Digital and Physical Distribution. Online and Offline. PDFs and Physical Books.
Once your sheet music is finished you can submit it to a publishing company to be published, or sell it yourself in paper or digital format. The major sheet music companies like Hal Leonard and Alfred won't be interested in your sheet music until you've sold millions of CDs, but there are several websites that offer distribution services for books either in digital or physical form that are available to you.
When a website publishes a book (PDF, eBook or physical book) it means they put it up on their own website to be sold. When a website offers a distribution service, it means that they send your book to other companies to be sold in digital or physical format (this usually includes their own website as well). Printing is when a website site offers a service to print out multiple copies of your book, to be then sold by you or another company (this may include the company that printed the book in the first place).
ISBN

As a professional music instructor, a question I get a lot is "what kind of keyboard should I buy". Well, the answer to this question depends on what you are looking for in a keyboard. Like with cars, people look for different things when they are looking to buy a keyboard.
One of the things you will want to consider is size. A normal full size piano is 88 keys, so ideally you will want an 88 keyboard. The downside to the 88 full size keyboard is that they can be quite large, heavy, and tend to be more expensive. Most beginners will not use all 88 keys, so a smaller size keyboard may suffice if budget and space are a concern. It is recommended that you buy a keyboard with at least 60 keys at minimum.
Another aspect to consider pertaining to the keys of the keyboard, is whether or not the keys are weighted. Weighted keys are much closer to the feel of a real piano when compared to non-weighted keys. Once again, keep in mind that keyboards with weighted keys tend to weigh and cost a lot more

It's sometimes the case that the final stages of song production are not entirely thought about when mixing and that there is another stage to the process of getting your songs finished. With that in mind I thought I'd do a quick post on headroom and why it's important.
What is headroom?
Headroom is essentially the difference between the peak of the signal and the absolute maximum that the audio system can handle. In the digital world the maximum any channel can take is 0dBFS. Anything above this will result in digital clipping (not good

As a professional singer, you may have experienced moments when you feel like the control you have over your voice has disappeared. Proper voice warm ups are an essential part to decreasing the likelihood of such issues. Each singer should be aware of several warm up essentials. Here are three of the most important ones.
1. It is NOT All about Breathing
Having control over your air flow will also keep you in control of your voice. This is only one of the most important voice training for singing rules, it is not however the be all and end all of singing and is sometimes well over prescribed. Air flow contributes to how you

Mixing is a skill that needs to be worked on like anything else - be it playing an instrument (for me - my drums) or decorating fantastic cakes (don't know where that example came from - blame my wife!)
It's a craft that needs to be developed it doesn't just happen. You need to put the hours in to make your mixing skills better. Here are some thoughts and ideas as to how to set mixing into practice - some of the time the excuses are in our own heads, and it's just a case of getting over that and getting on with bettering our skills.
Accept you've got limitations

Learning to play the guitar might seem like a headache when you need to balance a job and still rush out to a lesson. Today, many beginners are turning to online guitar lessons. The advantages of the online guitar lessons are clear with both the pace of a course and the price. Online guitar lessons use many video lessons to teach students. New guitar players can easily pause or go back to any part of the lesson they are unsure of. The ability to studying at your own pace will help tremendously when you are just starting to learn the guitar.
Online guitar lessons usually start with the fundamentals such as the way properly hold the guitar and pick. If these are lessons you already know, simply skip to the next lesson until you are comfortable. Finding the right lessons for you will take almost no time at all and if you go ahead too far, simply go back

What would a world without EQ sound like?? It's such a powerful tool and also one that can easily be misused. Here are three EQ tips that will change your game and if put into practice will start your journey on the road to mastering EQ.
1. Roll off the low end with a high pass filter
A high pass filter (HPF) or low cut filter, essentially allows all frequencies that are higher than the cut-off frequency through. If you've heard of the low pass filter, it's essentially the opposite. Anything below the cut-off frequency value will be attenuated. The amount it's attenuated is

All of us will have many teachers throughout our lifetimes. From kindergarten onward, teachers are second only to our parents in shaping our lifelong development. Despite their essential role in our lives, it is often difficult to go back through your life history and point to specific teachers who left marks on us. Still, you can occasionally find a specific teacher whom you will never forget, who has made a significant positive influence on your life.
This is the unfortunately tragedy of our school system. All too often, they educate for mediocrity, employing far too many mediocre teachers. (Sorry teachers, it's often not your fault, so don't take it too personally).
In the case of music instrument teachers, the situation is different. Instead of being stuck

For the most part, teaching methods have changed tremendously over time. While not all changes have been positive, it is safe to say that most contemporary methods have been advantageous. Instruction continues to advance over time. This is true in most fields, and holds true in music as well.
Today, children start their formal schooling at an earlier age than that of many older generations. The concept of kindergarten and preschool didn't even exist in the Western world until the early nineteenth century. Even day care centers for toddlers employ learning practices nowadays.
It is beneficial for children to learn as early as possible. Cognitive and emotional development starts during toddlerhood. As music is a vital tool for mental development, it should be encouraged for kids to learn it at around age 3. But it is of utmost importance

Believe me, you won't have to look far to uncover your unique voice on guitar and you certainly don't need to master every style of guitar playing and every technique in existence, as we'll see.
I would advise, however, that you go with your feelings on this one as the mind tends to throw up a lot of contradictory babble and generally try to talk you out of what you're feeling.
What's your style?
Name a handful of great guitarists and with very few exceptions they are not masters of every style of playing. In most cases, great players really dominate one or a couple of

1. How much time do you spend actually making music?
Think about how much time you actually spend creating new music. It's strange but a lot of musicians, especially guitarists, spend about 95% of the time practicing scales, learning other people's stuff, chords, arpeggios, doing technical exercises etc. and seem to forget to make real music. People want to play like Steve Vai so they think they have to practice like crazy. It's true but it's not. I remember a Steve Vai interview where he's talking about taking his first guitar lessons and he remarks, 'Yeah, as soon as we learned 3 chords we were making up stuff... ". Don't forget to actually use the stuff you're learning.
2

I believe the main problem lies in the application of theory on guitar. There's a missing link between the theory and the practice where confusion and frustration enter.
What is music theory?
Music theory is the language of music. It's a lot like studying the grammar of your mother tongue - you're putting names to sounds you already know and have been playing for years. It's also a way to analyze what your favorite players are doing, or how any piece of music works for that matter.
Reasons to learn theory
If you're at all interested how things work then theory is for you. For example, this would be the difference between learning something from a tab (akin to painting by numbers) and

Glancing at the website today I see that only Pete Friesen and Mike Goodman remain from when I was there but both are fantastic teachers.
So here's my take on Music College which will hopefully aid you in deciding whether it's the right move for you.
Prepare to get humbled
It's best to leave your ego at the door when entering Music College as you're going to meet, be exposed to and most importantly be taught by some fantastic players. I remember a lot of guys getting their egos bruised by this because they went in with the attitude that they already knew it all or they went to the other extreme and it made them feel like giving up before they'd even started. Although you'll inevitably feel somewhat threatened or humbled, the fantastic learning opportunity should outweigh any feelings of inadequacy you may have.
Align with your goals
Once your ego's out of the way it's critical that you have clear why you want to go Music College; in short, what do you want to become? You can instantly tell the difference between someone who has a goal and someone who doesn't. Those that don't kind of drift aimlessly through the courses not really taking advantage any opportunities that come their way. Those that have a goal will know which subjects they need to focus on, what they need to learn to get where they want to be and most importantly, will begin networking from day one. For example if your goal is to make a living from music by becoming a session player or gigging musician then you need to focus on reading, session styles, theory and live performance whereas if your goal is to become an artist then you need to pay attention in business class and hone your performance skills etc.
Wisdom on tap
Your instructors are a wealth of tips, tricks and advice on pretty much anything to do with music and the industry. Don't be afraid to pick their brains every time you have a question, they'll be happy you asked, and more importantly you could save yourself years of going round in circles. Bear in mind also that great guitar players don't necessarily make great teachers when other people's material is thrust upon them. Get them talking about their own experiences or how they learned stuff and the wisdom will literally flow out.
Hanging out with guitarists
Is it me or are most guitarists kind of... annoying? It's good to know what you're letting yourself in for as spending 8 hours a day and then some with a bunch of guitarists can be a little trying on your patience. If your college is particularly saturated with guitar players you'll soon be cringing it up on a daily basis. Be careful not to fall into the trap of endlessly comparing yourself to your classmates, everyone has different strengths and if at all possible you'll want to develop your own unique style instead of worrying about keeping up with them. Moreover, use it as an opportunity to work on your nerves or stage fright as there's truly nothing more nerve-wracking than playing in front of a bunch of guitarists. If you can survive that, you can survive anything, and if all else fails, hang out with the bass players.
Look the part
If your goal is to get paying gigs then you'll want to look the part. This means losing the locks, shaving once in a while and generally looking presentable every day. Remember, Music Colleges are a great resource of fresh talent or potential band members for anyone who happens to be scouting and looking like Kurt Cobain's long lost cousin won't cut it if a career in music is what you're after. The guys and gals that get the gigs have three basic things in common:

• They look the part
• They are solid players
• They don't let their ego get in the way

The last point refers to contributing to a song or piece of music with something relevant and complementary that really takes it somewhere or heightens its appeal. This is nearly impossible to do if your ego is craving a Spinal Tap moment...
Get into a band or two
Get into a band as soon as you can, preferably a three-piece. Why? It'll force you to cover both rhythm and lead aspects as well as having the responsibility of being the only guitarist. When choosing band mates go for people you like over 'great players with personality disorders'. Ask yourself if you could tolerate them as roommates, if the answer's yes it'll be far more productive and you're more likely to grow as a band.
Get business savvy
Music College will definitely improve your playing, there's no doubt about that. Even if you can't take it all in at once, the fact that you're spending 8 hours a day and then some learning about your instrument will do wonders for your playing. The downside is that you spend relatively little time learning about the industry and the all-important subject of how to actually make a living from music. The Music College bubble is far from the reality of life as a musician. I would strongly advise you see your studies as a complement to your search for work right from day one. Go try out at auditions, even if you don't think you'll make it you never know who you might meet.
Do you like teaching?
It's no secret that most music graduates end up being music teachers, mainly because it's one of the few related careers and it's fairly easy to get into. If you're not passionate about teaching, it's probably not wise to get into it as you'll be doing neither yourself nor your students any favors. Based on the fact that studying music is not absolutely essential to having a career in music, you could study something like marketing which will give you the business tools to make a living from music, should you still wish to pursue it as a career.
The right age for Music College
I'm going to go out on a limb here and say that your early twenties are probably not the best age to go study music, for various reasons:

• You probably don't have a clear idea of what to do with your life or why you even need to think about stuff like that.
• A lot of the wisdom and insight from the instructors will be lost on you because you're not on the same wavelength (yet).
• The amount of stuff you'll need to learn will be overwhelming.

I think the right age (if there is such a thing) to go is when you're in your late twenties, even early thirties. Why?

• You've got a better idea of what you want to do with your life.
• You've got some life experience under your belt.
• You've probably been gigging for a while.
• You've got enough technique and theory knowledge to be dangerous.
• You'll be refining skills instead of learning new ones that you need to apply straightaway.

The acid test
If you're still unsure as to whether to go to Music College or not, take the acid test:
Decide what your goal is in music, what you want to achieve or where you want to be and see if Music College fits into that scheme or is an essential part of getting there. Be honest with yourself and if it's not essential don't worry; not going to Music College certainly won't stop you from fulfilling your dreams.

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1. Slowly does it. I'm not a big fan of metronomes but what I would recommend is to play or practice a scale at a speed which is technically comfortable for you. By this I mean as fast as you can play it without making any mistakes or clams. Speed comes naturally, an important factor of which is control, and this is what you're grafting here.
2. Practice what you preach. When practicing scales play stuff you would actually play live or during a solo, if you've already got the pattern under your fingers. There is little point endlessly running up and down scale patterns as what you practice will inevitably show up in your playing

There are a number of publications, CDs, YouTube videos, online vocal exercises for singers and educational sites that assist people in their vocal training. There is one very important aspect of the vocal training that is often not stressed enough in these programs. For this reason, many beginners are not aware of this critical element, and therefore experience slow progress in their vocal development despite effort and dedication

1. Sheer Speed vs. Technique-based Speed
I divide fast playing into two categories, the first one is sheer speed or natural speed as players that fall into this category play fast what they play slow i.e. they do not adopt any special techniques to be able to play a fast passage. Eric Johnson is a great example of this, his fast playing is just as melodic and tasteful as his slow playing and indeed almost sounds like his slow playing speeded up. If you study sheer speed players, you'll notice that their fast playing defies speed techniques. Their fast playing technique varies little from their slow playing technique leading me to the conclusion that sheer speed comes naturally and is not forced in any way.
2

What is sight reading?
Simply put; sight reading is reading a piece of music for the first time.
Why should students practice sight reading?
Reading music is like reading any other language. The more you do it, the better you will be at it. If you were learning a new language and only practiced reading a few pages of text out of a book; you would get really good at reading that passage, but it would ultimately limit your ability to learn new material and understand the language itself. The more diverse the material you read, the more you will understand the nuances of music and the easier it will be to pick up new material. Once you have experience reading from sight, you should be able to pick up new music much faster than before and with more accuracy.
The methodology behind it

Having a great musical ear and talent is not enough to become a great musician. To succeed in the music industry, you will also need to have a rich cultural foundation and training.
What are the skills and elements needed for a successful career in the Music Industry?
- Musical ear
When talking about hearing the music, we refer to two types of hearing: innate hearing music and acquired musical hearing