If random people give you their two cents, remember that you don’t have to take their word at face value. Do a bit of a background check before taking them too seriously. A swift Facebook stalking session will do.
Exclusively on our Instagram account, we’ll be sharing videos and stories instructing some fun and modern aspects of home production. (By the way, we issue fun production and composition challenges every month, and follow them down the rabbit hole ourselves with you. Follow us to see what happens and join in!)
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The second of two articles on time management, we switch gears today to focus on workflow tips and strategies, based on the writer’s years of experience.
As we just saw, one musical principle that has reverberated throughout time and across continents and cultures is theme and variation. To revisit that classic example, here’s the theme from Beethoven’s “Symphony No. 5” and the first variation of it, displayed in Ableton Live’s piano roll. The simple shifting of the notes downward is very effective.
If you’re looking for a guitar tone that has a thin, bright sound, single coil might be the way to go. These pickups are used often for clean tones. However, if you’re playing a genre of music that requires lots of tonal output and distortion, dual-coil pickups are your best bet. Pickups determine what is sent into your pedals, amp, and cab, so the ones you choose are going to have a strong affect on your overall tone.
Since house concerts are, well, in houses, the expectations set at these events are inherently quite different from those at traditional venues. While the practice of audience members getting shmammered at venue shows has become accepted and even expected, the rules are different at house concerts. These concerts are more intimate, more focused on the music — they’re likely to be quieter and the connections between the artist and audience are therefore stronger. House concerts typically won’t feature a loud, drunk, and rowdy crowd, and you won’t need to unstick your shoes from any PBR-soaked floors, either.
This is another simple, yet effective music video with a strong visual aesthetic to create lasting resonance. Here, the directors make use of distinctive colors, body art, and semi-raw footage to alter Gotye’s physical presence throughout the story. The continual changing of Gotye’s body represents the shifting of emotional qualities when recounting a painful breakup.
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Muru was initially created to solve a professional problem I had as a music curator. As a consultant, I was creating these incredibly long playlists for small venues like bars, restaurants, hair salons, etc. The very initial idea for Muru was to build a search tool that would help me find more songs with the same “vibe” as the ones I had already found. If a Jackson 5 song worked really well in a previous playlist, I wanted to find songs with a similar vibe for the next playlist.
From a South American dance to a romantically rubato performance piece, Bach’s Violin Partita in D minor has some funky rhythms and bizarre chromaticism!
From its first appearance as: (a.) the rhythmic motif is repeated (thus stated as an important element in the composition), then shifted on upbeats (0:57). From this fragment, a new development is presented (b.), the rests in (a.) are filled with notes. Subsequently, this fragment is transformed into (c.), showing the first instance of fragmentation. The first quarter note has now become an eighth note, the rhythm is chopped and tossed around the bar, to create a sense of urgency and disorientation in a way that is reminiscent of Stravinsky’s “Danse Des Adolescentes” in The Rite Of Spring.
There’s nothing surprising about it at all; people like lamento bass, and African diaspora musicians are smart enough to deliver it straight up over decent beats. He continues, “This bass line is a fate from which we cannot escape.”
If you watch a slow-motion video of a guitar string vibrating, like the one above, you’ll see a complex, evolving blend of squiggles. Strings can vibrate in many different ways at once. In addition to the entire length of the string bending back and forth, the string can also vibrate in halves, in thirds, in quarters, and so on. These vibrations of string subsections are called harmonics, overtones, or partials.