Songwriting Pro is a blog written by a guy named Brent, a professional songwriter who’s lived through publishing deals, hits, and hard times, and this platform has become one of the best places to learn about all the things you might face down the road, with advice and tips on how keep yourself writing at all costs. There’s always a light at the end of that tunnel, Brent proves it.
After a piece is fully composed, I turn to technology for the organization and administrative side of things: Making charts, organizing rehearsals, emailing harsh MIDI demos to everyone while simultaneously watching Columbo in the background.
“This Is America”: We’ve found the first of this year’s modulating pop tunes: changing from a gospelly F major to what I hear as E♭ Phrygian, which happens whenever Gambino shoots someone (in the video). I hear it as Phrygian because of the shark-in-the-water E♭ and E (or “F♭” if you’re being kosher theory-wise), and then the high-pitched whistle being a solid B♭, so there you go: E♭ Phrygian. Elements from the two tonalities fuse in places, like at 1:35 where there’s what sounds like a sample of previous F major vocals that drone on the very-not-Phrygian notes A and C, creating a heavy tension. This fusion is also present in the outro. Rhythmically, watch out after the second chorus, where it sounds like they added or skipped a beat, but they didn’t. It all flattens out after a few thumps.
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Touring is great. But it can very quickly turn into exhaustive, monotonous work. Here are 10 great tips to keep things interesting and fun on the road.
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The odd timing, as the sequence starts on the “4” beat of the end of the solo, instead of the expected “1” beat, catches the ear off guard and adds to the mystical feel of this little interlude. The icing on the cake can be tasted when the bass doubles the notes from octaves below it — though at the start of the third octave, Jones dips back to the third below it, and finishes his last arpeggio back at the top of the second octave, instead of continuing on to the top of the third with Page. It’s a wise decision, as the widening gap in pitches helps accentuate the guitar’s rise to its zenith. It’s yet another classic example of Jones’ flashy but never overdone playing.
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We’re all about these amazing beat makers who hail from Africa, Asia, and South America, and the rest of North America is captivated too. You need to listen to these seven electronic producers with a wholly unique sound and approach right now.
National endowment for the arts grants 2019
A great example of this technique comes from P!nk. At 2:03 in “Walk Me Home,” she sings the chorus an octave below, accompanied by nothing but an acoustic guitar, which makes the final chorus that returns later all the more impressive and memorable.
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I am fascinated by the creative potential of “musical theology,” a pre-Enlightenment relic from the tradition in which J.S. Bach thrived. For Bach and his cronies, music theory was a direct extension and reflection of metaphysical and religious truths. The major chord, three notes in one sound, was the trinity; equal temperament (a practical approximation that detunes each note slightly from the mathematical ratios of just intonation) represented the sinning imperfections of humankind, a musical Fall from God-made purity.
The short tape loop in the RE-100 still meant that you could only affect the delay so much. The RE-201 remedied this by using a longer tape loop that was spooled freely within a chamber with no reels. This loose spool approach resulted in less tape wear and fewer transient noises.
Joseph: Emily’s music drastically improved when she started to use the higher quality samples and sounds that Logic Pro offers. She learned the foundation of Logic in Soundfly’s Intro to Making Music in Logic Pro course so that she can now transfer her compositions into fuller productions.