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Creating MP3s with Audacity

If you have just downloaded Audacity and are wondering how to export your file as an Mp3, wonder no longer…

Audacity does not export files to Mp3 format without the LAME encoder. This encoder is also free to the public and can be downloaded here:

http://lame.sourceforge.net/

Once you have downloaded the files place them in your Audacity folder and open up the program. Now you should be able to open up the File menu and Export as Mp3

Easy!

How do I change the quality of my Mp3 in Audacity?

Changing the quality of your Mp3 file will make the size of the file larger. For general purposes, 160kbs should serve your needs as it is very close to CD quality. However, if you want to retain the highest amount of definition in your Mp3 you can climb to around 320kbps which will take a 4 minute track to around 10mb.

To change the Mp3 quality setting go to File or Audacity (depending on what edition you have) and find Preferences in the menu. Once inside the Preferences panel select File Formats and you will find the option to choose the quality of your Mp3 export down the bottom.

Editing sound files in Audacity

Audacity is a free audio editing program that will serve many of your needs while remaining a relatively simple program to learn.

What this is useful for:
Extracting selections of audio from a larger/longer audio file to use in a presentation in
Powerpoint, on a website, use in an exam etc.

Go to http://audacity.sourceforge.net/ and download the free program called Audacity

Once the program is installed and you have it open go to file in the top left of the screen and
select import – Audio

Find the audio file you want to edit and click choose

Once your audio file is open it will be represented by the blue amplitude image in the
center of the panel. You can often see visually where pauses, climaxes, movement breaks
and other musical events happen and to help you view the file you can zoom in and out
using Command + 1 and Command + 2 respectively. You can also identify sections of
the file by simply using the play and skip buttons in the top left of the audacity window.

Note – Remember that you can undo any of your actions and the original file will not
be changed as long as you export the file with a different file name than the original.

Once you know what section of the audio file you want to extract click and drag the mouse
over the selection. The selection will be grey and it can be manipulated once selected in a
variety of ways.

To keep the selection and remove all other parts of the sound file go to edit and select trim.

If you want to delete the selection leaving the remaining parts of the audio file simply press
delete

If you want to place a fade in and a fade out in your excerpt select a small portion at the
beginning of the file (you can see how long it is in seconds by the minutes and seconds
scale above the audio image). Go to effect in the top menu and select fade in. The sound file
will now have an automatically generated fade in for the amount of time that you selected.
Repeat the process for fading out.

Once you have finished editing go to file and click export. You can edit the files information
here and then select the file format and file name. There are multiple choices for the file
type to export. Use .wav file as a default for normal use and other files if you specifically
need them.

For Sight-Reading Music, Practice Doesn’t Make Perfect

A memory skill that pianists have little control over may orchestrate their performance.

Fri Jun 18, 2010 11:50 AM ET
Content provided by Bruce Bower, Science News
THE GIST

  • Sight-reading is the ability to play sheet music on an instrument with little or no preparation.
  • Having a strong ability to remember pieces of relevant information while performing a task aids sight-reading.
  • The best sight readers combined strong working memories with tens of thousands of hours of piano practice.
Music
Here’s a harsh piano lesson: Years of tickling the ivories go only so far for those who want to sight-read sheet music fluently, a new study suggests. Aside from those painstaking hours of practice, a memory skill that pianists have little control over may orchestrate their performance.

Sight-reading is the ability to play sheet music on an instrument with little or no preparation. Any piano player who practices sight-reading for thousands of hours will get pretty good at it, say study coauthors Elizabeth Meinz of Southern Illinois University Edwardsville and David Hambrick of Michigan State University in East Lansing. But having a strong ability to keep different pieces of relevant information in mind while performing a task — known as working memory capacity — aids sight-reading regardless of how much someone has practiced, the psychologists report in a paper published online June 9 in Psychological Science.

In the researchers’ investigation, the best sight readers combined strong working memories with tens of thousands of hours of piano practice over several decades.

Working memory appears to be a capacity that gels early in life and can’t be improved much by learning, the study suggests. High scores on working memory tests did not cluster among volunteers who had practiced piano playing and sight-reading the most.

Previous research indicates that working memory capacity varies from one person to another and changes little from childhood to adulthood, the scientists say.

“Deliberate practice, although necessary for acquiring expertise, will not always be sufficient to overcome limitations due to a person’s basic cognitive abilities,” Meinz says.

When sight-reading, a piano player’s working memory capacity may determine the extent to which he or she can prepare for upcoming moves on the keyboard by looking ahead in a music score, Meinz and Hambrick speculate.

Psychologist Glenn Schellenberg of the University of Toronto Mississauga agrees. IQ scores probably relate to sight-reading proficiency as well, he notes, since IQ tests tap into working memory capacity.

Schellenberg sees the new findings as a challenge to the influential view, championed by psychologist K. Anders Ericsson of Florida State University in Tallahassee, that expertise in sight-reading or anything else depends on skills acquired through extensive practice. Novices at a particular activity rely on general mental faculties, such as working memory, Ericsson argues. But after roughly 10 years of practice at a task such as sight-reading, he suggests, specific mental mechanisms for getting the job done emerge and general-purpose faculties are jettisoned.

Ericsson regards the new study as “not a fair test” of his hypothesis. Most musicians tested by Meinz and Hambrick — including those who had played piano for a long time — were not skilled sight readers, Ericsson asserts. So the study can’t address whether differences in working memory capacity limit the performance of expert sight readers, he says.

Meinz and Hambrick recruited 57 volunteers who had played piano for between one and 57 years. Their estimated hours of overall practice ranged from 260 to 31,096, and hours of sight-reading practice ranged from zero to 9,048. Two university piano teachers rated volunteers’ performance on six sight-reading pieces. A majority of players were rated as moderately good sight readers.

Four tasks assessed working memory capacity. On one, a math equation with an answer, as well as a word, briefly flashed on a computer screen. Participants had to say whether the answer was correct and remember the word for later.

Statistically speaking, working memory capacity actually shows a weak relationship to individual differences in sight-reading skill in the new paper, remarks psychologist Reinhard Kopiez of Hanover University of Music and Drama in Germany. In a 2008 study of 52 accomplished piano players — as opposed to the piano players with a broad range of experience studied by Meinz and Hambrick — Kopiez and a colleague found no link between working memory capacity and sight-reading ability.

Two motor traits unaffected by practice — an ability to tap two fingers rapidly in alternation and to press a computer key quickly in response to visual and acoustic cues — characterized effective sight readers in Kopiez’s investigation. Sight readers who can speedily translate perceptions into actions may have an advantage, the German researcher proposes.

String Quartet Competition

Swiss Global announces their competition for use of “The Evangelists”

St John St Mark St Matthew St Luke

“No dents!” Laurent Marfaing remembers noticing when he was first presented with St Matthew in April 2008. The description was perhaps fitting, as the viola had been “sleeping”, completely unheard, for at least 35 years. St Matthew is a member of The Evangelists, a string quartet unique to the world in that it represents the only matched set made by a master maker with wood from the same tree. Remarks Foundation Director Heather de Haes, “Each instrument is outstanding in its own right, but when heard as a group their collective sound assumes an extraordinary beauty and radiant energy.”

Built in Paris, 1863, by Jean-Baptiste Vuillaume, The Evangelists (comprised of St John and St Mark violins, St Matthew viola and St Luke cello) were acquired by the Swiss Global Foundation in April 2008 and summarily loaned to the Paris-based Modigliani Quartet, of which Laurent Marfaing is violist. The loan to Modigliani for a period of two years represented the Foundation’s ongoing commitment to help young artists attain the highest levels of musical performance and professional advancement.

Visit the News Archive from April 2008 to learn more about the acquisition of the instruments.

Improve your playing…fast.

In my lessons with the undergraduate students here at Yale I find myself repeating a few core ideas many times. Perhaps one of the most common suggestions I make to students is to… slow down.

Young musicians seem to have a fascination with playing things fast. I must admit that I too went through my phase… ok. several phases, of obsessing over my speed. However, I have found in my teaching and my own studies that the best way to improve control, accuracy and even speed is to slow everything down.

There are three types of slowing down that I would like to talk about here. (I do admit, the titles don’t sound promising but the ideas are!)

1. Slowing down the tempo
2. Slowing down your practice
3. Slowing down your performance

Slowing Down the Tempo

When you slow down the tempo of a section that needs work then, and only then, can you see what isn’t working and how you can fix it. Slowing down allows us to understand the very complex movements of both hands that are involved in a passage of music. Once we understand the movements we have more control of the movements. With more control comes accuracy and speed. It also aides in the speed at which we learn a piece and perhaps, eventually memorize it. Once you start slowing down the tempo of passages to work on them you will find out that you are saving a ton of time by slowing down.
Slowing Down your Practice

In a similar way slowing down your overall practice means that you work more efficiently and productively. By slowing down your practice I mean that you do not try to learn the piece in one sitting or even ten. Take your time. Map out all of the fingering, try different fingerings, analyze the form, the structure, the harmony, the phrasing… etc. There are many facets to each piece yet most of us jump straight in the deep end and start playing a piece from beginning to end… at full speed. By doing this you are making the entire learning process stretch out over a much longer period of time than it needs to be.
Slowing Down your Performance

So, after a coffee and a good warm up you can play that overture at a blistering pace of MM. 120 all the way through with only a few slips… (congrats!)… but when the performance comes around half of the notes were missing and the other half may have been in another key! Does this sound familiar? It is all too common to hear the phrase “but I played it much better last night at home” following a less than spectacular performance. So why do we always try to play at the very extreme of our capabilities when the situation is at its toughest?

Well, the answer to that question can be left for someone else to answer but I am here to say that if you shift down a couple of gears in your performance and take things at a more manageable pace you will be a happy chappy.

and here’s why…

The positive reinforcement you feel after being on stage and feeling more in control is worth its weight in gold and the positive side effects filter through all of your playing. (can you imagine how good you would feel if you were always in control on stage!)
We naturally speed up tempi on stage and in other high stress scenarios. If you think you are taking it at your top speed you are probably taking it a few notches more thanks to all the adrenaline.
When notes are played cleanly and rhythmically on the guitar a listener perceives the music as much faster than sloppy playing taken at a faster tempo.

So. Slow down everyone. O.K?