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Teacher using a blackboard to illustrate a music lesson, New Orleans, 1940

The Juilliard Chamber Orchestra. While lessons are often individual (one teacher and one student), group lessons or coaching sessions are also done.

Music lessons are a type of formal instruction in playing a musical instrument or singing. Typically, a student taking music lessons meets a music teacher for one-on-one training sessions ranging from 30 minutes to one hour in length over a period of weeks or years. For vocal lessons, teachers show students how to sit or stand and breathe, and how to position the head, chest, and mouth for good vocal tone. For instrument lessons, teachers show students how to sit or stand with the instrument, how to hold the instrument, and how to manipulate the fingers and other body parts to produce tones and sounds from the instrument. Music teachers also assign technical exercises, musical pieces, and other activities to help the students improve their musical skills. While most music lessons are one-on-one (private), some teachers also teach groups of two to four students (semi-private lessons), and, for very basic instruction, some instruments are taught in large group lessons, such as piano and acoustic guitar. Private lessons can also take place through live video chat using webcam and Videotelephony.^[1][2]

Music lessons are part of both amateur music instruction and professional training. In amateur and recreational music contexts, children and adults take music lessons to improve their singing or playing skills and learn basic techniques. In professional training contexts, such as music conservatories, university music performance programs (e.g., Bachelor of music, Master of music, DMA, etc.), students take a music lesson once a week for an hour or more with a music professor over a period of years to learn advanced playing or singing techniques. Many instrumental performers and singers, including a number of music celebrities, have learned "by ear", especially in folk music styles such as blues and popular styles such as rock music. Nevertheless, even in folk and popular styles, a number of performers have had some type of music lessons, such as meeting with a vocal coach or getting childhood instruction in an instrument such as piano.

Posture[link]

Manhattan School of Music professor Timothy Cobb teaching a bass lesson in the late 2000s

For vocal lessons, teachers show students how to sit or stand and breathe, and how to position the head and mouth for good vocal tone. For instrument lessons, teachers show students how to sit or stand with the instrument, how to hold the instrument, and how to manipulate the fingers and other body parts to produce tones and sounds from the instrument. For wind and brass instruments, the teacher shows the student how to use their lips, tongue, and breath to produce tones and sounds. For some instruments, teachers also train students in the use of the feet, as in the case of piano or other keyboard instruments that have damper or sustain pedals on the piano, the pedal keyboard on a pipe organ, and some drums and cymbals in the drum kit such as the bass drum pedal and the hi-hat cymbal pedal. In addition to teaching fingering, teachers also provide other types of instruction. A guitar player learns how to strum and pluck strings; players of wind instruments learn about breath control and embouchure, and singers learn how to make the most of their vocal cords without hurting the throat or vocal cords.

Teachers also show students how to achieve the correct posture for most efficient playing results. For all instruments, the best way to move the fingers and arms to achieve a desired effect is to learn to play with the least tension in your hands and body. This also prevents forming habits which may lead to injuries resulting from incorrect use of the skeletal frame and muscles. For example, when playing the piano, "fingering" — that is, which fingers to put on which keys—is a skill slowly learned as the student advances, and there are many standard techniques which a teacher can pass on.

There are many myths and misconceptions among music teachers, especially in the Western classical tradition, about "good" posture and "bad" posture. Students who find that playing their instruments causes them physical pain should bring this to their teachers' attention. It is a potentially serious, if often overlooked aspect of learning to play an instrument. Learning to use one's body in a manner consistent with the way their anatomy is designed to work can mean the difference between a crippling injury and a lifetime of enjoyment. Many music teachers would caution students about taking "no pain, no gain" as an acceptable response from their music teacher regarding a complaint of physical pain. Concerns about use-related injury and the ergonomics of musicianship have gained more mainstream acceptance in recent years. Musicians have increasingly been turning to medical professionals, physical therapists, and specialized techniques seeking relief from pain and prevention of serious injury. There exist a plurality of special techniques for an even greater plurality of potential difficulties. The Alexander Technique is just one example of these specialized approaches.

Theory and history[link]

In order to more fully understand the music being played, the student must learn about the underlying music theory. Along with reading musical notation, students learn rhythmic techniques like controlling tempo and recognizing time signatures, as well as the theory of harmony, including chords and key signatures. In addition to basic theory, a good teacher will stress musicality, or how to make the music sound good. This includes tone, phrasing, and proper use of dynamics.

Most music lessons include some instruction in the history of the type of music that the student is learning. When a student is taking western classical music lessons, music teachers often spend some time explaining the different eras of western classical music, such as the Baroque era, the Classical era, the Romantic era, and the Modern era, because each era is associated with different styles of music and different performance practice techniques. Instrumental music from the Baroque era is often played in the 2000s as teaching pieces for piano students, string instrument players, and wind instrument players. If students just try to play these Baroque pieces by reading the notes from the score, they might not get the right type of interpretation. However, once a student learns that most Baroque instrumental music was associated with dances, such as the gavotte and the sarabande, and keyboard music from the Baroque era was played on the harpsichord or the pipe organ, a modern-day student is better able to understand how the piece should be played. If, for example, a cello player is assigned a gavotte that was originally written for harpsichord, this gives the student insight in how to play the piece. Since it is a dance, it should have a regular, clear pulse, rather than a Romantic era-style shifting tempo rubato. As well, since it was originally written for the harpsichord, a light-sounding keyboard instrument in which the strings are plucked with quills, this suggests that the notes should be played relatively lightly, and with spaces between each note, rather than in a full-bodied, sustained legato.

Technical exercises[link]

Although not universally accepted, many teachers drill students with the repetitive playing of certain patterns, such as scales, arpeggios, and rhythms. Scales are often taught because they are the building blocks of melody in most Western art music. In addition, there are flexibility studies, which make it physically easier to play the instrument. There are sets of exercises for piano designed to stretch the connection between fourth and fifth fingers, making them more independent. Brass players practice lip slurs, which are unarticulated changes in embouchure between partials. Woodwind players (Saxophone, Clarinet, and Flute) have a multitude of exercises to help with tonguing techniques, finger dexterity, and tone development.^[3] Entire books of etudes have been written to this purpose.

Pieces[link]

The teacher will give the student a set of pieces of slowly increasing difficulty. Besides using pieces as an aid to teaching various elements of playing style, a good teacher will also inspire more intangible qualities such as expressiveness and musicianship. Pieces are more enjoyable for most students than theory or scales, and an emphasis on pieces is usually required to maintain motivation. However, the teacher must not give in to the student's desire for "fun" pieces. Often the student's idea of such is popular vocal selections, movie soundtracks, etc. The pieces that one plays should challenge and tone a persons skills. The student should learn something from every piece he/she plays. In addition, in order for a student to be well rounded he/she must play many types of pieces by many different composers from different eras. A varied library of repertoire will increase the student's musical understanding and skill.

Examinations[link]

A popular measure of progress, especially for children, is external assessment of the progress of the pupil by a regular examination. There are a number of exam boards which offer the chance for pupils to be assessed on either music theory or practice. These are available for almost every musical instrument.One common way to mark progress is to have graded examinations, for example from grade 1 (beginner) to grade 8 (ready to enter higher study at music school). Some teachers prefer other methods of target-setting for their pupils. The most common is the pupil's concert, which gives experience in playing in public and under a certain degree of pressure, without outright criticism or a more or less arbitrary marking system. Another is the graded system of books followed by teachers of the Suzuki method, in which the completion of each book is celebrated, without a system of marking or ranking of pupils.

Extra-musical benefits[link]

Jean-Marc Nattier, The music lesson, (1711)

Some studies suggests that music lessons provide children with important developmental benefits beyond simply the knowledge or skill of playing a musical instrument. Research suggests that musical lessons may enhance intelligence and academic achievement, build self-esteem and improve discipline. A recent Rockefeller Foundation Study found that music majors have the highest rate of admittance to medical schools, followed by biochemistry and the humanities. On SAT tests, the national average scores were 427 on the verbal and 476 on math. At the same time, music students averaged 465 on the verbal and 497 on the math - 38 and 21 points higher, respectively. However, the observed correlation between musical and mathematical ability may be inherent rather than acquired. Furthermore, it is possible that the correlation between taking music lessons and academic ability exists because both are strongly correlated with parental income and education. Even if music lessons had no impact on academic ability, one would expect to see a correlation between music lessons and academic ability.

Skills learned through the discipline of music may transfer to study skills, communication skills, and cognitive skills useful in every part of a child's studies at school, though. An in-depth Harvard University study found evidence that spatial-temporal reasoning improves when children learn to make music, and this kind of reasoning improves temporarily when adults listen to certain kinds of music, including Mozart (Rauscher, Shaw & Ky, 1993). This finding which has been named "The Mozart effect" suggests that music and spatial reasoning are related psychologically (i.e., they may rely on some of the same underlying skills) and perhaps neurologically as well. However, there has been considerable controversy over this as later researchers have failed to reproduce the original findings of Rauscher (e.g. Steele, Bass & Crook, 1999), questioned both theory and methodology of the original study (Fudis & Lembesis 2004) and suggested that the enhancing effects of music in experiments have been simply due to an increased level of arousal (Thompson, Schellenberg & Husain, 2001).

A relationship between music and the strengthening of math, dance, reading, creative thinking and visual arts skills has also been reported in literature. (Winner, Hetland, Sanni, as reported in The Arts and Academic Achievement - What the Evidence Shows, 2000) However recent findings by Dr. Levitin of McGill University in Montreal, Canada, undermines the suggested connection between musical ability and higher math skills. In a study conducted on patients with Williams Syndrome (a genetic disorder causing low intelligence), he found that even though their intelligence was that of young children they still possessed unusually high level of musical ability.

See also[link]

• Band sectional
• Clinic (music)
• Five finger exercise
• Learning music by ear
• Master class
• Music Education
• School band

References[link]

Wikimedia Commons has media related to: Music lessons

Victor Wooten
Wooten playing at the Belly Up in 2006.
Background information
Birth name	Victor Lemonte Wooten
Born	(1964-09-11) September 11, 1964 (age 47) Mountain Home, Idaho, U.S.
Genres	Jazz, jazz fusion, funk
Occupations	Musician, songwriter, producer, author
Instruments	Electric bass, upright bass, fiddle, cello, banjo
Years active	1980–present
Associated acts	Béla Fleck and the Flecktones, Steve Bailey, Vital Tech Tones, SMV, Greg Howe, Dave Matthews Band, Chick Corea Elektric Band
Website	www.victorwooten.com
Notable instruments
Fodera Monarch Fodera Monarch Yin-Yang (4 string) Steinberger bass guitars

Victor Lemonte Wooten (born September 11, 1964) is an American bass player, composer, author, and producer, and has been the recipient of five Grammy Awards.^[1]

Wooten has won the "Bass Player of the Year" award from Bass Player magazine three times in a row, and was the first person to win the award more than once.^[1] In addition to a solo career and collaborations with various artists, Wooten has been the bassist for Béla Fleck and the Flecktones since the group's formation in 1988.

In 2008, Wooten joined Stanley Clarke and Marcus Miller to record an album. The trio of bassists, under the name SMV, released Thunder in August 2008 and began a supporting tour the same month.^[2]

Wooten was also a judge for the 4th annual Independent Music Awards to support independent artists' careers.^[3]

Early life[link]

Born to Dorothy and Pete Wooten, Victor is the youngest of the five Wooten Brothers, the other four being Regi, Roy, Rudy and Joseph Wooten, all of whom are musicians. His brother Regi began to teach Victor to play bass when he was two, and by the age of six, Victor was playing in front of crowds with his brothers in their family band, The Wooten Brothers Band, and toured supporting Curtis Mayfield, among others.^[1] When his family moved east, they continued to hone their skills. His brothers began a residency at Busch Gardens. When his brother Roy asked if Victor could learn the fiddle to play with them on quick notice, he complied, adding another instrument to his repertoire.

Instruments[link]

Wooten playing his Steinberger headless bass guitar at the Belly Up in 2006.

Wooten is most often seen playing Fodera basses, of which he has a signature model.^[4] His most famous Fodera, a 1983 Monarch Deluxe he refers to as "number 1," sports a Kahler Tremolo System model 2400 bridge. Fodera's "Yin Yang" basses (co-designed by and created for Wooten) incorporates the Yin Yang symbol—which Wooten uses in various media—as a focal point of the top's design and construction. The symbol is created from two pieces of naturally finished wood (Ebony and Holly, for example), fitted together to create the Yin-Yang pattern.^[5]

Though Wooten's basses receive much attention, his most frequent and consistent response when asked by his fans about his equipment (or equipment in general) is that "the instrument doesn't make the music ... you do".^{[citation needed]} He'll often go on to state that the most important features to look for in a bass are comfort and playability. During a question and answer session at a 1998 concert, Wooten stated that "If you take a newborn baby and put them on the instrument, they're going to get sounds out of it that I can't get out of it, so we're all the best."^[6] This philosophy seems closely related to Wooten's approach to music in general, which is that music is a language. According to Wooten, while speaking or listening, one doesn't focus on the mouth as it is forming words; similarly, when a musician is playing or performing the focus shouldn't be on the instrument.

As well as playing electric bass (both fretted and fretless) and the double bass, Victor also played the cello in high school. He still plays cello occasionally with the Flecktones. This is the instrument to which he attributes his musical training.

Discography[link]

Religious beliefs[link]

While Wooten considers himself a spiritual individual, he is not a part of any particular religion. He believes that, "God is too big for any one religion."^[7]

Bibliography[link]

• The Music Lesson: A Spiritual Search for Growth Through Music, ISBN 978-0-425-22093-1, Penguin Group, 2008

References[link]

External links[link]

• Victor Lemonte Wooten - official website
• Victor Lemonte Wooten Intervew with Anil Prasad of Innerviews
• Live performance photographs
• Interview from honesttune.com
• The Music Lesson website
• The Bass Vault
• Bass/Nature Camp
• Victor Wooten artist page at Guitar Video Channel

Steve Vai
Steve Vai in 2007
Background information
Birth name	Steven Siro Vai
Born	(1960-06-06) June 6, 1960 (age 52) Carle Place, New York, United States
Genres	Instrumental rock, hard rock, heavy metal, progressive rock, progressive metal, experimental rock
Instruments	Guitar, keyboards, vocals
Years active	1980–present
Labels	Favored Nations, Relativity Records, Urantia Records, Akashic Records, Epic
Associated acts	Joe Satriani, Frank Zappa, John Petrucci, Alcatrazz, Orianthi, David Lee Roth, Whitesnake, Dream Theater, Travis Barker, Eddie Van Halen, Ozzy Osbourne, Zappa plays Zappa, Billy Sheehan, G3, Bad4Good, Incubus, Devin Townsend,
Website	www.vai.com
Notable instruments
Ibanez JEM Ibanez Universe Tom Anderson Drop Top Classic

Steven Siro Vai (born June 6, 1960) is an American guitarist, songwriter and producer who has sold over 15 million albums. After starting his career as a music transcriptionist for Frank Zappa, Vai recorded and toured in Zappa's band for two years, from 1980 to 1982. He began a solo career in 1983, has released eight solo albums and won three Grammy Awards. He has also recorded and toured with Public Image Ltd., Alcatrazz, David Lee Roth and Whitesnake. Vai has been a regular touring member of the G3 Concert Tour which began in 1996. In 1999 Vai started his own record label Favored Nations, intending to showcase as he describes, "...artists that have attained the highest performance level on their chosen instruments."^[1]

Biography[link]

Early life[link]

Vai began playing guitar in 1973, at the age of 13.^[2] In 1974, he took guitar lessons from guitarist Joe Satriani and played in local bands, one of which was called "The Steve Vais". He was influenced by guitarists including Jimi Hendrix, Jeff Beck, Brian May, Jimmy Page, Glen Buxton,^[3] and jazz fusion guitarist Allan Holdsworth. Vai attended the Berklee College of Music, afterwards recording a promotional piece for them in which he spoke about auditioning for Frank Zappa at age 20.

Steve Vai (on guitar in between the drums and keyboard), Frank Zappa and band during a concert at the Memorial Auditorium, Oct 25, 1980 Buffalo, New York

Music career[link]

Vai mailed Frank Zappa a transcription of Zappa's "The Black Page", an instrumental for drums, along with a tape of Vai's guitar playing. Zappa was so impressed that in 1979, he hired him to transcribe a number of his guitar solos, including some on the Joe's Garage album and the Shut Up 'n' Play Yer Guitar series. These transcriptions were published in 1982 in The Frank Zappa Guitar Book. After being hired as a transcriber, Vai did overdubs on many of the guitar parts for Zappa's album You Are What You Is. He became a full-fledged band member, going on his first tour with Zappa in the autumn of 1980.

One of those early shows with Vai on guitar, recorded in Buffalo, was released in 2007. While touring with Zappa's band, Vai sometimes asked audience members to bring musical scores and see if he could sight-read them on the spot. Zappa referred to Vai as his "little Italian virtuoso" and listed him in the liner notes as performing "stunt guitar" or "impossible guitar parts". Vai was a featured artist on the 1993 recording Zappa's Universe. In 2006 he returned to Frank Zappa as a special guest on Dweezil Zappa's 'Zappa Plays Zappa' tour, alongside friends from his early years with Zappa.

After leaving Zappa in 1982 he moved to California, where he recorded his first album Flex-Able, in 1983 (released January 1984) and performed in a couple of bands. In 1985 he replaced Yngwie Malmsteen as lead guitarist in Graham Bonnet's Alcatrazz, with whom he recorded the album Disturbing the Peace. Later in 1985, he joined former Van Halen front man David Lee Roth's group to record the albums Eat 'Em and Smile (released July 1986) and Skyscraper (released 1988). In 1986, Vai played with John Lydon's Public Image Ltd on their album Album. In 1989, Vai joined Whitesnake, replacing Vivian Campbell. When Adrian Vandenberg injured his wrist shortly before recording was to begin for the album Slip of the Tongue, Vai played all the guitar parts. Vai played on the Alice Cooper album Hey Stoopid, along with Joe Satriani on the song "Feed my Frankenstein."

Vai continues to tour regularly, with his own group and with his one-time teacher and fellow guitar instrumentalist friend Joe Satriani on the G3 series of tours. Former David Lee Roth and Mr. Big bassist Billy Sheehan joined him for a world tour. In 1990, Vai released his critically acclaimed solo album Passion and Warfare. The song "For the Love of God" was voted #29 in a readers' poll of the 100 greatest guitar solos of all time in Guitar World magazine. In 1994, Vai began writing and recording with Ozzy Osbourne. One track from these sessions, "My Little Man", was released on the Ozzmosis album. Despite Vai penning the track, he does not appear on the album, with his guitar parts replaced by Zakk Wylde. Another track, "Dyin' Day", appeared as an instrumental on Vai's Fire Garden album. Vai's band members in the 90's included drummer Mike Mangini, guitarist Mike Keneally, and bassist Philip Bynoe. In 1994 Vai received a Grammy Award for his performance on the Frank Zappa song Sofa from the album Zappa's Universe.

Vai playing a twin-necked Ibanez

2000s[link]

Steve Vai released a DVD of his performance at The Astoria in London in December, 2001. The performance featured Billy Sheehan, guitarist/pianist Tony MacAlpine, guitarist Dave Weiner, and Australian drummer Virgil Donati. In July 2002, Steve Vai performed with the Tokyo Metropolitan Symphony Orchestra at the Suntory Hall in Tokyo, Japan, in the world premiere of composer Ichiro Nodaira's Fire Strings, a concerto for electric guitar and 100-piece orchestra. In 2004, a number of his compositions and orchestral arrangements including some previously recorded pieces, were performed in The Netherlands by the Metropole Orchestra in a concert series entitled The Aching Hunger. In 2003, drummer Jeremy Colson joined Vai's group, replacing Virgil Donati. Vai's album Sound Theories, was released in 2007.

In February 2005, Vai premiered a dual-guitar (electric and classical) piece that he called The Blossom Suite, with classical guitarist Sharon Isbin at the Châtelet Theatre in Paris. In 2006, Vai played as a special guest guitarist alongside additional guest Zappa band members, drummer Terry Bozzio and saxophonist-singer Napoleon Murphy Brock in the "Zappa Plays Zappa" tour led by Frank's son Dweezil Zappa in Europe and the U.S. in the Spring, as well as a short U.S. tour in October. On September 21, 2006, Vai made a special appearance at the Video Games Live concert at the Hollywood Bowl in Hollywood, California. He played two songs with the Hollywood Bowl Orchestra; Halo Theme, and a second song for the world premier trailer for Halo 3.

In 2005, Vai signed on as an official supporter of Little Kids Rock, a nonprofit organization that provides free musical instruments and instruction to children in public schools throughout the U.S. He sits on LKR's Honorary Board of Directors. Vai was a judge for the 3rd and 8th annual Independent Music Awards to support independent artists.^[4] Vai is the founder of the Make A Noise Foundation, which he started with his manager Ruta Sepetys.^[5] The foundation's goal is to provide funding for music education and programs for those unable to pursue music-related activities due to limited resources.^[6] Vai is also a patron of music education around the world giving master classes in such prestigious music schools as the Fermatta Music Academy.

Steve Vai made an appearance at the London Guitar Show in 2007 on the April 28, 2007 at the ExCeL Center. In late April 2007, Vai confirmed the release of his record, Sound Theories, on June 26. The release is a two-CD set, mostly of previously released material that Vai rearranged and played with a full orchestra. Vai says the project was a great joy because he considers himself a composer more than a guitarist, and he is happy to see music he has composed played by an orchestra that can play it well. A DVD followed the record later that year. He guested on the Dream Theater album Systematic Chaos, on the song "Repentance". The appearance was vocal rather than instrumental, as Vai was only one of many musical guests recorded. The song features contributions from many artists, with the aim of apologizing to important people in their lives for wrongdoings committed in their pasts. On August 29, 2009, he appeared on stage with Dream Theater during the final show of their Progressive Nation tour at the Greek Theater^{[disambiguation needed ]}, where he performed in an improvised jam with the other musicians on tour. Broken Records magazine (Volume 1, Issue 3) quotes Vai as saying, "I enjoy challenging myself to come up with new ideas that I believe are unique."

In 2010, Vai released several "VaiTunes" singles of tracks that were previously recorded and later finished. They are available on Vai.com, iTunes and Amazon.com. On September 14, 2010, Steve released "Where The Wild Things Are" as double vinyl through his label Favored Nations and made a guest appearance with Rickey Minor and The Tonight Show Band on NBC. In October, 2010, Steve completed his first full symphony and performed the compositions at the Steve Vai Festival which featured Vai and the North Netherlands Symphony Orchestra (NNO) on October 20–24, 2010. "The possibility to write for a full orchestra, as Vai was offered the opportunity to do during the last years, closes a circle back to the beginning of his solo career, his years with Frank Zappa and his first pieces for his debut record Flex-Able (1984)."^[7] After the Holland shows, Vai embarked for the US to headline the "Experience Hendrix Tour" which featured Eric Johnson, Kenny Wayne Shephard, Susan Tedeschi, Billy Cox, Vernon Reid, Robert Randolph, Johnny Lang, Brad Whitford and other top guitarists.

On March 3, 2011, the online education division of Boston’s Berklee College of Music and Steve Vai, set the Guinness® World Record for the world’s largest online guitar lesson. The first-of-its-kind initiative, held at streaming media platform Livestream Studios in New York City, brought together thousands of members of the international guitar community in a celebration of online music education. Berkleemusic and Steve Vai co-authored a 12-week online course: Steve Vai Guitar Techniques. The course presents students with the chance to gain a deep understanding of Vai’s playing styles, repertoire, techniques, and musical concepts from anywhere in the world, and to incorporate their learnings into their own playing. Vai owns Favored Nations, a recording and publishing company that specializes in internationally procuring and maintaining recording artists. Favored Nations is separated into three sections, 'Favored Nations', 'Favored Nations Acoustic' and 'Favored Nations Cool (Jazz style)'.

Media appearances[link]

Video games[link]

"Juice" was featured on the 1996 video game "Formula One" for the PlayStation. Steve Vai's guitar-work appeared in the video game Grand Theft Auto: Vice City. David Lee Roth's "Yankee Rose" was featured on the game's soundtrack as well as "God Blessed Video" by Alcatrazz as part of the Lazlow-led, 1980s rock/metal radio station "V-Rock." In 2004, Steve Vai was featured on Xbox's Halo 2 (a game by Bungie Studios) Volume 1 soundtrack, performing a heavy rock-guitar rendition of the Halo theme, known as Halo Theme (MJOLNIR Mix). He also performed on the track Never Surrender. He later featured in the second volume of the soundtrack, where he performed on the track Reclaimer.

In 2008, Steve Vai's For the Love of God and Halo Theme (MJOLNIR Mix) were featured as downloadable tracks for the game Guitar Hero 3. A live version of the song "For the Love of God" was also available at release on the Rock Band Network as well as the song "Get the Hell Out of Here" from his 2002 album "The Elusive Light and Sound, Vol. 1" on March 4, 2010. The Attitude Song and a live version of The Crying Machine were both also added to the Rock Band Network. A re-recording of "Speeding" is featured in the 2010 video game Guitar Hero: Warriors of Rock for Xbox 360, Wii and Playstation 3.

Films[link]

Steve Vai's music has appeared in a number of feature films, including Dudes and Ghosts of Mars. He appeared onscreen in the 1986 Walter Hill film Crossroads, playing the demonically-inspired Jack Butler. At the film's climax, Vai engages in a guitar duel with Ralph Macchio, whose guitar parts were dubbed by Vai and Ry Cooder, who played the initial slide work in the duel and Macchio's earlier performances in the film. Vai composed the fast-paced neo-classical track Eugene's Trick Bag that wins Macchio the competition. He based the body of the piece heavily on Paganini's Capriccio number 5. He later borrowed the opening riff from the track Head Cuttin' Duel for a song called Bad Horsie from his 1995 EP Alien Love Secrets. The Crossroads duel reappeared on the 2002 album The Elusive Light and Sound, volume 1.

In 1991's Bill & Ted's Bogus Journey, the introductory riff to KISS' "God Gave Rock 'n' Roll to You II", as performed by the Wyld Stallyns in the Battle of the Bands, was performed by Vai. He composed and performed the soundtrack to PCU (1994), and made contributions in 2001 to the score for John Carpenter's Ghosts of Mars, performing on the tracks "Ghosts of Mars" and "Ghost Poppin'". His track, "I'm the Hell Outta Here", can be heard during 1992's Encino Man in the scene where Brendan Fraser is taking a driving lesson. He plays guitar in the animated short film "Live Music".

Style and influence[link]

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. (March 2008)

Vai performing in 2001.

Steve Vai has been called a guitar virtuoso.^[8] His 1990 album Passion and Warfare and the ballad For the Love of God in particular received a significant amount of press and are often cited by critics and fans alike as among his best work, often noted since the entire piece at just over six minutes, was reportedly recorded in one take.^[9] Vai's playing style has been characterized as quirky and angular, due to his technical ability with the guitar instrument and deep knowledge of music theory. He regularly uses odd rhythmic groupings and his melodies often employ the Lydian mode.

Perhaps his most readily-identifiable stylistic feature is his creative use of the floating vibrato, using it to add melodic lines that sound odd to the ear. His playing can be described as lyrical, as if sung by a human voice. During the recording of "Eat 'em and Smile" with David Lee Roth, he employed several guitar techniques that "mimicked" the human voice, as heard in the opening bars of the opening track "Yankee Rose." He is noted for being physically expressive as he plays his guitar. He often uses exotic guitars: he plays both double and triple neck guitars (including a custom-made heart-shaped triple-neck model built by luthier Joe Rolston). Vai is regarded as the first to use the 7-string guitar in a rock context.^[10] Along with Ibanez, he designed a signature 7-string guitar, the Ibanez Universe in 1989.

Equipment[link]

Vai is also a producer. He owns two studios, "The Mothership"^[11] and "The Harmony Hut" ^[12]), and his own recordings combine his guitar skills and novel compositions with studio and recording effects. Vai helped design his signature Ibanez JEM guitar series. They feature a hand grip (fondly referred to as a "monkey grip") cut into the top of the body of the guitar, a humbucker–single coil-humbucker (H/S/H) DiMarzio pickup configuration with several different types of pickup including Evolution, Breed and EVO 2. He also uses the Ibanez Edge and Lo-Pro Edge double-locking tremolo systems (between the years 2003-2009, production JEMs had the Edge Pro, which is now discontinued), as well as an elaborate and extensive "Tree of Life" inlay down the neck. Vai also equips many of his guitars with an Ibanez Backstop, a tremolo stabilizer that has been discontinued. Lately Vai has also equipped some of his guitars with True Temperament fretboards to make his chords sound more in tune.^[13]

Vai has a 7-string model designed by him named Ibanez Universe, featuring DiMarzio Blaze II pickups in an HSH arrangement. The Ibanez Universe gained attention in the 90s when the band Korn used the guitar and sold millions of albums worldwide. Vai also has a signature Ibanez acoustic, the Euphoria. His two main guitars are white JEMs dubbed "Evo" and "Flo", each with their own unique modifications. Before Ibanez, he briefly endorsed Jackson guitars, but the relationship only lasted two years. Steve Vai has also worked with Carvin Guitars and Pro Audio to develop the Carvin Legacy line of guitar amplifiers. Vai wanted to create an affordable amp that was unique, and equal in sound and versatility to any guitar amp he had previously used.^[14] Over his long musical career, Steve Vai has used and designed an array of guitars. He even had his blood put into the swirl paint job on one of his signature JEM guitars, the JEM2KDNA.^[15] Only 300 of these were made. Currently, he mainly uses his white "Evo", a JEM7V, and his "Flo", which is a customized Floral JEM 77FP painted white. They are both inscribed with their names in two places, mainly so he can distinguish between them onstage. "Flo" is equipped with a Fernandes sustainer system.

He has a guitar named "Mojo" with dot inlays that are blue LED lights. He has a custom-made triple-neck guitar that has the same basic features as his JEM7V guitars. The top neck is a 12-string guitar, the middle is a six-string, and the bottom is a six-string fretless guitar with a Fernandes Sustainer pickup. This guitar was featured on the G3 2003 tour on the piece I Know You're Here. Vai's effects pedals include a modified Boss DS-1, Ibanez Tube Screamer, Morley Bad Horsie, Ibanez Jemini Twin Distortion Pedal, TC Electronics G-System, Morley Little Alligator Volume pedal, DigiTech Whammy, and an MXR Phase 90/Phase 100 on the Passion and Warfare album. His flight cases are labeled "Mr. Vai", or lately, "Dr. Vai." He has used a number of rack effects units controlled via MIDI, but used a floor-based TC electronics G system instead for the Zappa Plays Zappa tour.

Personal life[link]

Resides in Encino, CA with his family. Vai is married to Pia Maiocco, former bass player of Vixen, who can be seen in Hardbodies.^[16] Vai and Maiocco have two children, Julian and Fire. In his spare time Vai is an avid beekeeper.^[17] and an honorary member of the British Beekeepers' Association.^[18] His bees regularly produce a crop of honey that Vai sells for his Make a Noise Foundation.^[19] Vai is a longtime vegetarian. "It has affected my music in a way I believe that what we put in our bodies has a reflection on the way we think," Vai told Veggies Rock. "And the way we think has a reflection on what we create. So I can’t tell you consciously how being a vegetarian affected my music but I’m sure it has. I think everyone has to find what’s right for them. I don’t judge anybody for what they eat. That’s their world and everybody has to find what resonates with them."^[20]

Band history[link]

Not including guest appearances.^[21]

Early bands

• The Ohio Express (1971–1972)
• Circus (circa 1973 to 1976)
• Ravge (circa 1973 to 1976)
• Bold As Love (1977)

Berklee bands

• Axis (1978–1979)
• Morning Thunder (1979)

Professional bands

• Frank Zappa (1980–1982)
• The Out Band (Circa 1983)
• The Classified (1984)
• 777 (1984)
• Alcatrazz (1985)
• David Lee Roth (1985–1989)
• Whitesnake (1989–1991)

Solo band (1992-94)

"Sex & Religion" album

• Vocals: Devin Townsend
• Guitar: Steve Vai
• Bass: TM Stevens
• Drums: Terry Bozzio

"Sex & Religion" tour

• Vocals: Devin Townsend
• Guitar: Steve Vai
• Bass: Scott Thunes
• Keys: Will Riley
• Drums: Abe Laboriel, Jr., then Toss Panos

1995

• Guitar: Steve Vai
• Bass: Tony Pimental, then Scott Thunes
• Keys: Will Riley
• Drums: Chris Frazier

This band toured Russia twice, South America and the US (opening for Bon Jovi).

1996-99

• Guitar, Vocals: Steve Vai
• Guitar, Vocals and Keys: Mike Keneally
• Bass, Vocals: Philip Bynoe
• Drums: Mike Mangini

2000

• Guitar, Vocals: Steve Vai
• Guitar, Vocals and Keys: Mike Keneally
• Guitar: Dave Weiner
• Bass, Vocals: Philip Bynoe
• Drums: Mike Mangini
• Keyboards (South American Tour): Eric Goldberg
• Drums (South American Tour): Chris Frazier

2001-02

• Guitar, Vocals: Steve Vai
• Bass, Vocals: Billy Sheehan
• Guitar, Vocals and Keys: Mike Keneally, then Tony MacAlpine
• Guitar: Dave Weiner
• Drums: Virgil Donati

2003-04

• Guitar, Vocals: Steve Vai
• Bass, Vocals: Billy Sheehan
• Guitar, Vocals and Keys: Tony MacAlpine
• Guitar: Dave Weiner
• Drums: Jeremy Colson

Discography (solo)[link]

Studio albums and EPs[link]

Live and orchestral albums (Inc. G3 (tour))[link]

Other[link]

Compilations[link]

Discography (with other artists)[link]

With band (as lead guitarist)[link]

Appearances on Zappa albums[link]

Appearances, featuring (with other lead artists)[link]

Soundtracks[link]

Compilations[link]

Videos[link]

Live[link]

With other artists[link]

Movies (as an actor)[link]

Awards and nominations[link]

Grammy Awards[link]

Other awards[link]

See also[link]

• List of rock instrumentals
• Steve Vai songs

References[link]

External links[link]

Wikimedia Commons has media related to: Steve Vai