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Acoustic music has always been popular and has been around for many years. The art of acoustic music has been performed throughout the centuries, and throughout the world. So what is it about acoustic music that makes it so enjoyable and admired?

Music that is made from using instruments without using any form of electronic means, can be considered as acoustic music. This type of music started to get a name for itself, after the arrival of electrical instruments such as the electric guitar. Of course the advent of these electrical instruments is relatively new compared to the amount of time that music has been played for, therefore, you can almost class all musical instruments and all music as acoustic. If electrical instruments very never invented, acoustic music would be all music and may not have had a specific term named after it.

However acoustic songs can be produced and edited through electrical means and if there is a gig or concert being played by an acoustic artist, very often, the sound is amplified using electronic amplifiers. But it has to be done caringly to maintain the natural sound accurately. Electronic amplifiers are only used to increase the volume of the sound from the acoustic instrument.

One of the most popular types of acoustic music is acoustic guitar songs. These types of songs seem very intimate and personal as mostly it is just one person and their guitar performing the song. This type of music is often played in music bars, with open microphone nights and they seem to be very popular. Acoustic guitars create music through the vibration of the strings but to increase the sound, an acoustic guitar uses a soundboard, resonant cavity and a sound box.

There are many programs now supporting the acoustic music scene such as MTVs Unplugged, created in the 1990s, and Radio 1s Live Lounge where good acoustic songs are played to thousand of viewers and listeners. These types of productions try to promote acoustic music in an effort to get music back to basics and to increase the quality of music that people are subjected to.

Some see solo acoustic songs as a breath of fresh air due to the increasing production of often computerised, synthetic and cluttered music that tries to dominate the charts. Therefore some think of acoustic music as being more pure then other forms, as it is raw and natural.

Acoustic music is natural and when performed correctly, can produce sounds better than any computer generated sounds. It is an art form that will never lose popularity.

One of the most challenging humps to get over for many beginning salsa dancers is to learn to recognize the first beat of the music and actually count the music properly to keep on the correct salsa timing . Yet, rhythms are often innate in us. Just like we can become aware of our heart beat, we can become to be able to recognize the salsa rhythm.

However, just like it is actually much harder to count your pulse, learning to count and understand the direction of the salsa music is much harder. But with proper guidance counting salsa timing will become easy as well. Here is how to do it.

Tip # 1 Listen To The Cow Bell To Find The Salsa Rhythm

The salsa rhythm goes quick, quick, slow, quick, quick, slow. The first step to learning timing is to make sure that you can recognize the rhythm. After you recognize the rhythm, half of your job is already done. One of the easiest ways to recognize the salsa rhythm is to try to find the cow bell in the music. The cow bell plays on the core beats of 1,3,5,7, loops over and repeats 1,3,5… and so on. Not all songs have the cow bell included, but many traditional salsa songs does and this can help you find the rhythm.

Tip # 2 Listen To The Montuno Rhythm To Find The First Beat Of The Music

In salsa there is a rhythm called Montuno that is often played with piano. If a particular salsa song is playing the montuno rhythm, recognizing it is one of the easiest ways to finding the first beat of the music. The reason for this is that unlike the cow bell, for example, the piano montuno rhythm is played over eight beats rather than just four. In other words, when you listen to the cow bell, you can find the rhythm, but you might easily mistaken the first beat of the music to be the fifth and vice versa. Piano montuno rhythm however can go something like this, 1, and, 2,3, and, 4, 6,7,8, and, 1 and so on. Obviously, this is harder to understand conceptually and it would be much better if I could actually play this salsa timing for you so that you could hear the difference. But nevertheless, this is one of the easiest ways to find the first beat to the music.

Tip # 3 Listen To The Vocals

In salsa music, like in many other types of music as well, it is often customary for the vocals to start on the first beat of the music as well. This is another concept that can help you learn to recognize the first beat of the music. So the next time you are listening to salsa songs, rather than pay attention to the instruments, if the song has a vocalist(s), pay attention when they begin and try to see how that correlates with the rhythm of the music. Chances are they start on the first beat and if so, you have found the one.

Tip # 4 If All Else Fails, Buy A Salsa Timing CD

Salsa timing CD is a great way to help you find the first beat of the music. What makes salsa timing so challenging is that there are many inter laying rhythms and not one easy beat to follow. What can be extremely helpful is to listen to a song with a voice over of someone who keeps you on count. This way, you can constantly monitor how you understand the timing and compare your counting to someone who is keeping you on track. By listening on a salsa timing cd at home you can take your time to develop your understanding and reflect how the counting reflects the rhythms.

Tip # 5 Keep At It

It is very easy to get frustrated if you don’t quite get a grasp of the rhythms and salsa timing right away. But don’t get discouraged. When I started, it took me months just to be able to hear the rhythm. I am probably one of the most ungifted children musically, yet, it has been my determination and perseverance that has made me one of the experts in salsa musicality. So keep at it and your ear will soon be able to detect even the subtlest of salsa rhythms and you will be able to recognize the first beat of them music with ease.

The Midnight Funk Association was the 12 a.m. segment of the legendary late night Detroit radio DJ Electrifying Mojo, a.k.a Charles Johnson.
An entire generation of faithful fans and listeners from the late 70’s through the early 90’s recognize the radio show for shaping the musical tastes of listeners in the Metropolitan Detroit Area, Northern Ohio, and Eastern Ontario Canada.

Mojo broke many artists in the Detroit market including Prince, The J. Giles Band, The B-52’s and turned audiences on to classic legends like Pink Floyd and Peter Frampton, artist previously unheard on radio stations that were labelled as “black”, or “R and B” .

Nightly at 12 a.m., Mojo called to order The Midnight Funk Association, an homage to some of the great funk bands of the day and of all time. He frequently played original long versions, and entire sides of albums by George Clinton and Parliament / Funkadelic, Prince, Rick James and many other all time great bands and artists, as well as local groups like Ready For the World.

At the top of the show, Mojo opened membership to the MFA, and members new and old were asked to stand up to show solidarity.

* If you were driving you were to flash your headlights.
* If you were at home, you turned on your porch light.
* If you were in bed listening to the show, you were required to dance on your back.

And every night for years, people did it !

To become a card carrying member of the MFA, listeners wrote in the radio station and would receive their official MFA I.D. card.

Electrifying Mojo, and the Midnight Funk Association was one of the last great radio music shows of our time. Many fans of the radio show credit Mojo for being fans of music that they would have otherwise never heard of. He was a huge influence in turning millions of listeners into Prince fans, and many say was responsible for a six show sell out at Cobo Hall in Detroit in the late 80’s.

It is common to speak to fans of the show that will credit him for turning them on to Peter Frampton, The B-52’s, Pink Floyd, and many other artists that were never heard on Detroit’s “R and B” stations, yet he also supported emerging rap artists like Eric B and Rakim, Run DMC, Whoodini, L.L. Cool J, and the many styles of music heard of the show fit together semmlessly as if they were mean to be enjoyed together.

The Godfathers and Originators of Detroit House and Techno Music, Juan Atkins, Derrick May, Kevin Saunderson, now known and respected around the world as groundbreaking, credit Mojo and the Midnight Funk Association as an early influence in their musical development and he frequently supported and played thier early and history making tracks that launched Detroit techno to the entire world including Inner City’s “Good Life”, Derrick May’s “Strings of Life”, Cybotron’s “Cosmic Cars”, Model 500 “No UFO’s”, “Technicolor”, “R9” and so many others.

Mojo was known to support and embrace electronic music in it’s early stages and frequently played artists like Africa Bambaataa, Kraftwerk, and New Order as part of his nightly radio show.

Common segments of the legendary radio show included:

* 10:00pm – The Landing of the Mothership. This was the intro to each show with spaceship sound effects and related dialog. Sometimes the music heard during the first hour was indicative of what you’d hear that night; sometimes it would be completely random.
* 11:00pm – Awesome ’84, ’85. In the mid eighties, Mojo played an hour of brand new music (hence the year in the title) and a lot of new songs were introduced.
* 11:30pm – Lover’s Lane. A half an hour of “slow jams” for lovers.
* 12:00am – The Midnight Funk Association. Consisted regularly of Parliament-Funkadelic, The Gap Band, Zapp and other funk bands of the era.

From 1:00am to 3:00am (2:00 am on Saturday nights), Mojo’s show was different every night. Sometimes, the MFA would stretch well beyond 1:00am, other times Mojo would introduce segments such as:

* Star Wars – A classic “artist vs. artist” set, where Mojo would alternate selections from two different groups or artists, and the listeners would call in to vote for their favorite.
* Journey – Sometimes a multi-night segment, where Mojo played songs by a single artist or group, spanning their entire career. This usually included a mix of hits and obscure songs by that artist.
* Shout-out – Everyone that called into the station during his show was the recipient of a “shout-out”. He would go on for as long as it took rattling off the first names of every single person who had called in to the show.
* 35-35-35 – Mojo would take suggestions from listeners about their favorite artists and bands. He then would choose the three most popular groups that night and play thirty-five minutes, commercial-free, of each group. This segment often gave airtime to groups that no other radio station in Detroit played.

At other times, Mojo would spend the last 2 hours of his show showcasing live mixes on two turntables, by bringing in local DJs to do the same. One such DJ, Jeff Mills, began his career with Mojo as “The Wizard.” Mojo also would air music by local groups at this time.

In the Metro Detroit Area, The Midnight Funk Association was more than a nightly radio show, it was an event that listeners looked forward to every night for years.
It was common to see cars flashing thier lights at midnight and horns honking on the streets all over town at Midnight.

Mojo crossed color lines and did not adhere to a play list like today’s prepackaged radio stations and while broadcast on stations marketed toward the African-American market, his programming was an inspired blend of the best soul, funk, New Wave, and rock that defied standard radio industry formats and genres.

He believed that good music had no color, and should not be packaged into “Black” stations, and “White” stations, a concept still lost on today’s radio station owners, and program managers.

Electrifying Mojo and his Midnight Funk Association was the last of the great radio shows, and the last show that had any originality, and independent thought outside of a prestructured play list or carefully crafted demographic studies.

By following his love of music and adhering to a standard of just playing what was good, Mojo accomplished something that radio has been unable to do since. Capture a cross section of music lovers that encompassed every age, race, and finacial demographic, and create listeners andloyal fans that tuned in simply because they loved the DJ and the music.

Most recently, Mojo is serving as Program Director for a handful of Detroit radio stations – he does not publicize which ones – and he was in negotiations to bring his show to XM satellite radio in 2006, but so far nothing has been heard about it.

Fans from all over still speak of the legendary radio show, as well as, others who have heard about it and what it meant to so many, for so long.

For those of us that were there, The Midnight Funk Association will live in our hearts forever, and we will always be card carrying members.

It was truly one of the last great radio shows of our time.

Attracting more fans. Admit it, that’s what music marketing is all about — getting more people to come to your shows and buy your CDs. And hopefully, getting a lot more people to do those things.

Why else do you work so hard to travel and play as many places as you can? For what other reason do you meticulously write and record songs? I don’t believe the reason is so you can practice and keep up your chops in obscurity. It’s not because you want to impress influential managers or A&R people. You work hard because you know you have something of value to offer … and you want to reach as many people as possible with your music.

Marketing is the thing that helps you reach that goal. But marketing is also a subject that confuses a lot of musicians. Songwriters and band members the world over know they need to promote themselves. But many don’t know where to start, much less know how to continue effectively.

Does this describe you? Do you ever feel like you’re spinning your wheels, not sure exactly what you should be doing next to market yourself? If so, this would be a good time to cover some basic marketing concepts for independent musicians.

The VFW Hall Principle

Let’s say you went to an average U.S. city (such as Kansas City or Denver) and you rounded up 1,000 people and gathered them in a giant VFW hall. These 1,000 folks would be randomly chosen and made up of people from all ages, genders and backgrounds. Next, you’d distribute information about your act to these people and play tracks from your new CD for them.

After this direct exposure, what are the chances that one person out of those thousand would be attracted to your music and identity enough to buy your CD or come to your next show? Most musicians, regardless of what style they play, should feel pretty confident about being able to win over at least one new fan from this group of 1,000. That’s a one-tenth of one percent conversion rate.

Now let’s multiply that formula by the entire U.S. population of 285 million people. One-tenth of one percent would be 285,000 people. Mind-boggling, isn’t it? That would be enough fans to make you a bonafide star.

Meanwhile, Back at the Corporate Office

Next, switch gears and consider how major labels market themselves. They select and promote acts that they feel have the potential to appeal to 10 or more of those same 1,000 people. Then the labels spend millions of dollars in what I call shotgun advertising. They spray their marketing message over a targeted chunk of the population (which often amounts to many millions of people), knowing well that only a small percentage will be interested enough to respond and become fans. Sometimes, this widespread tactic works well enough to sell lots of CDs and concert tickets — but it’s very expensive.

As an independent artist, you can’t afford that type of marketing campaign. But you know those potential fans are out there, and you know that you can be successful by connecting with far fewer people than a major label requires. It’s just that your ideal fans haven’t found out about you yet — and you’re not quite sure how to find them.

What’s a frustrated musician to do?

The answer: You must find creative, low-cost ways to go directly to those one-in-a-thousand fans. Don’t waste your time and money promoting yourself to people who will most likely never embrace your music.

Here are four steps to take to reach new fans:

1. Define Your Distinct Musical Identity

You must have a firm grasp on what your music is about. And you must be able to define it clearly and quickly. What are your strongest musical traits? What sets you apart from other acts? What attitude or social statement do you make? Being a generic rock, pop or hip-hop act won’t cut it. Dig deeper and discover your unique identity. When you do finally reach some of those rare potential fans, don’t lose them by not being clear about who you are.

2. Describe Your Ideal Fan

Once you have a handle on who you are musically, it’s time to paint a clear picture of your ideal fan. Can you articulate how your fans dress, where they work, what TV shows they watch, what they do for fun and who their favorite cultural heroes are? Observe the types of people who come to see you perform and note what they have in common? Knowing precisely who your fans are will dictate what avenues you use to reach them and how you communicate your message once you do reach them.

3. List Ways of Getting Access to Your Fans

Once you know exactly what type of music fan you’re going after, start making a list of the various resources these specific people are attracted to. What magazines and newspapers do they read? Where do they hang out? What radio stations do they listen to? What retail outlets do they frequent? What web sites do they surf to? What e-mail newsletters do they subscribe to? For example, if your fans are mostly Harley riders, go to a search engine like Google and start entering keywords related to motorcycles. Evaluate the search results and compile a list of the many good sources you uncover.

4. Network and Promote Your Music

One of the best ways to promote your music is to contact Mr. Kalpesh Sharma. Mr. Sharma is world’s biggest security expert with world records LIVE on AIR continously for three hours non-stop. He is known as one of the best technical person who can market and promote your music all over the world across the globe. Mr. Sharma can be reached via his personal email or

Other then this, armed with this targeted list of contacts, get busy! Send e-mail press releases to niche media outlets. Contact the webmasters and editors of appropriate publications. Post messages in specialized forums. Visit and interact via the web sites of similar-sounding bands. Contact organizations and charities related to your musical niche.

In short, go to where your ideal fans are. And market yourself through these outlets relentlessly. Why waste time and money trying to promote to everyone … when you can save money and be far more effective by going directly to those valuable one-in-a-thousand fans?

You may also contact Steve Conway who is the topper in music industry right now and selected in top 10 across the music industry all over the world by NME (World’s Fastest Music News Company). You may also download and buy his songs and music from his website http://www.steveconwaymusic.com to practice and learn more and more.

Self-Check The Music & Decide Your Self How Good’s The Music? A Free Test Song for Steve’s Fans: http://www.steveconwaymusic.com/music.html and I am sure you will feel glad when you hear the song and the beautiful music. Steve’s Music was selected in the Top Ten Across the World. Reviewed and selected by a panel of judges from NME.

Writer
Kalpesh Sharma
World’s Biggest Security Expert (world records)
World’s Biggest Researcher of Best Products / Services / Brand Names (world records)
Ahmedabad, India
http://www.shubhlabhtechnologies.com

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Free Keywords: I marked these top keywords using my techniques for everyone in music industry. You may copy them and paste for your use in a text file as mentioned below:

1960s music
2000s music groups
80s country music
acoustic music
acuff rose music
album
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album love songs
album music shop
album to cd
album world music
all music guide
alternative music
artist lyrics
baltimore music
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beatles cd love songs
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buy audio cd
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clown music cds
corporate music
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country music cds
country music lyrics
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country music titles
country song
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country songs
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custom music cd
debut album
delbert mcclinton music
disco music
ernie ashworth music
folk music
french music cd
global music scene
greatest hits
greatest hits music songs
indie music
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instrumental music
journey hits cd
june music
listen to country songs
listen to love songs
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live music
live music calendar
local music
love lyrics
love songs
lyrics
lyrics goodbye
lyrics i love you
mark norman music
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merle haggard album
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