Sweet Music

The rise of social media has brought unprecedented access to knowledge and resources, but for music teachers, it has created a set of challenges that complicate the art of teaching. Platforms designed to connect people and share information are now pervasive, shaping students’ expectations and perceptions of learning, particularly in music. While some benefits exist, such as wider exposure to different musical styles and instant access to tutorials, the ways in which social media has impacted teaching music go beyond mere access to content. Instead, it has introduced obstacles that threaten the integrity of music education itself, affecting students' commitment, patience, and the depth of their learning experience. One of the primary ways social media has negatively impacted music teaching is by fostering a culture of instant gratification. Music students are exposed to endless videos of professionals and influencers displaying highly polished performances, often without context re...

Contradance, a lively social folk dance, has deep roots in English country dancing and French dance traditions. Originating in England during the late 16th and early 17th centuries, English country dancing was a social activity for all classes, distinguished by its formation-based style, where dancers would form long lines, circles, or squares. These structured arrangements allowed for easy participation, making it suitable for gatherings in both grand halls and small rural spaces. When English settlers brought their customs to North America in the 18th century, the English country dance mingled with the French contredanse , a popular couple-based dance in French court culture. The term contredanse itself, derived from the English "country dance," was adapted into French and eventually reintroduced to English-speaking circles as "contradance." This blend of styles transformed in the New World, gaining local flavor as American musicians added regional tunes and rhyt...

We recommend that our students split their practice session into 3 equal parts that can be distributed throughout the day (sometimes that helps with motivating practice!) The first part should always be scales, arpeggios and chords. Always practice scales with 2 octaves using 4th finger on the 7th (or 8th) fret. Don't skimp! Practice different picking patterns with each scale (we recommend quarter notes, 8th notes, triplets, tremolo). That part should at least be 12 minutes, maybe more if there's time, but at least 12 minutes. The second part should always be new material. Whether you're learning bluegrass or roots/folk music or classical, new material is what stimulates our minds and makes us hunger for more. We recommend practicing the tunes note by note initially, using a pencil to make notes on the sheet - pencil is great because you can erase it later. For example, take Red Haired Boy: the first measure is 2 quarter notes and 4 eighth notes. Go slowly and sound...

The evolution of Irish traditional dance music is often a story of cultural exchange, marked by influences from Scotland, England, and continental Europe. Certain dance forms—jigs, reels, hornpipes, polkas, and waltzes—did not originate in Ireland but were introduced over time, sometimes through itinerant dance masters, other times through cultural exchanges with Irish communities abroad, particularly in America. This post examines the documented history behind these dance forms and their integration into Irish traditional music. The Arrival of Scottish Dance Forms in Ireland The Scottish dance forms of reels and strathspeys gained popularity in Ireland after the relaxation of the Penal Laws in the 19th century. The Penal Laws, which were not fully lifted until the 1860s, restricted Irish Catholics from engaging in certain cultural practices. This makes it unlikely that organized teaching of Scottish dances, which would have required the presence of dancing masters, took place before t...

We have a selection of used student violin outfits and student mandolin outfits available at discounted prices!  Below are pictures.  If you would like to try one of these out, contact us to set up a time.   The violins typically sell for $279 (cash price) and the mandolins for $250 plus tax.  I prefer pickup of these instruments at the studio in Granby, MA.  I can deliver 3 or more to your place of business or home. Contact us to set it up Palatino student violin outfit with bow and case Rogue student mandolin outfit with pick and case  

Hide glue is one of the oldest adhesives used in woodworking and luthiery, prized for its unique properties, reversibility, and ability to create strong, flexible joints. For more than 20 years, I’ve been selling hide glue in bulk to professionals and hobbyists alike, ensuring access to the best materials for instrument repair, fine woodworking, and furniture restoration. What Is Hide Glue? Hide glue is a natural adhesive made from the collagen in animal hides, typically from cattle. It’s available in various forms—granules, flakes, or sheets—but the granules are most common due to their ease of use. Hide glue is highly favored for its ability to be reactivated with heat and moisture, making it ideal for joints that might need future repairs. This is particularly important in instrument making and restoration, where a reversible bond can be a game-changer. Hide Glue Grades Hide glue is graded by its "jelly strength," which is measured in jelly grams. This rating determines th...

At Sweet Music, I understand that establishing strong relationships with suppliers is key to your business's success. That’s why I travel to China once or twice a year to meet with suppliers in the music industry. My travels have taken me to various regions, each contributing to my expertise in sourcing quality materials and products. In 1999, I visited Inner Mongolia to see firsthand the areas where the horses that supply the tails originate. This experience deepened my understanding of the sourcing process.  In 2001, I traveled to Hebei province to visit several musical instrument factories, further enhancing my connections in the industry. In 2002, I set up a buy for a client in London, England, ensuring they received the best quality products. The following year, in 2003, I attended the Musikmesse trade show in Frankfurt, Germany, where I met with several suppliers from Europe and Asia on behalf of clients in the US and Canada. This event was instrumental in building my network...