How To Create An Effective Music Lesson Plan BY LAUREN BATEMAN ON MARCH 14, 2011 10 COMMENTS 23 43 An important part of teaching

g is creating a proper lesson plan for your students so that they can get the best out of each and every lesson they take with you. Of course, your lesson plan will be centered around each individual students needs and goals, so you should keep this in mind when you are putting together materials. Below I will describe a basic lesson plan that you can follow when conducting your lessons. This caters more to the hour lesson format as opposed to half hour lessons. I always find half hour lessons tend to feel rushed and reserve shorter lessons for young children. Basic One-Hour Lesson Plan

Chat/Hello

5 Min.

Warm-Up Review New Material Improvisation Questions/Good-bye

5 Min. 10 Min. 25 Min 10 Min 5 Min

Now these are just generic guidelines to stick by. Depending on how much a student practiced or how many questions they have, reviewing the prior weeks material could take longer. If the student has not learned any scales, or you are not working on improvisation skills, you can skip that part and have more time for new materials. This is a great guideline for most music lessons. The First Lesson The first lesson is the most important lesson of all. It sets the tone for future lessons and can make or break someones enthusiasm for learning. When it comes to a musical instrument, the goal is getting

the student to play something they know as soon as possible. For example, if you have an older adult coming in to learn to play guitar, teaching themMary Had A Little Lamb might not be the best place to start. You could try teaching them the bassline to songs like Queens Another One Bites The Dust or to Deep Purples Smoke On The Water. A teenage girl might be happier strumming along to the bass line to a Taylor Swift song. Getting the student excited about playing guitar and making them feel confident in their ability to actually play the guitar makes all the difference. Remember, every student that comes through your door is going to think that they are the worst guitar player in the world. Create lessons plans that allows your students to feel like they are accomplishing something every week. Keep In Mind Your Students Abilities When planning your students lessons, make sure to take into account the students current abilities. Say for instance, you want to teach a student to play Wild

Thing on the guitar, or sing Joan Jetts I Love Rock and Roll, or play Mozart on the piano. What skills does your student need to have in order to start and understand the new material. If they are missing any, you need to fill in the blanks before trying that piece. Throwing material at a student that is way above their level will only discourage them. Some students like big challenges, but creating lots of small successes is the best approach to keeping your students interested in learning and excited about coming to lessons. Do Not Overload Your Students You do not have to have you student rocking out like Jimi Hendrix, composing like Bach, or singing like Janis Joplin after their first lesson. Take your time and never overload a student with too much new material. Some students are too bashful to say that what you are giving them is too much. One of the top reasons students quit lessons is because they feel overwhelmed by the material. Remember, a lot of students have busy lifestyles and as much as we would like our students to practice

every day, most may only get to practice 2 or 3 times a week. It is better to have your students focus on learning and mastering one or two different techniques than tackling 4 or 5 different songs or licks. This keeps your students focused on what they really need to learn and accomplish. Give Students Goals After each lesson, give your students goals to aim towards during the week as they are practicing. When students have something to aim for, they can focus better during their practice time. Just telling a student to practice a song or learn a chord or melody really is not enough. For example, when I work with my guitar students, we will often work with a metronome to measure speed. Each week we will take a look at their speed. After going through the exercises, we then selected a fast speed to aim towards at ther following lesson. Keep It Fun You do not have to be a drill sargent. Keeping your lessons fun is an important part of being a teacher.

Get to know your students and dont be afraid to introduce appropriate humor. You may find that students like coming to lessons just to hang out with you.

Frequencies for equal-tempered scale This table created using A4 = 440 Hz Speed of sound = 345 m/s = 1130 ft/s = 770 miles/hr ("Middle C" is C4 ) Note Frequency (Hz) Wavelength (cm) C0 16.35 2100.

C#0/Db0 D0 D#0/Eb0 E0 F0 F#0/Gb0 G0 G#0/Ab0 A0 A#0/Bb0 B0 C1 C#1/Db1 D1 D#1/Eb1 E1 F1 F#1/Gb1 G1 G#1/Ab1 A1 A#1/Bb1

17.32 18.35 19.45 20.60 21.83 23.12 24.50 25.96 27.50 29.14 30.87 32.70 34.65 36.71 38.89 41.20 43.65 46.25 49.00 51.91 55.00 58.27

1990. 1870. 1770. 1670. 1580. 1490. 1400. 1320. 1250. 1180. 1110. 1050. 996. 940. 887. 837. 790. 746. 704. 665. 627. 592.

B1 C2 C#2/Db2 D2 D#2/Eb2 E2 F2 F#2/Gb2 G2 G#2/Ab2 A2 A#2/Bb2 B2 C3 C#3/Db3 D3 D#3/Eb3 E3 F3 F#3/Gb3 G3 G#3/Ab3

61.74 65.41 69.30 73.42 77.78 82.41 87.31 92.50 98.00 103.83 110.00 116.54 123.47 130.81 138.59 146.83 155.56 164.81 174.61 185.00 196.00 207.65

559. 527. 498. 470. 444. 419. 395. 373. 352. 332. 314. 296. 279. 264. 249. 235. 222. 209. 198. 186. 176. 166.

A3 A#3/Bb3 B3 C4 C#4/Db4 D4 D#4/Eb4 E4 F4 F#4/Gb4 G4 G#4/Ab4 A4 A#4/Bb4 B4 C5 C#5/Db5 D5 D#5/Eb5 E5 F5 F#5/Gb5

220.00 233.08 246.94 261.63 277.18 293.66 311.13 329.63 349.23 369.99 392.00 415.30 440.00 466.16 493.88 523.25 554.37 587.33 622.25 659.26 698.46 739.99

157. 148. 140. 132. 124. 117. 111. 105. 98.8 93.2 88.0 83.1 78.4 74.0 69.9 65.9 62.2 58.7 55.4 52.3 49.4 46.6

G5 G#5/Ab5 A5 A#5/Bb5 B5 C6 C#6/Db6 D6 D#6/Eb6 E6 F6 F#6/Gb6 G6 G#6/Ab6 A6 A#6/Bb6 B6 C7 C#7/Db7 D7 D#7/Eb7 E7

783.99 830.61 880.00 932.33 987.77 1046.50 1108.73 1174.66 1244.51 1318.51 1396.91 1479.98 1567.98 1661.22 1760.00 1864.66 1975.53 2093.00 2217.46 2349.32 2489.02 2637.02

44.0 41.5 39.2 37.0 34.9 33.0 31.1 29.4 27.7 26.2 24.7 23.3 22.0 20.8 19.6 18.5 17.5 16.5 15.6 14.7 13.9 13.1

F7 F#7/Gb7 G7 G#7/Ab7 A7 A#7/Bb7 B7 C8 C#8/Db8 D8 D#8/Eb8

2793.83 2959.96 3135.96 3322.44 3520.00 3729.31 3951.07 4186.01 4434.92 4698.64 4978.03

12.3 11.7 11.0 10.4 9.8 9.3 8.7 8.2 7.8 7.3 6.9

(To convert lengths in cm to inches, divide by 2.54)

The importance of frequency stability in electronic musical instruments Shantanu Prabhudesai 6/23/2010 1:31 PM EDT Since the invention of the semiconductor-based transistor, designers have been putting in great efforts to create electronic musical instruments. Though such instruments may not be able to

completely substitute for the natural instrument, electronic instruments are popular due to their portability, low maintenance, and ease of use especially for new learners and the ability to produce sound effects that are not possible using natural instruments. The advancement of DSP technology furthers opens up new dimensions to add novel features to electronic musical instruments. The transistor-based astable multivibrator was the first effort to produce music based on generation of square-waves or sawtooth-waves at different frequencies which were determined using resistorcapacitor networks. Even until a decade ago, some of the low-cost electronic musical instruments used the IC555-based astable multivibrator to produce fixed notes. These instruments were popular at the time of their creation, but the main shortcoming of such instruments was poor tonal quality, and limited stability and accuracy of the frequencies produced, so that when played in combination with other natural instruments in an orchestra they often sounded out-of-tune or required constant fine-tuning.

As electronic technology has evolved, designers have used more advanced techniques to create highfidelity musical instruments. This article discusses the requirements, the constraints and the challenges in creating high-quality musical instruments using electronic components (both analog and digital) available today. Semitone Semitone Inverse major seventh (for minor second); diminished octave(for augmented unison);augmented octave (fordiminished unison) Name Other names minor second or diatonic semitone; augmented unison

and diminished unison or chromatic semitone Abbreviation Size Semitones Interval class Just interval 1 1 16:15 or 25:24 Cents Equal temperament 24 equal temperament Just intonation 100 100 112 or 71 m2; aug1

Minor second Play (helpinfo). Octave . Perfect octave Inverse Name Other names Abbreviation Size Semitones Interval class Just interval 12 0 2:1 P8 unison

Cents Equal temperament 24 equal temperament Just intonation 1200 1200 1200

[edit] [edit]Jazz and blues See also: Jazz scales Through the introduction of blue notes, jazz and blues employ scale intervals smaller than a semitone. The blue note is an interval that is technically neither major nor minor but "in the middle", giving it a characteristic flavour. For instance, in the key of E, the blue note would be either a note between G and G or a note moving between both. In blues a pentatonic scale is often

used. In jazz many different modes and scales are used, often within the same piece of music. Chromatic scales are common, especially in modern jazz. [edit]Non-Western scales In Western music, scale notes are often separated by equally tempered tones or semitones, creating 12 pitches per octave. Many other musical traditions use scales that include other intervals or a different number of pitches. These scales originate within the derivation of theharmonic series. Musical intervals are complementary values of the harmonic overtones series.[3] Many musical scales in the world are based on this system, except most of the musical scales from Indonesia and the Indochina Peninsulae, which are based on inharmonic resonance of the dominant metalophone and xylophone instruments. A common scale in Eastern music is the pentatonic scale, consisting of five tones. In the Middle Eastern Hejaz scale, there are some intervals of three semitones. Gamelan music uses a small variety of scales including Plog and Slndro, none including equally tempered nor harmonic intervals. Indian

classical music uses a moveable seven-note scale. Indian Rgas often use intervals smaller than a semitone.[4] Arabic music maqamat may use quarter tone intervals.[5] In both rgas and maqamat, the distance between a note and an inflection (e.g., ruti) of that same note may be less than a semitone. [edit]Microtonal scales The term microtonal music usually refers to music with roots in traditional Western music that uses non-standard scales or scale intervals. Mexican composer Julin Carrillo created in the late 19th century microtonal scales which he called "Sonido 13", The composer Harry Partchmade custom musical instruments to play compositions that employed a 43-note scale system, and the American jazz vibraphonist Emil Richards experimented with such scales in his 'Microtonal Blues Band' in the 1970s. Easley Blackwood has written compositions in all equaltempered scales from 13 to 24 notes. Erv Wilson introduced concepts such as Combination Product Sets (Hexany), Moments of Symmetry and golden horagrams, used by many modern composers. Microtonal scales are also used in

traditional Indian Raga music, which has a variety of modes which are used not only as modes or scales but also as defining elements of the song, or raga.

"Pop Goes the Weasel" melody[2] Play (helpinfo) Different musical styles use melody in different ways. For example:

Jazz musicians use the term "lead" or "head" to refer to the main melody, which is used as a starting point forimprovisation. Rock music, melodic music, and other forms of popular musicand folk music tend to pick one or two melodies (verse andchorus) and stick with them; much variety may occur in thephrasing and lyrics. Indian classical music relies heavily on melody and rhythm, and not so much on harmony, as the music contains no chord changes. Balinese gamelan music often uses complicated variations and alterations of a single melody played simultaneously, called heterophony. In western classical music, composers often introduce an initial melody, or theme, and then

create variations. Classical music often has several melodic layers, called polyphony, such as those in a fugue, a type of counterpoint. Often, melodies are constructed from motifs or short melodic fragments, such as the opening of Beethoven's Fifth Symphony. Richard Wagner popularized the concept of a leitmotif: a motif or melody associated with a certain idea, person or place. While in both most popular music and classical music of the common practice period pitch and duration are of primary importance in melodies, the contemporary music of the 20th and 21st centuries pitch and duration have lessened in importance and quality has gained importance, often primary. Examples include musique concrte, klangfarbenmelodie, Elliott Carter's Eight Etudes and a Fantasy which contains a movement with only one note, the third movement of Ruth Crawford-Seeger's String Quartet 1931 (later re orchestrated asAndante for string orchestra) in which the melody is created from an unchanging set of pitches through "dissonant dynamics" alone, andGyrgy Ligeti's Aventures in which recurring phonetics create the linear form.

frequenc y shorthan numbere MID of A (Hz) traditional d d I nr Subsubcontr C 0 C-1 B-1 a 11 B sub-contra C B C B C0 B0 12 23 24 35 36 47 48 59 60 71 13.75

Octave naming systems

27.5

Contra

C1 B1

55

Great

CB

C2 B2

110

Small

cb

C3 B3

220

one-lined

c b

C4 B4

440

two-lined

c b

C5 B5

72 83 84 95 96 107

880

three-lined

c b

C6 B6

1760

four-lined

c b C7 B7

3520

five-lined

108 c b C8 B8 119 120 127 C9 B9 up to G9

7040

six-lined

c b

14080

[edit] Music genre From Wikipedia, the free encyclopedia This article has multiple issues. Please help improve it or discuss these issues on

the talk page.

It needs additional citations for verification. T agged since April 2007. It may not represent a worldwide view of the subject. Tagged since March 2012. It may contain original research. Tagged since March 2012.

A genre is defined in Grove Music Online as "A class, type or category, sanctioned by convention"[1] A music genre is a conventional category that identifies pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical formand musical style, although in practice these terms are sometimes used interchangeably. Music can be divided into different genres in several ways. The artistic nature of music means that these classifications are often arbitrary and controversial, and some genres may overlap. Some[who?] do not believe that generic classification of music is

possible in any logically consistent way. They argue that doing so sets limitations and boundaries that hinder the development of music. It is possible to note similarities between musical pieces, but it is difficult to do so in a systematic and universal manner. There are several academic approaches to genres. In his book Form in Tonal Music, Douglass M. Green lists madrigal, motet, canzona,ricercar, and dance as examples of genres from the Renaissance period. According to Green, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre both are violin concertos but different in form. However, Mozart's Rondo for Piano, K. 511, and the Agnus Deifrom his Mass, K. 317 are quite different in genre but happen to be similar in form."[2] Some, like Peter van der Merwe, treat the terms genreand style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language".[3]Others, such as Allan F. Moore, state that genre and style are two separate terms, and that secondary characteristics such as subject matter can also differentiate between genres.[4] A music genre or sub-genre may be defined by the musical

techniques, the styles, the context, and content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will often include a wide variety of sub-genres. Kembrew McLeod has suggested that, in electronic music, "the naming of new subgenres can be linked to a variety of influences, such as the rapidly evolving nature of the music, accelerated consumer culture, and the synergy created by record company marketing strategies and music magazine hype. The appropriation of the musics of minorities by straight, middle and upper-middle-class Whites in the United States and Great Britain plays a part, and the rapid and ongoing naming process within electronic/dance music subcultures acts as a gate-keeping mechanism, as well."[5] Among the criteria often used to classify musical genres are:[citation needed] the trichotomy of art, popular and traditional; time period; regional and national origins; technique and instrumentation; fusional origins; and social function. Contents

[hide]

1 The art/popular/traditional distinction o 1.1 Art music o 1.2 Popular music o 1.3 Traditional music o 1.4 Critics of the axiomatic triangle 2 Other criteria for categorization o 2.1 Time period o 2.2 Regional and national music o 2.3 Technique and instrumentation o 2.4 Fusional origins o 2.5 Social function 3 Emergence of new genres and subgenres o 3.1 New genres by fusion o 3.2 The originality of new genres and subgenres 4 See also 5 References 6 Further reading [edit]The art/popular/traditional distinction Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of 'folk', 'art' and 'popular' musics".[6] He explains that each of

these three is distinguishable from the others according to certain criteria.[6] [edit]Art music Main article: Art music See also: List of art music traditions The term art music refers primarily to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world. It emphasizes formal styles that invite technical and detailed deconstruction[7] and criticism, and demand focused attention from the listener. In western practice, art music is considered primarily a written musical tradition,[8] preserved in some form ofmusic notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music usually are.[8][9] Historically, most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period. The identity of a "work" or "piece" of art music is usually defined by the notated version rather than by a particular performance. This is so particularly in the case of

western classical music. Art music may include certain forms of jazz, even though jazz is primarily a form of popular music. [edit]Popular music Main article: Popular music The term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: "Popular music, unlike art music, is (1) conceived for mass distribution to large and often socioculturally heterogeneous groups of listeners, (2) stored and distributed in non-written form, (3) only possible in an industrial monetary economy where it becomes a commodity and (4) in capitalist societies, subject to the laws of 'free' enterprise ... it should ideally sell as much as possible." [6] Popular music is found on most commercial radio stations, in most commercial music retailers and department stores, and in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do.

The distinction between classical and popular music has sometimes been blurred in marginal areas[10] such as minimalist music and light classics. In this respect music is like fiction, which likewise draws a distinction between classics and popular fiction that is not always precise. [edit]Traditional music Main article: Traditional music Traditional music is a modern name for what has been called "folk music", excluding the expansion of the term folk music to include much non-traditional material. The defining characteristics of traditional music are: Oral transmission: The music is handed down and learned through singing, listening, and sometimes dancing; Cultural basis: The music derives from and is part of the traditions of a particular region or culture. [edit]Critics of the axiomatic triangle Musicologist and popular music specialist Richard Middleton has discussed the blurred nature of these distinctions:

Neat divisions between 'folk' and 'popular', and 'popular' and 'art', are impossible to find ... arbitrary criteria [are used] to define the complement of 'popular'. 'Art' music, for example, is generally regarded as by nature complex, difficult, demanding; 'popular' music then has to be defined as 'simple', 'accessible', 'facile'. But many pieces commonly thought of as 'art' (Handel's 'Hallelujah Chorus', many Schubert songs, many Verdi arias) have qualities of simplicity; conversely, it is by no means obvious that the Sex Pistols' records were 'accessible', Frank Zappa's work 'simple', or Billie Holiday's 'facile'.[11] [edit]Other criteria for categorization This section requires expansion. [edit]Time period Music is sometimes categorized by its era of origin or greatest popularity, for example '50s rock, 17th century music or music from the romantic era. [edit]Regional and national music It is possible to categorize music geographically. For example, Australian music includes Australian rock

music, Australian traditional music in the European style (such as "Waltzing Matilda"), Aboriginal Australian music, Australian classical music, and Australian jazz. [edit]Technique and instrumentation Music can also be categorized by some technical aspect such as the instruments used. For example rock music revolves around the electric guitar, and club music is typically accompanied by synthesizers, drum machines, or both. [edit]Fusional origins A genre can be labelled to express its origin as a fusion of other genres, like blues rock and latin jazz. Some names refer to fusion without identifying both styles. Examples are crossover and jazz fusion. [edit]Social function Music genres can be identified by their social function. Trivial examples are wedding music and Christmas music. [edit]Emergence of new genres and subgenres New genres can arise by the development of new forms and styles of music and also simply by creating a new categorization. Although it is

conceivable to create a musical style with no relation to existing genres, new styles usually appear under the influence of preexisting genres. The genealogy of musical genres expresses, often in the form of a written chart, the way in which new genres have developed under the influence of older ones.[citation needed] If two or more existing genres influence the emergence of a new one, a fusion between them can be said to have taken place. [edit]New genres by fusion Main article: Fusion (music) This section may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (September 2007) This section may stray from the topic of the article. Please help improve this section or discuss this issue on

the talk page. (July 2010) In the West, nearly all music except traditional music arises from fusion.[dubious discuss] A fusion genre is a music genre that combines two or more genres. For example, rock and roll originally developed as a fusion of blues,gospel music and country music. The main characteristics of fusion genres are variations in tempo and rhythm, and sometimes the use of long musical "journeys"[clarification needed] that can be divided into smaller parts, each with their own dynamics, style and tempo.[attribution needed] Artists who work in fusion genres are often difficult to categorise within non-fusion styles. Most styles of fusion music are influenced by various musical genres.[clarification needed (tautology?)] While there are many reasons for this, the main is that most genres evolved out of other genres. When the new genre is finally recognised as separate, musicians may find themselves in a large gray area. These artists generally consider themselves part of both genres. A musician who plays music that is predominantly blues but is influenced by rock, for example, is often

labelled a blues-rock musician. The first genre is the one from which the new one evolved. The second is the newer and less dominant component genre in the artist's music. An example of a group that combined blues with the popular music of the time, rock, was Stevie Ray Vaughan and Double Trouble. [edit]The originality of new genres and subgenres This section requires expansion. What constitutes a genuine fusion between genres and what is merely the influence of one genre on another is debatable, as is the level of originality needed to create a completely new genre. But some genres, such as rock music, are certainly distinct from their predecessors. In some cases, many subgenres appear, and their originality and distinctness are dubious.[citation needed] When a certain level of individuality has been reached, especially when new styles diverge from more established forms, expressions likealternative rock and alternative country have been used. Such styles are often referred to simply as "alternative".

Music Genres List The most comprehensive list of genres of music available on the Internet Music comes in many different types and styles ranging from traditional rock music to world pop, easy listening and bluegrass. Many genres have a rich history or geographical significance, a cult following or music roots that go far beyond the 20th century. The Music Genres List site covers many of the most popular styles of music, we hope this becomes the definitive list of music genres on the Internet, please send an email to add @ musicgenreslist dot com if you feel any music genres are missing and we'll add to complete the music list.

Alternative o College Rock o Goth Rock o Grunge o Indie Rock o New Wave o Punk

Can't find the music genre you're looking for? Try one of the music

Anime Blues o Acoustic Blues o Chicago Blues o Classic Blues o Contemporary Blues o Country Blues o Delta Blues o Electric Blues Children's Music o Lullabies o Sing-Along o Stories Classical o Avant-Garde o Baroque o Chamber Music o Chant o Choral o Classical Crossover o Early Music o High Classical o Impressionist o Medieval

ad links below Great music genres books [affiliate links]

Music Genres and Corporate Cultures Banding Together: How Communities Create

Minimalism o Modern Composition o Opera o Orchestral o Renaissance o Romantic o Wedding Music Comedy o Novelty o Standup Comedy Country o Alternative Country o Americana o Bluegrass o Contemporary Bluegrass o Contemporary Country o Country Gospel o Honky Tonk o Outlaw Country o Traditional Bluegrass o Traditional Country o Urban Cowboy Dance o Breakbeat
o

Genres in Popular Music Genre in Popular Music Popular Music Genres: An Introduction Free download complete list of music genres Michael Jackson Official Music Store about this music genre site

Exercise o Garage o Hardcore o House o Jungle/Drum'n'bass o Techno o Trance Disney Easy Listening o Bop o Lounge o Swing Electronic o Ambient o Downtempo o Electronica o IDM/Experimental o Industrial Enka French Pop German Folk German Pop Fitness & Workout Hip-Hop/Rap
o

Alternative Rap o Dirty South o East Coast Rap o Gangsta Rap o Hardcore Rap o Hip-Hop o Latin Rap o Old School Rap o Rap o Underground Rap o West Coast Rap Holiday o Chanukah o Christmas o Christmas: Children's o Christmas: Classic o Christmas: Classical o Christmas: Jazz o Christmas: Modern o Christmas: Pop o Christmas: R&B o Christmas: Religious o Christmas: Rock o Easter
o

Halloween o Holiday: Other o Thanksgiving Christian & Gospel o CCM o Christian Metal o Christian Pop o Christian Rap o Christian Rock o Classic Christian o Contemporary Gospel o Gospel o Christian & Gospel o Praise & Worship o Southern Gospel o Traditional Gospel Instrumental J-Pop Jazz o Avant-Garde Jazz o Big Band o Contemporary Jazz o Cool o Crossover Jazz
o

Dixieland o Fusion o Hard Bop o Latin Jazz o Mainstream Jazz o Ragtime o Smooth Jazz o Trad Jazz K-Pop Karaoke Kayokyoku
o

Latino o Alternativo & Rock Latino o Baladas y Boleros o Brazilian o Contemporary Latin o Latin Jazz o Pop Latino o Races o Reggaeton y Hip-Hop o Regional Mexicano o Salsa y Tropical New Age

Environmental o Healing o Meditation o Nature o Relaxation o Travel Opera Pop o Adult Contemporary o Britpop o Pop/Rock o Soft Rock o Teen Pop R&B/Soul o Contemporary R&B o Disco o Doo Wop o Funk o Motown o Neo-Soul o Quiet Storm o Soul Reggae o Dancehall
o

Dub o Roots Reggae o Ska Rock o Adult Alternative o American Trad Rock o Arena Rock o Blues-Rock o British Invasion o Death Metal/Black Metal o Glam Rock o Hair Metal o Hard Rock o Metal o Jam Bands o Prog-Rock/Art Rock o Psychedelic o Rock & Roll o Rockabilly o Roots Rock o Singer/Songwriter o Southern Rock o Surf o Tex-Mex
o

Singer/Songwriter o Alternative Folk o Contemporary Folk o Contemporary Singer/Songwriter o Folk-Rock o New Acoustic o Traditional Folk Soundtrack o Foreign Cinema o Musicals o Original Score o Soundtrack o TV Soundtrack Spoken Word Vocal o Standards o Traditional Pop o Vocal Jazz o Vocal Pop World o Africa o Afro-Beat o Afro-Pop o Asia

o o o o o o o o o o o o o o o o o o o o o o

Australia Cajun Caribbean Celtic Celtic Folk Contemporary Celtic Drinking Songs Europe France Hawaii Indian Pop Japan Japanese Pop Klezmer Middle East North America Polka South Africa South America Traditional Celtic Worldbeat Zydeco