said earlier, being proficient in playing a musical instrument is a very satisfying experience and that is why everyone should learn how to play at least one instrument and make beautiful music.

Playing the piano proficiently makes you feel and look sophisticated and elegant. For some unknown reason, a pianist just exudes some kind of elegant charm more than other musicians, don’t you think so?

Furthermore, playing the piano keeps our brain active and our brain is actually doing mental exercises on all ten fingers when we consistently throw it the musical language to interpret. There are studies which show that pianists are more mathematically gifted too.

Also, learning how to play the piano can kill boredom. If you do not have anything to do, go and tickle the ebonies and ivories. Better yet, serenading to yourself while you are at it. Yes, I know you can do that with the guitar, but which instrument will produce a fuller and complete sound?

Perhaps you can organize family gatherings or entertain- your friends at a party with all of you having fun with you direct sing along sessions. That would be fun wouldn’t it?

Also, in a strange way, some people will actually respect you more and even think that you are a genius. Many people actually admire someone who can play the piano well. Perhaps you too and that is why you want to learn how to play the piano.

A good pianist never quit learning. You see, there is absolutely no way to memorize every song and if you can play by ear, you are learning new tunes every time whenever you hear a tune without you even aware of it until someone ask you whether you can play a certain song and although you have never learnt that song before, the tune just pops into your head with your fingers running elegantly over the piano keys.

I supposed deep down in most people, they wished that they are able to play the piano. If not, why are you reading this article? Do you know that learning how to play the piano is one of the most common New Year resolution?

Learning to play the piano proficiently is also a fantastic ego booster. There’s no better feeling like playing a difficult song effortlessly and flawlessly. If you are thinking of picking up a musical instrument, why not choose to learn how to play the piano?

Chris Chew runs a music education website at Learn How To Play Jazz Piano By Ear and Learn How To Write Songs

The opportunities for music correspondence courses are vastly different today compared to a few years ago. Thanks to modern technology and the Internet, taking a music course by correspondence is now much more practical.

Imagine how hard it would be to learn how to play the piano or another instrument by simply reading a book. It’s true that people have successfully learned to play an instrument by reading a book. However, without the benefit of visual demonstrations, the process can be long and difficult. Today’s music correspondence courses contain visual demonstrations via video and live webcam instruction to accompany written textbook materials. This combination of learning materials greatly increases the student’s likelihood of success.

The type of correspondence course that you choose will probably depend on your goals. Examine your reasons for wanting to learn to play a particular instrument to determine where to start looking.

Do you want to:

* Receive nationally recognized certification? If so, you may want to look into colleges or accredited music schools such as Berklee School of Music in Boston or Eastman School of Music in Rochester New York. This is especially true if you hope to get a job in the music industry. Many employers want to see some type of formal education on your resume from a reputable school. Many of these offer correspondence courses that can help you meet your goals.

Sometimes you can complete an entire certificate program by correspondence. For other programs, you may need to do some live classroom work in addition to correspondence courses. Look for accredited music schools with a professional reputation in the industry. Most offer some type of distance education, either by correspondence or online. This can be an excellent alternative if moving somewhere else to get your musical education isn’t an option.

* Enrich your personal life? Maybe you always wanted to learn to play the piano as a child but never had the opportunity. Maybe you’ve been out of practice for several years and just want to brush up on your skills. If employment in the music industry isn’t necessarily your goal, then you’ll probably find what you need from a private instructor or company such as PlayPiano or perhaps ChordPiano, which you can easily locate online through any search engine.

Many online music schools offer programs for beginners or for honing old skills. They may combine written materials with DVD demonstrations, online video instruction or live instruction via webcam. Sometimes these types of correspondence courses are less expensive than those offered by colleges or music schools.

* Explore a new genre? Maybe you are a classically trained pianist who always wanted to learn how to play the blues. Perhaps you took lessons for a few years as a child, but never took theory and learned to understand chords. A correspondence course through a private instructor or company may be exactly what you need. Correspondence courses are available on specific topics and genres that may interest you. If you already know the basics, it won’t take long to build upon that knowledge and teach yourself something new.

Let your personal reasons guide your decision when choosing a music correspondence course. You’ll probably find that many music correspondence courses are very affordable. Plus, you can learn from the comfort of home with your own instrument. The list of advantages to taking a music correspondence course is practically endless.

Free email newsletter on piano chords and chord progressions from Duane Shinn is available free at “Exciting Piano Chords & Chord Progressions!”

When studying the piano, a student encounters a myriad piano styles. To master the instrument, at least several of these styles must be learned, and all if at all possible. Knowledge of various playing styles enables a pianist to enjoy and play in any genre and to cross-polinate styles to create a fusion he or she can call their own.

Many modern piano styles are based on the blues. The blues involve an emphasis on the major and minor pentatonic scales, with an additional note included. The flatted fifth is added to the minor pentatonic to create the blues scale. Many blues songs are based on a simple chord progression, known as 12-bar blues. This uses the I, IV and V chords of a scale to create a foundation for melodies and solos.

For example, rock piano was born out of the blues and then took on a life of it’s own in the stylings of Jerry Lee Lewis, Michael McDonald, Elton John, Billy Joel, and many others.

Cocktail piano is a style generally connected with Liberace, Eddy Duchin, Roger Williams, and others who play popular tunes with lots of great technique — lots of notes, runs, flourishes, and so on. But I hate to catagorize and of these great pianists, as many of them play in other styles as well.

Boogie-woogie is a piano style based on the blues. It started as a solo piano style, but has expanded into other genres, such as county-western and gospel. It differs from the blues in that it is considered dance music, while blues music traditionally expresses sadness and frustration.

Rhythm and blues piano is based on blues, jazz, and gospel styles. As the name suggests, the emphasis is on the rhythm of the song. Most R&B has a particular swing to it, with a strong feel of syncopation in the rhythm. Syncopation involves placing the stress on a normally unstressed beat. This often results in an almost off-time feel to the untrained ear.

Ragtime piano also incorporates syncopation. Ragtime uses syncopation in its melodies by placing melodic notes between the stressed beats of the rhythm. Ragtime is often considered the first completely American genre, even predating jazz.

Jazz piano encompasses such a broad palate of styles that it is impossible to describe. Many piano styles incorporate ideas borrowed from jazz, such as improvisation. An emphasis on extended chord forms and chord re-harmonization also stems from jazz piano.

New age piano often involves less chord changes than other styles, instead relying on simpler progressions and polychords. It often imitates the sound of nature -babling brooks, wind, rain, and so on. A polychord occurs when two different chords are played at once. This technique is taken from earlier classical works by composers such as Stravinsky.

Gospel piano is often similar to the blues, jazz and R&B. It emphasizes certain extended chords, such as the 11th, and usually has the swinging feel associated with jazz and R&B. The apparent simplicity of gospel songs often hides the fact that they are, indeed, quite musically complex. Syncopation is highly stressed in gospel music, as it contributes to the overall spiritual feel of the music.

Country and western piano has similar roots as blues piano. Both styles stem from earlier folk styles, often developed by the less fortunate people of the era. Many early country songs stem from Appalachian folk songs. Country and western piano is highlighted by very bright playing, with simple chord progressions underneath the melody. One of the greats in this styles is Floyd Cramer.

Traditional sacred piano styles involve the playing of liturgical songs and hymns. These can range from the harmonically and rhythmically complex to simple two and three chord songs. Many hymns stem from folk songs of centuries past. The variety of sacred piano styles is as numerous as the liturgical songs themselves. These piano styles often involve a strict reading of notation, with less of an emphasis on personal interpretation than other styles.

The classical piano style is probably the most varied of all the styles. Classical music is older than other styles, and is considered to the proper grounds for musical instruction. Many elements of other piano styles come from classical music, and nearly all forms of musical theory are used in classical music. Andre Previn is the classic example of a well-trained classical pianist crossing over into the world of jazz, and with great success. Classical music usually requires intense training to master, though there many simpler pieces designed with the novice player in mind.

Though classical is often considered the high point of music, this “ain’t necessarily so.” For instance, many players who are “classically trained” have trouble adapting to the feel and sincerity of the blues. For this reason, a well-rounded player should be adaptable and learn as much about each of these piano styles as possible. In this way, a pianist is ready for any musical challenge. And besides, who knows where the future of music lies?

Duane Shinn is the author of the popular online newsletter on piano chords, available free at “Exciting Piano Chords & Chord Progressions!”

From his early love of music to his last years, Oscar Peterson’s life was full with accomplishments and support from his family. The decision to become a professional pianist led to a weekly radio show and many performances in hotels and music halls for Peterson.

Although his life ended at the age of 82, Oscar Peterson had an extremely productive musical career in jazz that ended too quickly. Named Oscar Emmanuel Peterson, he was born on August 15, 1925, in Canada. As a child growing up in Canada, he and his family lived in a predominantly black neighborhood called Little Burgundy in Montreal.

Because of his surroundings, Peterson was largely influenced by jazz music, which was extremely popular during this era. Peterson started playing and perfecting the art of the trumpet and piano at age five. However, tuberculosis caused him to stop playing the trumpet and focus primarily on his gift for piano playing. To develop his extraordinary skills, Peterson practiced scales and classical eludes every single day. His daily routine consisted of four to six hours of solid practice time a day.

Studying with pianist Paul de Marky helped further refine his talents. Peterson soon began to concentrate on jazz, ragtime and boogie-woogie music. Because of his newfound interest in emerging music types, he was nicknamed “The Brown Bomber of the Boogie Woogie.”

By nine years old, Peterson’s collaboration list was growing quickly. At fourteen years old, he won the national music competition hosted by the Canadian Broadcasting Corporation. However, his next life-changing decision proved controversial yet life-changing. Peterson decided to drop out of school and to become a professional pianist. The decision to become a professional pianist led to a weekly radio show and many performances in hotels and music halls for Peterson.

Oscar Peterson listed many of his personal influences in the musical spectrum. These influences included Nat King Cole, Teddy Wilson, James P. Johnson and Art Tatum.

After being heard on a radio broadcast, Oscar Peterson joined Norman Granz’s recording label called Verve. Quickly, Peterson was assigned to Granz’s “Jazz at the Philharmonic” project. This project included work with major artists and musicians including Ray Brown, Coleman Hawkins, Ben Webster, Milt Jackson, Herb Ellis, Barney Kessel, Ed Thigpen, Niels-Henning Orsted Pedersen, Louis Armstrong, Stephane Grappelli, Ella Fitzgerald, Clark Terry, Joe Pass, Anita O’Day, Fred Astaire, Count Basie, Dizzy Gillespie and Stan Getz.

From this point on, Oscar Peterson would be acclaimed for his genius work with his craft of jazz piano. His reputation grew, and he soon was a major celebrity in the spotlight. In the 1940’s, Canadian Radio hosted Peterson as a regular on many jazz programs.
By the 1950’s, Oscar Peterson was a household name all over the world. He was labeled one of the leading pianists in jazz music.

His greatest asset after his unique, exceptional playing technical ability was his versatility. Peterson played in numerous duets, quartets, solos, trios, small bands and big bands. In the 1950’s, Peterson collaborated with Bill Evans and McCoy Tyner. Duos with Herbie Hancock occurred in the 1980’s. Performances in the 1980’s through the 1990’s often featured his protege Benny Green.

In 1993, Peterson suffered a stroke. Fortunately for the world, he recovered quickly. By 1995, Peterson returned to the world of musical performance.
In a tribute to his beloved friend and associate Norman Granz, Peterson named his dog Smedley two years before his untimely death. Smedley was Granz’s nickname from Peterson.

Like the original Smedley, the dog Smedley had a great attachment and devotion to Peterson. Even at Peterson’s death, the beloved and loving dog stayed at Peterson’s side by his bed, refusing to leave him. Peterson died of renal failure on December 27, 2007, but his music lives on in countless jazz recordings.

Duane Shinn is the author of the popular online newsletter on piano chords, available free at “Exciting Piano Chords & Chord Progressions!”