I love La Havas because she plays intricate yet simple guitar parts that have helped me become a better player. Her music spans genres and shows how diverse music is nowadays — she’s a gorgeous mixture of neo-soul, rock, jazz, pop, and soul, wrapped into one.
For most of the music I play, power chords usually do the trick. I make use of them almost exclusively when writing rhythm parts or exploring chord progression ideas because they’re simple, communicative, and easy to arrange around. Sometimes, though, you’ll want something that sounds a bit fuller and more epic.
An instrument’s strings are never perfectly in tune, and even the best violinists don’t place their fingers on the exact right place on the fingerboard. By alternating these two wonky A’s, Bach is drawing our attention to the physicality of the instrument, and to the way that the subtle microtones you get from physically playing it rub uncomfortably against each other. Guitarists use this same technique all the time, and it’s no big surprise that the chaconne sounds so great on guitar.
Rappers with street cred
Beyond training for classical and jazz performance, it’s common now to be learning music mostly on our own. But perhaps we need to start considering how impactful the tools themselves can be on our educational path.
According to Hughes, “The remaining notes, on the next rung down, are all of the notes left in the key of C major that are not C, E, or G. So that would be D, F, A, and B.” These are the diatonic notes that produce other chords in need of resolving back to the root.
We all have our unique interests — mine in particular are quite diverse — so I encourage you to make a list of your own favorite multidisciplinary blogs, but to get you started, here are 10 of my favorite blogs, musical and otherwise, that continually inspire my writing process.
Contrary to the beliefs of most musicians who are inexperienced in recording, extra noise isn’t always easily fixed during the mixing process. Besides, wouldn’t you want your mixing engineer to be more focused on improving your song rather than trying to fix it?
Modes and Key Signatures have a variety of different characteristics and are great for outside-the-box songwriting. Here’s a cheat sheet to remember them!
Nea individual artist grants
We are a B2B SaaS business that builds IP, algorithms, and music-playback features that can be integrated into a range of products like speakers, smartphones, computers, and headphones but also consumer brands like Facebook and Snapchat. Our classification engine benefits streaming services and publishers. I’m especially excited about what our tech can do in combination with NLP (Natural Language Processing, voice control) for the visually impaired and even the automotive industry.
There’s no doubt that Logic Pro X is an amazing DAW filled with a variety of stock sounds, effects, and loops to use in your tracks. But in addition to these features, Logic allows you to add third-party plugins into your workflow with ease. In fact, it’s designed for that. So you can feel free to browse the websites of awesome plugin manufacturers like Waves, Slate Digital, Native Instruments, UAD, and Arturia to see what they’ve got for sale anytime.
Faders Up II is designed for producers with some hands-on mixing experience who are looking to expand their arsenal of skills and approaches, especially when it comes to working with a larger variety of artists and clients. You should be ready and excited to get your feet wet working on a set of audio tracks provided by the course (and that you bring in yourself).
Word quickly spread about Takeo Ischi and he became known as the “Japanese yodeler” (“Der japanische Jodler”). Not a creative name, but you get the point. He returned to Japan, met a nice girl and proposed to her by, you guessed it, yodeling. They married and had five kids while Ischi solidified his role as one of the world’s most preeminent yodelers. He’s largely credited with bringing the culture of yodeling to Japan, at least modestly. That pretty much brings us up to speed.
I’m in the process of doing some large-scale writing about the way I teach music technology. To that end, I thought I would talk some about how I evaluate students’ creative work, both for grading purposes and during in-class critiques.