Since we had some Lydian keys this year, and Lydian is technically a major mode, I lumped these songs in with the major column — above, at least. Below you can see these separated out.
You may not like this one (I’m not a huge fan of running either) but it is free, it is exercise, the endorphins will feel great, and it’s a great way to explore a city! Go for runs through the town or Google good running paths in local parks. It’s really easy to get stuck in a van or get used to sitting on the computer or your phone, which definitely leads to back and neck issues, depression and a general shit mood.
If you’ve got friends in a town you’re touring, don’t forget to tell them! Also, if you post to Facebook that you’ve got x amount of hours in x city, you may have old friends you had forgotten about come out of the woodwork. Maybe that person you knew from high school will want to take you out and show you their town.
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Chickens and all, the fact that Takeo Ischi’s music is somewhat silly doesn’t mean that the man’s story isn’t one in which all musicians can find inspiration. He went from absolutely no training or background in yodeling, just a sheer passion for it, to working with the best musician in his genre and becoming internationally known and loved for his art for years to come.
For many artists, finding their ideal fan and learning to cultivate that relationship in a way that’s authentic can feel a little overwhelming. While there are many ways to do this, some of which we’ve outlined in past articles, today we wanted to explore a tool that has made fan growth a priority for the last decade or so via analytics and industry-wide insights — enter, Next Big Sound.
One way to optimize the time you spend on your work is to organize your day around specific micro-goals, as opposed to a single larger one like a “mix album.” With each micro-goal, you can set a time limits of 30-minute blocks or several hours depending to make sure you’re keeping yourself on track.
If you’re anything like me, your practice routine is something you do intuitively. It often involves sitting down with your instrument, playing a few scales, banging around for 20 minutes on a few songs or improvs, maybe working on something specific for 10 minutes in a repetitive manner, and then bowing out. Basically, it’s casual, repetitive, and thoughtless.
As producers, we need to be open to letting collaborators steer the ship for us every now and then. Without giving our music that freedom, we run the very real risk of sounding stale. Any track I’ve made that I am truly proud of has featured someone doing something I can’t do myself and in a way that makes rethink the composition process entirely. We should strive to surround ourselves with those whose skills and visions are different from our own. And it’s up to us to adapt their contributions in order to suit our overall vision and take our music to new heights.
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Will Marshall is a singer, composer, producer, pianist, synthesist, engineer and educator. Will has engineered for artists such as Oscar-nominated film composer Nicholas Britell, Grammy-nominated jazz musician Patrick Gleeson, R&B singer Vudajé, experimental composer Augur Duende, and electronic acts Ill Gates, Freq Nasty and the Fungineers. He is currently consulting mix engineer and producer for Sennie Records in San José. As an educator, Will taught at Pyramind in San Francisco from 2015-2018 and is a well-known authority in the creative applications of music technology. He has written and directed several in-depth educational video series, taught numerous workshops, and accepts occasional private students.
All of our Mainstage courses come with six weeks of 1-on-1 professional mentorship, guidance and feedback on your work. It’s like having a personal trainer, but for music! Whether you’re interested to dive deep into a topic covered by one of our courses, like Orchestration for Strings, Introduction to the Composer’s Craft, or The Creative Power of Advanced Harmony, or just to work with a Mentor directly to achieve a specific goal, we can help you get there.
Let’s try a different strategy. I said you should tune the B string a major third above G, but you could just as easily tune the B string a fifth plus an octave above the low E string. So let’s go ahead and multiply 1 Hz by 3/2, and then double it, which gives you a B at 3 Hz. Now the B string sounds terrific against the low E at 1 Hz and the high E at 4 Hz.
Soundfly course producer John Hull walks us through how he creates a Slice to MIDI preset in Ableton Live so you can build your own customized version.
Perhaps the most popular song form in modern music, the Verse-Prechorus-Chorus is also very versatile and strong. It features the inclusion of a prechorus, a bridge between your verse and your chorus that ties the two sections together with a central idea or melody, or a way to flip your chord progression around so the chorus makes sense starting on a new chord.