We want to bring to your attention one of the fruits of Sergio Zurutuza, a young and promising composer, who establishes his composing method in his newest opus “Luz Negra” created and recorded in collaboration with Jaime Mayo as an innovative, experimental, bold work of art that continues to take shape. It is important to note that the pieces created by Tirri Tarra have never been analyzed in print. Therefore, it is the hope of this music professional to establish a point of reference for these works.
Before delving into the musical analysis, it is important to understand the origins of this musical ensemble. Although the group has only two records under its belt and curious beginnings, Tirri Tarra has evolved into the self-proclaimed risk takers of the symphorock world...>>>

What could this man have been thinking — or drinking?

In a review of the 40th anniversary opening-night concert at Lincoln Center of New York's venerable Mostly Mozart festival, New York Times classical music critic Allan Kozinn writes of piano soloist Garrick Ohlsson who performed Mozart's Piano Concerto No. 26:

Are you familiar with a tormenting feeling that starts little by little and gradually grows into inexplicable anxiety? Is it a tormented feeling that eventually turns into a nightmare? Or is it that tormenting feeling you get when you begin your performance on stage, and cannot remember a single note of the piece you are about to play? But then you wake up and realize that it was just a dream and everything is okay. But is it ... really? If you know what I am talking about then here's my advice. When we become fully aware of how disorganized our lives are and how we betray ourselves, it comes to us in the form of dreams and feeling uneasy. To remedy this condition we must start practicing on a regular basis.

When we become fully aware of how disorganized our lives are and how we betray ourselves, it comes to us in the form of dreams and feeling uneasy. To remedy this condition we must start practicing on a regular basis. We were forced to practice during our college days since we had no choice. There was always something new on the agenda every few weeks ... whether it was a test, a performance, or workshops ... something was always happening. Musicians rarely have steady schedules. We often have day jobs, such as church, school, chorus, seminars mixed with performances, substitute work, and covering for our sick colleagues. It's almost impossible to plan ahead for the next few days, let alone a week. Everything seems to be done in fits and starts ... sporadically. Perhaps we can count on one hour a day. But you may ask what can be done in one hour? >>>

I have always believed that success, in practically any subject you can think of, is a direct result of "clear thinking." That is, the ability to understand very clearly what needs to be achieved and the action to set about surmounting very necessary hurdles in order to reach those goals.
Less than successful people are either not clear in their goals or for one reason or another give up along the way. It's leveling that rough terrain, along with a clearly defined end result in mind that will get you there in the end. The success roadmap might go something like this: >>>

Playing the Modes

When I used to use this pack with students, I provided them with a CD which contained a backing track for each of the modes. This enabled them to practive getting the sounds and shapes under their fingers. In this version you will be provided with the harmonised scale for each mode, and from this you can construct your own grooves and backing tracks to do the same thing. I am assuming that you know, or can easily work out the names of the notes on the neck so the scale maps you will be presented are not anchored in any one place on the neck. Once you know where the root note is for each scale you can then move that note to suit whatever scale you want to play. Please note that some of the modes are for different scales, but this is only so that you don't learn everything in C, but do try to get used to using other root notes. >>>

The fact that you are holding this in your hands suggests that you have got to the point in your explorations of, and curiosity about the guitar that the next step is the modes. Maybe it's because you have read somewhere that Steve Vai loves the Lydian mode, or you have listened to music by Frank Gambale and wondered what he was up to. Whatever the reason, the material you have here should set you on the road to opening up new ways to express yourself, to get different sounds into your melodies and harmonies. >>>

Often we can let our personal circumstances dictate our progress. For example, someone may let their guitar practice slide because they were really busy at work. This person may start making excuses such as "I didn't have time." This is victim mentality.
I was thinking today about THE most dangerous enemy of musical progress...the victim mentality. What do I mean by this?
It is believing that your musical progress is only possible when external circumstances allow it.
What they are really saying to themselves is that their musical dreams and goals are not as important as paying a few lousy bills. They are letting their boss's goals get in the way of their own. >>>

I'll never forget the first time I played the piano for an audience. It was my first concert and it was fairly full up. I was to play my first CD "La Jolla Suite" containing 12 pieces. There was to be one intermission and the whole concert lasted about 80-90 minutes.
Let me tell you that I was very nervous. So nervous I didn't think I was going to make it through. Suffice it to say that I really didn't enjoy myself. After many hours of trying to figure out why I was so nervous, the answer came to me - it was because I was self-conscious. >>>