Wha is a 12 string guitar

12-string guitar

The twelve-string guitar usually has steel strings and is widely used in folk music, blues and rock and roll. Rather than having only six strings, the 12-string guitar has six courses made up of two strings each, like a mandolin or lute. The highest two courses are tuned in unison, while the others are tuned in octaves. The 12-string guitar is also made in electric forms.
The strings are placed in courses of two strings each that are usually played together. The two strings in each bass course are normally tuned an octave apart, while each pair of strings in the treble courses are tuned in unison. The tuning of the second string in the third course (G) varies: some players use a unison string while others prefer the distinctive high-pitched, bell-like quality an octave string makes in this position. Some players, either in search of distinctive tone or for ease of playing, will remove some of the doubled strings. For example, removing the higher octave from the three bass courses simplifies playing running bass lines, but keeps the extra treble strings for the full strums. The strings are generally arranged such that the first string of each pair to be struck on a downward strum is the higher octave string; however, this arrangement was reversed by Rickenbacker on their electric 360/12. The tension placed on the instrument by the strings is great, and because of this, 12 string guitars have a reputation for warping after a few years of use. Some twelve-string guitars have non-traditional structural supports to prevent or postpone such a fate, at the expense of appearance and tone. Until recently, twelve-string guitars were nearly universally tuned lower than the traditional EADGBE, to reduce the stresses on the instrument. Lead Belly may have used a low C-tuning. Some performers prefer the richness of an open tuning due to its near-orchestral sound. For a very complex plucked-string sound, the 12-string can be set to standard tuning (or possibly an octave lower), then the top one and low two string pairs can be tuned to whole-tone intervals. The usual gamut of guitar tunings are also available. Many performers who play the twelve-string guitar use an ordinary six-string guitar as their primary instrument, switching to the twelve-string guitar for certain songs that seem to call for a brighter sound. Because it is substantially more difficult to pluck individual strings on the twelve-string guitar, and almost impossible to bend notes tunefully, the instrument is rarely used for lead musical parts. 12-string guitar is however primarily suited to a rhythm or accompaniment role and is often used in folk songs and some popular music. Some hard rock and progressive rock musicians use double-necked guitars, which have both six-string and twelve-string components, allowing the guitarist easy transition between different sounds. The greater number of strings complicates playing, particularly for the plucking (or picking) hand. The gap between the dual-string courses is usually narrower than that between the single-string courses of a conventional six-string guitar, so more precision is required with pick or fingertip when not simply strumming chords. The pairing of thin, easily broken octave strings with larger, stiffer bass strings presents difficulties to the player also, and only a very skilled player can reliably pluck single strings from within a course at any speed (notably the very high octave G string, which is the highest-pitched string on the instrument). Nevertheless, with practice, the twelve-string guitar is not unduly difficult to play. It is, however, generally used in a fairly restricted role which emphasizes its strengths: rich ringing, full-bodied chords, and fast, rippling single plucked notes on the twinned strings. Twelve-string guitars are made in both acoustic and electric form. However, it is the acoustic type that is most common. Chorus effect The double ranks of strings of the 12-string guitar produce a shimmering chorus effect. To produce this effect individual string sounds with roughly the same timbre and nearly (but never exactly) the same pitch converge and are perceived as one. When the effect is produced successfully, none of the constituent sounds is perceived as being out of tune. Rather, this amalgam of sounds has a rich, shimmering quality which would be absent if the sound came from a single source. The effect is more apparent when listening to sounds that sustain for long periods of time.

Brief History of Guitar

The guitar is a musical instrument of the chordophone family. The standard guitar has six strings but four-, seven-, eight-, nine-, ten-, eleven-, twelve-, thirteen- and eighteen-string guitars are also available. The two primary families of guitar types are the electric guitars and the acoustic guitars. The three main types of acoustic guitar are the classical guitar (nylon string guitar), the steel-string flattop guitar, and the archtop guitar. Guitars are recognized as one of the primary instruments in flamenco, jazz, blues, country, mariachi, rock music, and many forms of pop. They can also be a solo classical instrument. Guitars may be played acoustically; the tone is produced by the vibration of the strings which is amplified by the body of the guitar which acts as a large hollow resonating chamber, or they may rely on an amplifier that can electronically manipulate tone. Such electric guitars were introduced in the 1930s, and they have continued to have a profound influence on popular culture since then. Traditionally guitars have been constructed of various woods and strung with animal gut, or more recently, with either nylon or steel strings. Guitars are made and repaired by luthiers.

Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, ribs, and a flat back, most often with incurved sides". The term is used to refer to a number of such related instruments that were developed and used across Europe in the modern era. Some types of guitars, which are themselves related to these European instruments, originated in the Americas. These instruments are themselves descended from instruments that once existed in ancient central Asia and India. For this reason guitars are distantly related to contemporary instruments from these regions, including the tanbur, the setar and the sitar, among others. The oldest known iconographic representation of an instrument displaying the essential features of a guitar is a 3,300 year old stone carving of a Hittite bard.

The modern word, guitar, was adopted into English from Spanish guitarra (German Gitarre, French Guitare), loaned from the medieval Andalusian Arabic qitara, itself derived from the Latin cithara, which in turn came from the earlier Greek word kithara, a descendant of Old Persian sihtar (Tar means string in Persian). Illustration from a Carolingian Psalter from the 9th century, showing a guitar-like plucked instrument. The guitar is descended from the Roman cithara brought by the Romans to Hispania around 40 AD, and further adapted and developed with the arrival of the four-string oud, brought by the Moors after their conquest of Iberia in the 8th century. Elsewhere in Europe, the indigenous six-string Scandinavian lut (lute), had gained in popularity in areas of Viking incursions across the continent. Often depicted in carvings c. 800 AD, the Norse hero Gunther (also known as Gunnar), played a lute with his toes as he lay dying in a snake-pit, in the legend of Siegfried. By 1200 AD, the four-string "guitar" had evolved into two types: the guitarra moresca (Moorish guitar) which had a rounded back, wide fingerboard and several soundholes, and the guitarra latina (Latin guitar) which resembled the modern guitar with one soundhole and a narrower neck. In the 14th and 15th centuries the qualifiers "moresca" and "latina" were dropped and these four course instruments were simply called guitars. The Spanish vihuela or (in Italian) "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is often considered a major influence in the development of the modern guitar. It had six courses (usually), lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a sharply-cut waist. It was also larger than the contemporary four course guitars. By the late 15th century some vihuelas began to be played with a bow, leading to the development of the viol. By the sixteenth century the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, and more like a larger version of the contemporary four-course guitars. The vihuela enjoyed only a short period of popularity in Spain and Italy during an era dominated elsewhere in Europe by the lute; the last surviving published music for the instrument appeared in 1576. Meanwhile the five-course baroque guitar, which was documented in Spain from the middle of the 16th century, enjoyed popularity, especially in Spain, Italy and France from the late 16th century to the mid 18th century. Confusingly, in Portugal, the word vihuela referred to the guitar, whereas guitarra meant the "Portuguese guitar", a variety of cittern.

The Music of the 20th Century Era

The Modern/20th Century Era

(1900 - Present)

With the coming of the 20th century another evolution in the musical world emerged. While some of the early 20th century music can be seen as extensions of the late Romantic style, much of 20th century music can be seen as a rebellion. Composers did not look to build on what was standard but again created music freely and used sounds that went against the current grain. Twentieth century music can be described as being more refined, vague in form, delicate, and having a mysterious atmosphere.

Twentieth century music is an era that is hard to define in terms of musical style. The only easy way to define 20th century music is that it does not fit into the Romantic era's requirements. And because of its own expression and orchestral technique it does not fit into any other category but its own.

This time period spawned many new terms for musical styles because of the diversity of music that was being written. Some common examples are atonality, expressionism (seen in Schoenberg's early music), neo-Romanticism , and .

As was true in the Romantic era, nationalism was still an important musical device used during the first half of the 20th century. Composers utilized folk songs to enriched their music. Examples can be seen in the music of Raplh Vaughan Williams (England), Bela Bartok (Hungary), Heitor Villa Lobos (Brazil) and Aaron Copland (USA). Jazz and popular musical styles influenced composers from both the United States and Europe.

In 20th century musical styles traditional forms and structures were broken up and recreated or composed using non-Western musical techniques and abstract ideas. Technology also became an extremely important factor in the music making during this time period. Composers have been known to use recording tape as a compositional tool. Electronically created sounds are used in combination with other electronic sounds or played together with traditional music instruments. Most recently, the use of computer technology has affected the world of music making. Some ways in which computers currently alter the face of the music world are by manipulating the performance of instruments in real time.

Music in Middle-Earth

Even though J. R. R. Tolkien does not discuss music in LOR, Appendix F (II), "On Translation," provides a useful basis upon which to reconstruct his views. In this essay, Tolkien distinguishes between the languages of various peoples in Middle-earth in terms of certain Indo-European predecessors to modern English. English is presented as the official representation of the languages of the Shire, Gondor, and Rohan. According to Tolkien, Hobbit language was "a rustic dialect, whereas in Gondor and Rohan a more antique language was used, more formal and more terse." In terms of the actual history of English, modern English, though newer, is actually a degenerate, rustic, form of a London dialect, less complex or sophisticated than older forms of Old English, to which the word antique refers. Tolkien presents no differences between the language of Gondor and the Shire in LOR, but comments in "On Translation" on grammatical differences, specifically with regard to the second person pronoun. It was Pippin's failure to distinguish between familiar and deferential forms of you that convinced Gondorians that he was a prince. (Gondorians also used "was come" instead of "had come," following Germanic grammar.) In contrast, Hobbits had much more difficulty with the language of Rohan, where they simply recognized many similar words. In LOR Theoden and Merry spend much time talking about the origins of words. Pippin and his Gondorian friends do not. Beyond these three languages, Tolkien is concerned primarily with place names. He selects Frankish and Gothic languages to represent the speech of the Men in the Vale of the Anduin, Dale, and the Mark. The speech of the Stoors and Bree-men, and therefore the Dunlanders, is Celtic. Tolkien states that the Elven languages play the role of Greek and Latin, but even the untranslated songs in Sindarin and Quenya follow his Germanic patterns exactly.

Although in a footnote, Tolkien warns that the adoption of these early medieval languages to represent languages in LOR - for example, that of the Riders of Rohan - "does not imply that the Rohirrim closely resembled the ancient English otherwise, in culture or art, in weapons or modes of warfare, except in a general way due to their circumstances," music, or singing, because of its close relationship to the evolution of language in the Middle Ages, is probably an exception to his general warning.

In 597 Pope Gregory sent missionaries to convert the Germans to Christianity. While doing so, they also taught them to write and convert their spoken language into written form. The Germans modelled their written language on their oral language. Before 597, these Germanic peoples had maintained an oral literature, mostly as lays, which they chanted or sang to the accompaniment of small wooden harps. These songs were narratives that celebrated heroic deeds. They were composed of unrhymed rhythmical lines tied together internally by alliteration. "Lament for Theoden" and "Song of the Mounds of Mundberg" are examples of this kind of song and by analogy can be taken to represent the earliest form of human music in Middle-earth. "Mundberg," in particular, fulfills the traditional function as a historical record, complete with lists of important people who died in the battle. The evolution of poetry and song in the Middle Ages was away from unrhymed rhythmical alliterative songs toward the metrical rhymed lines of modern poetry and music. Examples of this latter kind of music and poetry can be found in the Arnorian poem "Riddle of Strider" (even though Bilbo claims to have written it) and the closely related Gondorian poem "Boromir's Riddle," and at the folk level, "Athelas." Tolkien himself was especially interested professionally in Old English literature from "Beowulf" to "Gawain and the Green Knight," which stand at opposite ends of the Middle Ages. In "Gawain" the transformation to metrical rhyme is not yet complete. The main stanzas are alliterative, followed by short rhymed stanzas. In LOR, although most lines are rhymed, they are not yet completely metrical. Nearly all have pauses, caesurae, near the middle of each line, even when they are fairly metrical otherwise. The caesurae split each line into half lines. "Galadriel's Song" has two caesurae per line, dividing each line into thirds.

The lack of metrical form and the presence of the caesurae pose special problems in trying to write or reconstruct authentic music for Middle-earth. Because the number of syllables can vary dramatically and the placement of the caesurae can further contribute to this irregularity, tunes have to be found that can accommodate this variation while still providing simple, recognizable melodies. For example, the same notes in "The Last Ship" must take care of "the grey night was going," "till the long light was shimmering," "as she ran down to the river," "one step daring," and, among others, "down the Seven Rivers."

The type of music developed to handle the poetry of the early Germanic peoples was Gregorian chant, one of five kinds of plainsong, a monophonic chant in free rhythm, as distinct from measured music. It was monophonic in that it consisted of a single line or melody without an accompaniment that was regarded as part of the work itself, as distinct from polyphony or homophony. Given the irregularity of the verse, there can be no question that the music in LOR was primarily chants with free rhythm. Close attention to the text of LOR also reveals that in almost all cases songs were sung without musical accompaniment. Exceptions are the music of the Dwarves in Bilbo's house in The Hobbit (which may be a pre-LOR carelessness) and perhaps the music in Rivendell, especially the "Song of Earendil," though it may be an example of standard Germanic chant. According to Tolkien, everyone was "intent upon the music of the voices and the instruments" and "the beauty of the melodies and the interwoven words." When Bilbo begins to sing, the "dream of music" turns "suddenly into a voice." All of these remarks suggest that the instrumental and vocal music were identifiably distinct and probably did not occur simultaneously.

Polyphony, which simultaneously combines several lines of melody in parts, without any line subordinate to the others, did not begin to develop until near the end of the Middle Ages. There is little evidence that it existed in Middle-earth at all, except, once again for the Dwarves, which may be a mistake, although it does very clearly appear outside of Middle-earth in the void. In The Silmarillion Iluvator utilizes polyphony when he teaches the Holy Ones to sing in parts and then adds another part of his own, the third theme for humans. In all likelihood, the singing of the Holy Ones represents the most advanced type of music in Tolkien's worlds, a type that had not yet made a general appearance in Middle-earth in the Third Age. If so, then music in Middle-earth sounded much different than modern music, for it was a single line of melody without chords (music with chords being homophony, a development that occurred after polyphony).

Given that polyphony was at best rare in Middle-earth at the time of LOR, an authentic reconstruction of a song should be a single melody line without instrumental accompaniment. However, because it would be very hard for most people who are used to homophony (a melody line accompanied, at a minimum, by an instrumental arrangement of chords, three or more harmonious notes played simultaneously) to appreciate an endless series of bare-bones, unaccompanied voices, some compromise with authenticity may be necessary.

Percussion is also a problem. While modern music listeners expect a complex beat, such rhythm plays off of a metrical beat that is incompatible with pre-modern (modal) music, which highlights the free rhythm of each line of the song. Because the notation for the songs in Gregorian chant from the Middle Ages does not indicate the lengths of notes, it is not known exactly how any particular song was sung. It is not unlikely that each song came out differently each time it was sung, just as a passage from a book comes out differently each time it is read aloud. Most likely, the singer deliberately tried various approaches to the presentation of particular lines each time he or she sang the song. The object would be to display the natural rhythm of the line in contrast to the rhythm of the other lines. In measured music, each line is rhythmically identical. The complex beat masks the boring sameness of these lines. In monophonic music, however, the rhythm of each line is unique, determined by the arrangement of the words and the placement of the caesura. In this kind of music, a complex metrical beat may compete with the free rhythm and hide the rhythmical uniqueness of each line. Because of this problem, most percussion probably occurred at the ends of lines. To be sure, modern listeners want a complex beat. Providing it, however, is another compromise.

Because postmodern or alternative music is now abandoning metrically measured music, a compromise that permits the free rhythm of pre-modern music may be possible. For example, the music of Laurie Anderson, without its electronic sound, could come close to plainsong, if one is also willing to ignore the chords. In her songs, the words shape the music. Moreover, when she sings, the words are independent of the music. She drifts between singing and speaking, frequently stopping for dramatic effect. More elaborate instrumental music occurs between verses rather than as an accompaniment.

Concerning musical instruments in Middle-earth, the Dwarves play "little fiddles," "flutes," "clarinets," "viols," "drums," and a "harp." In "Frodo's Song at Bree," a cat plays a "fiddle." "Durin's Song" mentions "harps" and "trumpets." In the Middle Ages, the harp was a basic instrument that was strummed between lines in Germanic lays. The fiddle was a bowed stringed instrument, played on the shoulder or arm, but sometimes played upright in the lap like a viol. A viol was simply a larger version of the fiddle, held upright on the knee. It is not an ancestor of the Renaissance instrument and it is a contemporary, not an ancestor of the early violin. The flutes were most likely recorders or "blockflutes," the flute most commonly used in the Middle Ages for the accompaniment of dance and song. The clarinet was probably slightly bigger than the recorder and distinguished from it primarily because it used a reed. Trumpets were not musical instruments, since, like the bugle, they could produce only a limited number of notes and were therefore used primarily for fanfare. Percussion instruments could be anything and started in folk music with the banging of pots and pans.

Because of Tolkien's warning that the Germanic peoples used to represent the languages in LOR may not represent the peoples of Middle-earth in other respects, anyone writing music for songs in LOR is free to do whatever he or she wishes. Tolkien's own willingness to permit anything is well demonstrated by the Donald Swann's book of songs, The Road Goes Ever On. Although I do like "Upon the Hearth the Fire is Red," and can marginally imagine Hobbits singing it, Swann wrote his songs to demonstrate his abilities on the piano during live performances--an instrument that did not exist in Middle-earth. Because his music seems more concerned with being skillful than with being authentic, I have never been able to appreciate it as much as many other people do. In "Namarie," which Tolkien sang to Swann, and which he used in place of his own version, the music is straightforward Gregorian chant. Swann notes that "Tolkien approved five [songs] but bridled at my music for 'Namarie.' He had heard it differently in his mind, he said, and hummed a Gregorian chant." Although Tolkien approved the other songs without bridling, he might have been happier with music representing, and played with instruments more appropriate to, the Middle Ages. An unbridled compromise should always hint at medieval plainsong or chant, be performed with instruments that are appropriate descendants of that time, and permit the free rhythm to be heard.

Music Of Romantic Period

Romantic music is a musicological term referring to a particular period, theory, compositional practice, and canon in European music history, from about 1815 to 1910. Romantic music as a movement does not refer to the expression and expansion of musical ideas established in earlier periods, such as the classical period, nor does it necessarily refer to romantic love, though that theme was prevalent in many works composed during this time period. More appropriately, romanticism describes the expansion of formal structures within a composition, making the pieces more passionate and expressive. Because of the expansion of form (those elements pertaining to form, key, instrumentation and the like) within a typical composition, it became easier to identify an artist based on the work. For example, Beethoven favored a smooth transition from the 3rd to 4th movement in his symphonies, and thus his pieces are more distinguishable. The era of Romantic music is defined as the period of European classical music that runs from 1803, when Beethoven wrote his "Eroica" Symphony, to around the end of the 19th century, as well as music written according to the norms and styles of that period. The Romantic period was preceded by the classical period, and was followed by the modernist period. Romantic music is related to romanticism in literature, visual arts, and philosophy, though the conventional time periods used in musicology are very different from their counterparts in the other arts, which define "romantic" as running from the 1780s to the 1840s.The Romantic movement held that not all truth could be deduced from axioms, that there were inescapable realities in the world which could only be reached through emotion, feeling and intuition. Romantic music struggled to increase emotional expression and power to describe these deeper truths, while preserving or even extending the formal structures from the classical period.

Trends of the 19th century

Musical language

Composers of the Romantic period sought to fuse the large structural harmonic planning demonstrated by earlier masters such as Haydn, and Mozart with further chromatic innovations, in order to achieve greater fluidity and contrast, and to meet the needs of longer works. Baroque music and J. S. Bach were not part of the ideas that helped spawn romantic music because they were ignored and completely out of practice even starting before his death, at the beginning of the classical period circa 1730. Baroque theoretical ideas on chromaticism and counterpoint were not resurrected until 1829 when Felix Mendelssohn performed Bach's St Matthew Passion for the first time since Bach's death in 1750. Chromaticism grew more varied, as did dissonances and their resolution. Composers modulated to increasingly remote keys, and their music often prepared the listener less for these modulations than the music of the classical era. The properties of the diminished seventh and related chords, which facilitate modulation to many keys, were also extensively exploited. Composers such as Beethoven, and later Richard Wagner, expanded the harmonic language with previously-unused chords, or innovative chord progressions. Much has been written, for example, about Wagner's Tristan chord, found near the opening of Tristan und Isolde, and its precise harmonic function. Some composers analogized music to poetry and its rhapsodic and narrative structures, while creating a more systematic basis for the composing and performing of concert music. Music theorists of this era codified previous practices, such as the sonata form, while composers extended them. There was an increasing focus on melodies and themes, as well as an explosion in the composition of songs. The emphasis on melody found expression in the increasingly extensive use of cyclic form, which was an important unifying device for some of the longer pieces that became common during the period. The greater harmonic elusiveness and fluidity, the longer melodies, poesis as the basis of expression, and the use of literary inspirations were all present prior to this period. However, some composers of the Romantic period adopted them as the central pursuit of music itself. Composers were also influenced by technological advances, including an increase in the range and power of the piano and the improved chromatic abilities and greater projection of the instruments of the symphony orchestra.

Late Romantic Era (1850-1900) As the 19th century moved into its second half, many social, political and economic changes set in motion in the post-Napoleonic period became entrenched. Railways and the electric telegraph bound the European world ever closer together. The nationalism that had been an important strain of early 19th century Romantic music became formalized by political and linguistic means. Literature for the middle classes became the publishing norm, including the rise of the novel as the primary literary form. In the previous 50 years numerous innovations in instrumentation, including the double escapement piano action, the valved wind instrument, and the chin rest for violins and violas, were no longer novelties but requirements. The dramatic increase in musical education brought a still wider sophisticated audience, and many composers took advantage of the greater regularity of concert life, and the greater financial and technical resources available. These changes brought an expansion in the sheer number of symphonies, concertos and "tone poems" which were composed, and the number of performances in the opera seasons in Paris, London and Italy. The establishment of conservatories and universities also created centers where musicians could forge stable teaching careers, rather than relying on their own entrepreneurship. During this period, some composers created styles and forms associated with their national folk cultures. The notion that there were "German" and "Italian" styles had long been established in writing on music, but the late 19th century saw the rise of a nationalist Russian style (Glinka, Mussorgsky, Rimsky-Korsakov, Tchaikovsky and Borodin), and also Czech, Finnish and French nationalist styles of composition. Some composers were expressly nationalistic in their objectives, seeking to rediscover their country's national identity in the face of occupation or oppression, as did for example the Bohemians Bedřich Smetana and Antonín Dvořák, and the Finn Jean Sibelius.

Therapeutic Communicaion

Therapeutic communication can be very effective in dealing with troubled children. Occasionally we might make a verbal intervention during a troubled moment and find that the child calms down very quickly. If only this were more frequent. Here are some very simple but valuable guidelines in therapeutic communication. They are simple but not always easy to implement. Being a non-directive listener means letting go of one's own issues, needs, belief systems etc. while listening.

Giving broad-openings

• Is there something you'd like to talk about?
• Is there something on your mind?
• Where would you like to begin?

This allows the speaker to set the direction of the conversation. Accepting/Offering general leads

• Go on
• And then
• Tell me about it

Encourages the speaker to continue the conversation. Sequencing

• Was this before or after?
• What seemed to lead up to...

Helps to identify cause and effect, recurring pattern of interpersonal difficulties. Observation

• You look sad right now
• I can see how mad you are

To help with awareness of feelings, encourage verbalization of feelings, conveys concern and interest. Using silence, offering-self

• I will sit with you awhile
• I will stay here with you

Gives the speaker opportunity to reflect upon, then speak about feelings. Clarifying

• I am not sure I follow.
• Are you using this word to mean.

Voicing what the speaker seems to imply rather than what was said. Verifying your impressions may help the speaker become more aware of their feelings. Exploring

• Tell me more about that
• What do you feel your options are

Encourages the speaker to expand upon their remarks or problems. To aid the speaker in seeing problems more clearly and encouraging examination of these problems and hopefully working towards a solution. Summarizing

• You've said that...
• So far we've talked about how...

Organizes the discussion, brings together important points. Non-Therapeutic Communication Techniques. Reassuring

• I wouldn't worry about...
• Everything will be alright.
• You're coming along fine.

To attempt to dispel the speaker's anxiety by implying that there is not sufficient reason for it to exist is to completely devaluate the other's own feelings. Blocks expressing further feelings. Giving Approval

• That's good.
• I'm glad that you...

Colluding the other's ideas or behaviour that may stop further, deeper insights. Rejecting

• Let's not discuss...
• I don't want to hear about...

Refusing to consider or showing contempt for the person's ideas or behavior. Disagreeing/Defending/Challenging

• I don't believe that
• No one here would lie to you
• If no one liked you then...

Imposes one's values on person. Communicates that what speaker said is not acceptable. Will make speaker feel defensive, blocks communication.

Top Ten Alternative Band Of Year 2009

1) Linkin Park

The band explored other genres in their next studio album,Linkin Park is an American rock band from Agoura Hills, California, formed in 1996. Since their formation, the band has sold more than 50 million albums and won two Grammy Awards.It achieved mainstream success with its debut album, Hybrid Theory, which was certified Diamond by the RIAA in 2005. Its following studio album, Meteora, continued the band's success, topping the’s album charts in 2003, and was followed by extensive touring and charity work around the world. In 2003, MTV2 named Linkin Park the sixth greatest band of the music video era and the third best of the new millennium behind Oasis and Coldplay. Having adapted the Nu Metal and Rap Rock genres to a radio-friendly yet densely-layered style in Hybrid Theory and Meteora, Minutes to Midnight. The album topped the Billboard Charts and had the third best debut week of any album that year. They have also collaborated with several other artists, most notably with Rapper Jay-Z in their Mashup album Collision Course, and many others on Reanimation.


2) Green Day

Green Day is an American rock trio formed in 1987. The band has consisted of Billie Joe Armstrong (vocals, guitar), Mike Dirnt (bass guitar, vocals), and Tré Cool (drums, percussion) for the majority of its existence. Green Day was originally part of the punk rock scene at 924 Gilman Street in Berkeley, California. Its early releases for independent record label Lookout! Records earned them a grassroots fanbase, some of whom felt alienated when the band signed to a major label. Nevertheless, its major label debut Dookie (1994) became a breakout success and eventually sold over 10 million copies in the U.S. and 15 million worldwide. As a result, Green Day was widely credited, alongside fellow California punk bands The Offspring and Rancid, with reviving mainstream interest in and popularizing punk rock in the United States. Green Day's three follow-up albums, Insomniac, Nimrod and Warning did not achieve the massive success of Dookie, but they were still successful, reaching double platinum, double platinum, and gold status respectively. Green Day's 2004 rock opera American Idiot reignited the band's popularity with a younger generation, selling five million copies in the U.S. The band's eighth studio album, 21st Century Breakdown, was released on May 15, 2009. Green Day has sold over 22 million records in the United States. They have won three Grammy Awards; Best Alternative Album for Dookie, Best Rock Album for American Idiot, and Record of the Year for "Boulevard of Broken Dreams".

3) Paramore

Paramore traveled back to Orlando, Florida, but shortly after arriving, Jeremy Davis left the band, citing personal reasons for doing so. The remaining four members of Paramore continued with the album, writing "All We Know" about his departure, and later deciding to base All We Know Is Falling around the concept. The album artwork also reflected Paramore's grief as Williams explains, "The couch on the cover of All We Know is Falling with no one there and the shadow walking away; it's all about Jeremy leaving us and us feeling like there's an empty space."In 2002, at the age of 13, vocalist Hayley Williams moved from her hometown Meridian, Mississippi to Franklin, Tennessee where she met brothers Josh Farro and Zac Farro while she was attending a private school. Shortly after arriving, she began taking vocal lessons with Brett Manning. However, prior to forming Paramore, Williams and bassist Jeremy Davis, along with friend Kimee Read, took part in a funk cover band called The Factory, while Josh Farro and Zac Farro had practiced together after school. The other members of what was soon to be Paramore had been "edgy about the whole female thing" of having Williams as vocalist, but, because they were really good friends, she started writing for them, and it eventually worked out. The band was officially formed by Josh Farro (lead guitar/backing vocals), Zac Farro (drums), Jeremy Davis (bass guitar) and Hayley Williams (lead vocals) in 2004, with the later addition of Williams' neighbor Jason Bynum (rhythm guitar). According to Williams, the name "Paramore" came from the maiden name of the mother of one of their first bass players. Once the group learned the meaning of the homophone paramour ("secret lover"), they decided to adopt the name, using the Paramore spelling. The band's first song written together was "Conspiracy", which was later used on their debut album. Over the following years, Paramore performed at venues outside the greater Nashville area, including the concert festivals Purple Door and Warped Tour. John Janick, CEO and co-founder of the music label Fueled by Ramen, got a hold of Paramore's demos and went to a Taste of Chaos performance in Orlando, Florida to see the band perform live. After a smaller private performance at a warehouse, the band was signed to the label in April 2005. Recording had taken three weeks, and promotional material for the album had only featured the four remaining members. Before touring, the band added John Hembree (bass guitar) to their line up to replace Jeremy Davis. During that summer, Paramore was featured on the Shira Girl stage of the 2005 Warped Tour. After being asked by the band, Jeremy Davis returned to Paramore after five months apart, replacing Hembree All We Know Is Falling was released on July 24, 2005, and reached #30 on the Billboard's Heatseekers Chart. Paramore released "Pressure" as its first single, with a video directed by Shane Drake, but the song had failed to place on the charts. The video featured the band performing in a warehouse, eventually getting sprayed with water sprinklers as the storyline of a conflicted couple occurs. In July, "Emergency" was released as the second single, the video again reuniting the band with director Shane Drake and featuring Hunter Lamb (rhythm guitar), who replaced Jason Bynum. The video for "Emergency" showcased Paramore in another performance, this time fixing the members bloody and in worn costumes. The third single, "All We Know", was released with limited airtime, with the video consisting of a collection of live performances and backstage footage. In January 2006, the band took part in the Winter Go West tour where they played alongside Seattle bands Amber Pacific and The Lashes. In February, Hayley Williams was featured on "Keep Dreaming Upside Down" by October Fall. In spring of 2006, Paramore was an opening act on headlining tours for both Bayside and soon afterwards, The Rocket Summer. They toured the United Kingdom from October 5 to October 15, 2006, where they ended in London at The Mean Fiddler. The band then covered Foo Fighters' "My Hero" for the Sound of Superman soundtrack which was released on June 26, 2006. During the summer of 2006, Paramore played a portion of Warped Tour, primarily on the Volcom and Hurley Stages, and their first night on the Main Stage was at a date in their hometown of Nashville. Paramore's first United States headlining tour began on August 2, 2006 to a sold-out audience with support from This Providence, Cute Is What We Aim For, and Hit the Lights with the final show in Nashville. That year they were voted "Best New Band", and Hayley Williams was voted as #2 "Sexiest Female", by readers of the British magazine Kerrang!.[14] In 2007, Hunter Lamb parted ways with the group to get married, and Paramore continued onward as a quartet . Paramore was then named by British magazine NME as one of ten bands to watch out for in their "New Noise 2007" feature. In January, the band played an acoustic set for the grand opening of a Warped Tour exhibit at the Rock and Roll Hall of Fame, and the dress Hayley Williams wore in the video for "Emergency" was also put on display in the exhibit. Paramore was featured in Kerrang! magazine once more, however, Williams believed the article was an untrue portrayal of the band, particularly because it focused on her as the main component. Afterwards, Williams addressed the issue in the band's LiveJournal, with a post saying, "we could’ve done without a cover piece. sorry, if it offends anyone at Kerrang! but i don’t think there was one bit of truth in that article." In April, Williams' vocals were featured in "Then Came To Kill" by The Chariot. They headlined a tour in early 2007 with This Providence, The Almost and Love Arcade.

4) Nickelback

The band is now based in Vancouver, British Columbia, Canada. Its name originates from the nickel in change that band member Mike Kroeger gave customers at his Starbucks job, he would frequently say, "Here's your nickel back".Nickelback are a Grammy award nominated Canadian rock band from Hanna, Alberta, formed in 1995. Founded by members Chad Kroeger, Mike Kroeger, Ryan Peake and then-drummer Brandon Kroeger. Nickelback is one of the most commercially successful Canadian groups, having sold 30 million records worldwide. Nickelback ranks as the 11th best selling music act of the 2000s, and places as the 2nd best selling foreign act in the US behind The Beatles for the 2000s. The band is signed to EMI in Canada and Roadrunner Records for the rest of the world. In July 2008, the band signed with Live Nation for three touring and album cycles, with an option for a fourth cycle. The contract includes recordings, touring, merchandise and other rights.

5) My Chemical Romance

My Chemical Romance is a Grammy-nominated American rock band from New Jersey, formed in 2001. The band consists of lead vocalist Gerard Way, bassist Mikey Way, guitarists Frank Iero and Ray Toro and drummer Bob Bryar. Shortly after forming, the band signed to Eyeball Records and released their debut album I Brought You My Bullets, You Brought Me Your Love in 2002. They signed with Reprise Records the next year and released their major label debut Three Cheers for Sweet Revenge in 2004; the album was a commercial success, selling over one million copies. The band eclipsed their previous success with 2006's The Black Parade, featuring their hit singles, "Welcome to the Black Parade", "Famous Last Words", "I Don't Love You", and "Teenagers". The band also filmed a live DVD in Mexico City, titled The Black Parade Is Dead!, which was released in July 2008.

6)3OH!3

3OH!3 (pronounced "three-oh-three") is an American electronic music group from Boulder, Colorado. Formed in 2004, the band is named after the 303 area code, which includes Boulder as well as the Denver metropolitan area. They are best known for their Platinum-certified single "Don't Trust Me".3OH!3 consists of Sean Foreman, 24, and Nathaniel Motte, 25, natives of Boulder CO The pair met in a physics class while attending University of Colorado. 3OH!3 is part of the 2009 Warped Tour. 3OH!3 is also known for their hand sign, which is mentioned in the song Holler 'til You Pass Out. This is done by touching your two thumbs and forefingers together and splaying the rest of your fingers so that there are three fingers on each side of the circle. This is frequently seen at concerts.

7) Panic! At the Disco

Panic! at the Disco (known as Panic at the Disco between 2008 and 2009) is a grammy-nominated rock band formed in Las Vegas, Nevada, in 2004. The band comprises vocalist and guitarist Brendon Urie and drummer Spencer Smith. In July 2009, guitarist Ryan Ross and bassist Jon Walker left the band, citing creative differences as the reason for their depature. They have since formed a new band, entitled The Young Veins. Panic! at the Disco's debut album, A Fever You Can't Sweat Out, reached number 13 on the United States Billboard 200 and has sold over 2.2 million copies worldwide since its September 2005 release. The band's second album, Pretty. Odd., was released on March 25, 2008 and debuted at number 2 in the US.The band was formed in Las Vegas, Nevada, by two childhood friends — Ryan Ross on the guitar and Spencer Smith on the drums. Since the age of 13, the two played Blink-182 covers together in a two-piece band called "Pet Salamander". Later they recruited more members to create a band under the name of "The Summer League" with Brent Wilson and Trevor Howell, who would later leave the band. Wilson met Brendon Urie at Palo Verde High School. Wilson asked Urie to try out as guitarist for the fledgling band, as they were looking for a replacement for Trevor at the time. Originally, Urie was not the band's lead singer. Rather, the position belonged to former guitarist and lyricist Ryan Ross. However, when they heard Brendon sing backup vocals during a rehearsal, they were impressed with his backup vocal abilities and unanimously decided to make him the singer. The band then settled on the name 'Panic! at the Disco' which comes from the song "Panic" by Name Taken. The band contacted Fall Out Boy bassist Pete Wentz through LiveJournal and sent him an internet link to their PureVolume site. Wentz took a trip to Las Vegas to meet the band. After seeing them practice, he asked if they would sign with his Fueled by Ramen imprint label Decaydance which made them the first on the new label.

8) AC/DC

AC/DC underwent several line-up changes before releasing their first album, High Voltage, in 1975. Membership remained stable until bassist Mark Evans was replaced by Cliff Williams in 1977. The band recorded their highly successful album Highway to Hell in 1979. Lead singer and co-songwriter Bon Scott died on 19 February 1980, after a night of heavy alcohol consumption. The group briefly considered disbanding, but soon ex-Geordie singer Brian Johnson was selected to replace Scott. Later that year, the band released their best-selling album, Back in Black. The band's next album, For Those About to Rock We Salute You, was their first album to reach number one in the United States. AC/DC declined in popularity soon after drummer Phil Rudd was fired in 1983 and was replaced by future Dio drummer Simon Wright. Phil Rudd returned in 1994 (after Chris Slade was asked to leave in favour of him) and contributed to the band's 1995 album Ballbreaker. Stiff Upper Lip was released in 2000 and was well received by critics. The band's most recent album, Black Ice, was released on 20 October 2008.AC/DC are an Australian rock band formed in Sydney in 1973 by Scottish-born brothers Malcolm and Angus Young. Although the band are commonly classified as hard rock and are considered a pioneer of heavy metal, they have always classified their music as rock and roll. As of 2008, AC/DC have sold more than 200 million albums worldwide, including 71 million albums in the United States. Back in Black has sold an estimated 45 million units worldwide, making it the highest-selling album by any band and the 2nd highest-selling album in history, behind "Thriller" by Michael Jackson. The album has sold 22 million in the US alone, where it is the fifth-highest-selling album. AC/DC ranked fourth on VH1's list of the "100 Greatest Artists of Hard Rock" and was named the seventh "Greatest Heavy Metal Band of All Time" by MTV. In 2004, the band was ranked number 72 in the Rolling Stone list of the "100 Greatest Artists of All Time".

9) The Black-Eyed Peas

The Black Eyed Peas (BEP) are an American hip hop band that formed in Los Angeles, California in 1995. The group is composed of vocalist and multi-instrumentalist will.i.am and vocalists apl.de.ap, Taboo, and Fergie. Since their album Elephunk in 2003, the group's hip hop/dance-oriented style has sold an estimated 29 million albums worldwide and 29 million singles. They scored their first worldwide hit with "Where Is the Love?" in 2003, which topped over ten charts worldwide. Another single was the European hit "Shut Up". Their next album Monkey Business was another worldwide hit, certified 3x Platinum in the US, spawning two hit singles "My Humps"and "Don't Phunk With My Heart". In 2009, the group is one of only eleven artists to have ever held the number 1 and 2 spots on the Billboard Hot 100 at the same time with their singles "Boom Boom Pow" and "I Gotta Feeling", from the album The E.N.D., and the singles al so topped the chart for an unprecedented 26 consecutive weeks in 2009. Before Black Eyed Peas, will.i.am and apl.de.ap were in a group called The Atban Klann signed to Eazy E's Ruthless Records.

10) Shinedown

Shinedown is an American rock band from Jacksonville, Florida, formed in 2001 and founded by members Brent Smith, Brad Stewart, Jasin Todd, and Barry Kerch. The group has released three albums on Atlantic Records. They have issued popular singles such as "45", "Save Me", "Devour", "Sound of Madness", and "Second Chance". All of their ten singles to date have climbed into the Top 5 of the Hot Mainstream Rock Tracks chart, making them the first to accomplish the feat.[citation needed] Shinedown's musical influences are Otis Redding, Pink Floyd, Queen, Led Zeppelin, Soundgarden, Iron Maiden, Stone Temple Pilots, and Foo Fighters. Shinedown has sold over six million albums worldwide.