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TINIE Tempah wants to front a safe sex campaign as he’s ensuring he doesn’t create any small Tinies. The rapper believes new track Frolicsome, which I am expecting to follow his debut Pass Out to number 1, is a positive illustration of what it’s love to be a reasonable single. Chatting with Playlist’s Natalie Edwards at this weekend’s GreatEscape Holiday in Brighton, Tinie explained: I would like to front a safe sex campaign because I do not need any mini Tinies running about so I emphasize the importance about being safe.

I latterly moved out of home. When mummy cleaned out my room she did not find my porn collection but she was like: ‘You’ve got so many condoms.’ I am a fully developed guy now and I might be able to speak to my mummy about it. Frolicsome is all about open truth. I am a young and free 21-year-old chap who doesn’t really need to make any commitments to any person. After a gig I just need to get frolicsome and, to be truthful, there’s rather a lot of offers.

Londoner Tinie Tempah Frisky, who releases Frolicsome on June seven, said he doesn’t have any goal of letting his success change him. He announced: I am awfully reasonable in that I am really particular about who I let in to my personal world. “When you are in my position it is very to get carried away and finish up doing lots of stuff you’ll regret”. Wise lad.

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The Suzuki violin method has come to dominate the way violin is taught in America and throughout much of the world. Mention the Suzuki violin method to music educators, and you will get a variety of responses. While it is common for some teachers to mix elements of Suzuki violin method with the traditional approach other teachers either love or hate the Suzuki method. Let’s examine the Suzuki violin versus the traditional violin below.

The Suzuki violin study method emphasizes passive modes of learning - watching and listening. Before engaging in formal study, Suzuki violin students are exposed to recordings of the first and subsequent pieces they will play, as well as recordings of great performances from the general classical repertory. This continues when students begin formal study and as they progress. Recordings are played as “background music”, for hours each day and at low volume levels. Here, the thinking is that exposure to recordings is similar to the effect of immersion that naturally occurs in the process of primary language acquisition. Successful study is enhanced by prolonged repeated exposure. Suzuki violin students develop an internal model of the music to be studied. They memorize the music and internalize the nuances of pitch, tone, timing, articulation, and dynamics demonstrated in recorded performances.

Traditional violin study favors a type of training that virtually ignores passive learning approaches. While students may be encouraged to listen to recordings of the more advanced repertory played by concert artists or symphony orchestras, beginning students are generally not given the opportunity to listen to recordings of the beginning pieces that they are or will be studying.

Suzuki violin incorporates the passive mode in class. Before Suzuki violin students ever receive the violin, they observe others who are doing what they will eventually do. Even after receiving and working with the violin, they continue to observe others in the masterclass setting and group lessons. While, the more traditional violin lessons are modeled on an environment of isolation. When students do interact, competition between individual students is often used as a means to motivate them. Cooperative learning techniques are neglected or ignored. With the one-on-one model, students don’t get much opportunity to study and play music with peers.

The Suzuki violin method imparts technical skills needed to play the violin in a way that has similarities with the approach used in traditional Asian martial arts. There is meticulous attention to form, detail, and movement and it is usually taught by a master who has been handed the skills by other masters. Suzuki formulated a highly original violin technique that is radical and remarkably efficient. He has disseminated these ideas to teachers and students in the form of “teaching points” - specific descriptions, each dealing with a single aspect of technique and recommended exercises for its mastery. In the process of renovating violin study, Suzuki dramatically improved the way the violin is technically mastered.

Looking for information about the violin?
Go to: http://www.mrviolin.com
‘Mr Violin’ is published by Helen Baxter -
The Complete A to Z Of Violin Resources!
Check out more violin articles at: http://www.mrviolin.com/archive

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Sheffield indie giants Arctic Monkeys have posted a new webcast of the band performing live.

The return of Arctic Monkeys was one of 2009’s biggest stories. The Sheffield group are arguably one of the most influential British rock groups of the decade releasing two seismic albums.

Combining kitchen sink realism with indie dancefloor riffs, Arctic Monkeys are one of the biggest bands in the country. Retreating to the United States to work on their third album, the group recruited Josh Homme to handle production duties.

With long term cohort James Ford helping to mix the album in New York the resultant recording was one of Arctic Monkeys most ambitious efforts to date.

Kept under lock and key the new material was released to fans in a series of inventive ways. Recording a special webcast Arctic Monkeys performed in front of giant blues screens, dramatically lit as they blasted through new material.

The performance included five tracks from their new album ‘Humbug’, while the band also found time to blast through a cover of Nick Cave And The Bad Seeds classic ode to outlaw behaviour ‘Red Right Hand’.

The studio version of this special cover version appeared on the flipside to the single ‘Crying Lightning’. A huge success the single was only available on vinyl through Cancer Research charity shops.

Going on to become one of the biggest selling physical singles of the year the gesture was well timed, raising countless thousands for the charity.

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Calvin Harris has branded the British Phonographic Industry “cunts”, accusing them of causing the removal of his official music videos from YouTube.

The singer/producer was reacting to the removal of the video for his forthcoming single ‘Ready For The Weekend’, which he says was taken down after a “copyright claim” by the trade organisation that represents the UK music industry and was clearly annoyed.

Writing on his Twitter page at Twitter.com/calvinharris, Harris pointed to the fact that although bootlegged videos of the song still remained on the site, his original version had been removed.

He added: “The BPI are the worst organisation to ever walk the earth, and their set-up is shambolic, and their online employees are all massive retards.

“This is unbelievable, and it seems I am completely powerless to do anything. Sony [his parent record label] have done nothing, the BPI have done nothing.”

Joking about innovative ways to sort the problem, Harris continued: “I’m going to drive my car into the big window in the BPI’s offices on my way to the studio this morning (July 23). I’m going to hire a 4×4 for the day so I make more of an impact, and hopefully reach the online monkeys at the back of the office.”

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