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A dance class should be safe for students particularly young children. Parents should ensure that the place their children go to a class that provides adequate training and amenities for them.

Some parents may consider the location, time and price of the class but the most important factor to look into is the safety of the kid. They should make sure that the child is getting the right training without overexertion.

Safety to children does not only mean safety in the studios physical features. It also means proper training methods which is suitable for the age of the child. This will help prevent unwanted injuries while dancing.

The parent must see to it that the child gets proper supervision and adequate training that do not strain his or her young body. The teacher has to consider that the childs age pose some developmental limitations when it comes to physical exertion. He is, for instance, not capable of lifting his partner.

1. To be able to determine if the class is safe, the parents should be able to watch the class.
2. The students must be able to follow the teachers direction.
3. If most students are struggling with the instruction, the dance classes might be too advanced for their skill level.
4. This is an indication that the training might be too strenuous for the child.
5. Another factor parents should look into is the number of accidents or injuries in the class.
6. If the teacher fails to provide a comprehensive warm-up for the kids before the start of the lessons, this can result in injuries.
7. If the child just experience temporary aches at the early stages of the lessons then that is understandable.

But if the muscle pain does not go away then the routine could be too advanced for the child or they are not doing enough warm-up exercises. It is best if the parent asks the child if he or she experiences physical problems after the dance. This can prevent injuries from occurring or worsening them.

The childrens bodies may be flexible but plunging into their routine immediately right after they get into class will not be beneficial to them in the long run. This practice can have harmful effects on the joint, tendon and muscles. Dance education should forego preliminary procedures.

If there are acrobatic exercises to be executed in dance classes, it will best that the floor have cushions or mats. The cushion will be great for any tumbling, twisting or flipping moves in a dance. This can prevent the child from getting injured or strained.

There are some lessons that require several years of training before a child can take part in it. If the school does not allow your child to join in some lessons then that means it is not age-appropriate for her or him. You should not insist on enrolling because forcing a child to study dance techniques beyond her age and experience can lead to physical problems later.

Children below 6 years old should be allowed to experience several dancing classes. Older children who have enrolled in dancing classes and wish to quit should be allowed to do so. A child who is not interested in the class will most likely not learn anything. Forcing your child will not produce positive results. A dance class for children should be a fun, exciting and safe experience for the child.

Curious minds may ask what the Dutty Wine is. The dutty wine originated in Kingston, Jamaica and its popularity grew at such an amazing rate that the world had to catch on. It was done mainly by women during at various dancehalls and venues. The dance was made more popular when a song called “dutty wine” was released. The combination of song and dance pushed the dance to dizzying heights, making it the popular dance for 2006.

1. The Dutty Wine dance can be done in many different variations.
2. This is due to the fact that each dancer adds their own distinctive style to the dance.
3. To start, the main dance is rather simple.
4. The main move is the swinging of the neck round and round in a circular motion.
5. This is done in a repetitive fashion and enhanced if the dancer has long hair.
6. This completes the upper section of the dance.
7. Many people incorporate their legs into the dance.
8. This is done in a butterfly motion (butterfly: a popular urban dance from the earl 1990s).
9. The combination of leg movements and neck spinning results in the dance the dutty wine.
10. As mentioned earlier personal style is an essential in the dutty wine dance.
11. Dancers have been know to countless different styles from incorporating gyrating hip movements, spinning around and even going on their hands and other such acrobatics, All while doing the basic dance.

The “Dutty Wine” song by Tony Matterhorn is also a popular aspect of the dance. Once the song is played all hell lets loose, the women dance according to the descriptive lyrics. The popularity of the song has boosted the spotlight on the dutty wine dance itself.

The Dutty Wine dance however is not free from controversy. There are many people who feel that the song and dance is inappropriate and the overly sexual suggestiveness and popularity is picked up by innocent children. The children mimic what they see without realizing what they are doing. The second controversy is a result of the injuries and death that have occurred from women doing the dance. The rapid movement of the neck has the potential to cause bodily harm. This occurred in late 2006 when a woman apparently died from injuries sustained from dutty wining.

The dutty wine has the potential to be bigger in 2007. With the popularity increasing month by month it could become the next big thing in American pop culture. The suburbs have caught on and once the spark is there, it could become a blazing wildfire. Only time can tell if your soccer mom is caught doing the dutty wine.

If you have a six-string, a pick and a solid but comfortable armless chair, you are ready for some easy guitar lessons. Here are some of the basic things you should learn.

Know your instrument.

The topmost portion of your guitar is called the head or the headstock. This is where you well find the tuners, which are used to adjust the pitch of the six strings. The long part attached to the head is the neck.

Down the neck is the body of the guitar. If you are using a classical or acoustic guitar, you will find a sound hole in the middle. This serves to project and amplify the sound. Electric guitars, on the other hand, do not have holes. Instead, they have pickups, which intensify the sounds coming from your instrument. Of course, you have the strings that are attached to the tuners, run down over the neck, over the hole and attached to the bridge.

Hold your guitar properly.

The thickest guitar string should be the topmost when you hold the guitar and the neck should be parallel to the ground. The body should rest comfortably on one of your thighs. Tune your guitar.
Before you can learn how to play the guitar, you will have to learn this skill first. You can refer to a book, an online source or a friend to learn how to tune. You can tune your guitar three ways: by ear, with a piano or a tuning flute.

Next, decide on your fret hand. This is the one that will be spending a lot of time on the neck of your guitar, pressing on the chord. If you are right handed, it is your left. If you are left handed, its your right hand. Your pick hand is the other hand. This is the one that will hold the pick and strum the guitar.

When using your pick to strike the strings, make sure not to strike too hard or too soft. You are a beginner and need to hear how you sound like. Use only your wrist when you play and not your whole arm. Practice three different strokes on each string: downward, upward and alternate down and up. Once you get the hang of it, you will learn the best pressure to put on the string to produce the proper sound.

Learn the chords.

Get a chord book and begin practicing the chords. You can practice doing them one by one as shown on the book until your mind and fingers memorize them. Only problem is that this can get a little boring. There is just no sense playing a bunch of chords that do not sound like a real melody.

The better alternative would be to learn the most common chords first. These are: C major, D major and G major. Play one chord first until you memorize it and then move to the other. You can then practice moving from one chord to the next, keeping both the sound and the movement as fluid as possible. Practice on songs that play these chords until you have mastered them. When you do, move on to other songs using other chords.

Where to find your lessons online

There are plenty of resources you can turn to for easy guitar lessons books, magazines and online resources. If you want free lessons, here are some websites you can check out for help.

If you know the basics of playing the guitar, this site is a great resource for learning easy songs. Do not worry, because lessons are designed for beginners. A few sessions online and you should learn enough songs to surprise anyone in no time.

Not only does this site feature easy step by step lessons on guitar playing, there is also a link to a page featuring songs made popular in the 1960s. Bring back the groovy years with easy to follow instructions.

All the easy guitar playing secrets you have always wanted to learn are here, plus you get to learn how to play lead guitar. You can also order their instructional CD-ROM to learn easy guitar lessons at your own pace.

Music examinations are a method of formally assessing the accomplishments of pupils learning musical instruments. Although there are music examinations available to school and university students alongside other regular qualifications and assessments, there are also a number of independent, examination bodies who solely provide assessment in musical ability which are open to all.

Music exams are set in both theory and practical aspects. The theory examinations are taken by pupils of all instruments and typically cover areas such as musical notation, construction of scales and composition. The practical exams concentrate on the particular instrument favoured by the pupil, for example piano, guitar or flute. They cover elements such as playing set pieces; scales; sight reading and aural.

Most students who enter these exams have taken a course of music lessons with a private teacher. Often this is a way for children to receive music training over and above what is provided at their usual place of learning.

Examination Boards:

ABRSM: Associated Board of the Royal Schools of Music

//www.abrsm.org
The Associated Board is the worlds leading examination body for music, with a system of examinations and assessments in over 80 countries around the world. The Associated Board is linked to some of Europes leading Conservatoires – the Royal College of Music and the Royal Academy of Music in London; the Royal Northern College of Music in Manchester and the Royal Scottish Academy of Music & Drama.

Established in 1889, the Associated Board provides schools, private teachers of music and the general public with a scheme of music examinations of recognised authority. Examinations are offered in 35 instruments, singing, theory and practical musicianship and are open to students of all ages. The Associated Board examines over half a million candidates each year making it the largest examining body for music in the world.

In 1991, the Associated Board was delighted to be asked to return to examine in Australia after an absence of more than 30 years. Associated Board examinations are conducted at St.Andrews Cathedral School, with the Boards examiners making regular visits to Sydney.

AMEB: Australian Music Examinations Board

//www.ameb.edu.au/
The Australian Music Examinations Board (AMEB) provides a full range of music and speech and drama education, from the first steps through to Diploma level performance and scholarship. The AMEB exists to provide a graded system of examinations in music, speech and drama, by offering high quality syllabuses, educative services to our teachers, examiners and candidates, and quality publications to the highest editorial standard. The AMEB has a long record of providing quality music examinations for students, with over 100,000 students nationally taking its examinations each year. AMEB standards are well respected internationally, and it is the only examining body with formal links to the major Australian universities and Ministers of Education.

AGMS: Australian Guild of Music Education

www.guildmusic.edu.au
The AGMS was founded in 1969 as a continuation of the London Guild of Music and Speech (Australia). It is non-profit, Public Education Institution, constituted to provide professional and private Teachers and Students of Music and Speech (including Drama) with a responsive organization through a comprehensive set of syllabi throughout Australia, New Zealand, Malaysia and Singapore with examinations which recognize excellence in the selected study, as well as providing supportive encouragement for teachers and all music and speech students and candidates.

The Guild education system provides an avenue for music & speech teachers to offer a methodical teaching and assessment system for their students via the Guilds public examinations and opens the way for further education at Tertiary level, for both themselves and their students, by distance education in the Creative Skills program from Certificate to Advanced Diploma and the Higher Education program with the Bachelor of Music degree.

ANZCA: Australian and New Zealand Cultural Arts

www.anzca.com.au
Australian and New Zealand Cultural Arts Limited (ANZCA) offer syllabuses and both practical and written examinations in modern and classical streams, which stimulate students of all ages. For over twenty-three years, examinations have been conducted throughout Australia, New Zealand, Thailand, Malaysia and Indonesia.

Trinity Guildhall Examinations (Australia)

www.trinitycollege.co.uk
Trinity College London, the international examinations board incorporating Trinity Guildhall, offers accredited qualifications in English language and the performing arts. Trinity has been assessing students since 1872 and is considered a leader in performance assessment. Trinity is supported by the leading performing arts organizations, teacher associations, colleges and universities in Australia and worldwide. 500,000 assessments are conducted each year worldwide, from graded examinations and certificates to diplomas and higher level vocational qualifications. Trinity offers a flexible range of syllabuses, across a variety of teaching and learning styles, to encourage and motivate students to achieve their personal, vocational and professional goals.

If you are reading this then hopefully the question of “Should I get my Sound Mastered” has been answered. If not, then this article will briefly discuss this issue. If you are asking this question to begin with, then your answer is more than likely “yes” . Mastering is just as important as your recording and mixing process. Here is a question? Your music is recorded, did you mix it yet? If yes, why? Is it because you wanted it to sound better? Well, what if I told you that the improvement you made from the recording to the mixing is the same type of improvement you will hear from the mixing to the mastering process. Yes, you heard it correct. Your sound will be so much harder and crisper you and your buddies will all be amazed.

1. Now, you are convinced to get your music mastered, but the professional part has not been talked about.
2. Well, let us discuss that issue right now.
3. Let me paint a picture for you. You are 55 years old and worked on a great job all your life.
4. You have 2 beautiful grown kids and 4 grandkids.
5. You and your spouse are making a huge decision today about the rest of your lives.
6. You are deciding to retire after 30 years service from your company.
7. Now, your goal is to live off your 1 Million dollar nest egg you have built up over the past 30 years.
8. That may seem like a lot of money, but consider the fact that you are used to living off of $60,000 per year.
9. Being as smart as you are, you calculate the math and realize if you put that money in your bank or try to play the stock market, your savings may only last for 16 years.
10. That means when you are 55 years young, you are out of money. Not to mention, inflation.
11. So, is this picture clear enough for you? My question to you is, would you rather gamble with your life savings and be a do it yourself member in the market, or would you rather give this problem to a professional and have them fix it?
12. Do you know anything about beta, dollar cost averaging, rebalancing?
13. Can you see the importance of getting a professional?
14. If you answered yes for a professional, then you are on the right track.
15. If not, then best of luck in your musical journey.

Think about your music in the same way. If you do not get it mastered by a professional and you are as serious about it as you think you are, then you are potentially flushing your money down the toilet. You are an artist and are probably good at what you do or you would not be reading this. Mastering engineers are just like you, good at what they do. They would not pick up an instrument and try to show you how to play your song. Their expertise is in the studio making your music sound even more hard and crispclear. Use them, that is what they do and that is what makes them so valuable. Have I made my point yet?

Not many people are fortunate enough to have an audio engineer that can mix and master at the same time, but if you are, then a straight transfer might do fine. If not, you need to consider getting your audio mastered by a professional. Some facilities do their mastering in house and some studios have to send it off.

Usually a lot can be done to improve the mixes. There is a huge demand in this market. Now, if youre reading this, then you are probably wanting your disc to be competitive in-store play, homes of consumers, and in radio markets, it has to be perfect sonically. Think of it like a brand new car -without a good wash and wax, few people will appreciate how great it looks. Also, since the mixes were recorded at different times of day over a week or more, you end up with differences in level and tone. Mastering creates a seamless whole out of a collection of individual tracks.

The mastering studio has ultra-clean processors that are made to handle stereo signals. Obvious as this may be – it is one thing to run a guitar through a limiter and equalizer, and another thing to run your whole mix through it. A finished mix is an intense balance that can be made worse as easily as it can be improved. Its worth using the best equipment available.

People who have not started dancing at an early age may want to try dancing when they reach their 30s or even the golden years. The method of teaching an adult dance class may differ from other age groups. Adults do not have the same physical make-up with younger dancers. They are not as flexible as children. This is one consideration that teachers look into when teaching adults.

It would be best for adults to enroll in dance classes whose teachers understand this unique requirement. Adults will have certain concerns and limitations that do not bother other age groups. For instance, they may find it awkward wearing revealing clothes, they are worried about getting injured or they might feel out of place in a group comprised mostly of young dance students.

Dance instruction should not be for the different age groups. The reason for this is largely due to physiological differences. An adult beginner dancer enrolled in dance class filled with teenagers may find themselves pushing too hard to keep up with the young ones. These could pose risks to their health rather than help them.

1. Adults must look for a studio where they can have a good warm-up before doing the dance routines.
2. A good warm-up consists of exercises that move the joints from neck down and all muscles.
3. It should enhance flexibility, balance and speed.
4. The exercise should last 30 minutes for a one-hour class.
5. If the class runs for 90 minutes then a 45 minute warm-up would be enough.
6. Warm-up exercises usually become routine.
7. This will enable adult students to memorize the steps and make the most of the exercises.

The dance warm-ups must make use of aerobic motion. This will develop flexibility of body. It will also help prepare the body for the physical demands of the class.

Exercises that are non-weight bearing enable adults to utilize their energy for lifting and holding without using balance. Progressive exercises will prepare the adult step-by-step on a level they are comfortable with.

Warm-ups that only use basic stretches, kicks or bending are not sufficient. The requirement should be moving all muscles and joints of the body. Basic moves cannot accomplish that. Insufficient warm-up can pose risks of injury and strain to an adult dancer.

A great teacher should inquire from the adult dancers if they have existing injuries or if they have physical conditions that pose limitations on their movements that day. An instructor must be able to communicate to students not just issue directions. This will make the class more interactive and fun for the student.

After a good warm-up, dancers will proceed to the center of the studio. The teacher demonstrates to the student how certain moves are made. If there are limitations in an adult dancers movements due to a physical condition then the teacher must not force her or him to execute some steps. A teacher is there to guide not to force instruction.

Adult students do not attend classes to be able to compete professionally. This is a very rare occurrence although not an impossible situation. Adult students usually enroll for the love of salsa dancing. If an adult student has the passion for the dance then letting him or her help choreograph will enable the dancer to feel fulfilled.

An adult dancer who learns to be flexible can perform as well as the young dancers. It might take time to perfect a performance but the dancer can learn various moves that will help in the dance. Jumping, twisting, turning, balancing and partnering are all part of the rigorous demands of dancing which an adult should prepare for. Teachers can make a difference in the adult dancing experience in a dance class by helping him or her adjust.