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Decades before he was laying down the bass track for Daft Punk’s “Get Lucky,” consummate studio session man Nathan East was playing on hit records left and right. A song that is a little bit hard rock, a little bit R&B, done by a band that until then was sort of new-wave-ish, “Would I Lie to You” seems like a fitting way to end this list.

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Following some standard doubling of the main guitar riff during the song’s introductory chorus, Jameson erupts with some root-octave slapping in the verse. He follows this with a couple high pops up on the neck and a slide down to the relative minor. The pulsation of F# with the fifth below it and alternating with the A just above it generates a funkier feel than you’d ever expect from a hard rock song with a simple three-note guitar hook. The sequence is repeated several times in the verse and, in spite of all the other cool riffs in this song, leaves you wanting to hear more.

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You might have promising music and loads of enthusiasm, but none of that matters much when you’re on stage for the first time and don’t know what to expect. Building performance experience can also give you more confidence and credibility throughout the booking process, and you’ll thank yourself later.

In this edition of “Talking Points,” we take a look at a panel held at this year’s Ableton Loop Conference on the uses of technology in music education.

While not the first television performance by the Liverpool four-piece, the Beatles’ first US television appearance on The Ed Sullivan Show has been shown in classrooms, presentations, and to children by fan parents ever since it happened all those years ago.

A lot of pop, hip-hop, and electronic tracks are skipping the bridge these days. You can hear this song form or something similar in the following tracks:

Financially-savvy songwriters have been taking advantage of this loophole by quietly selling a portion of their catalogs. In addition to receiving a big lump sum payment taxed at half the rate, these songwriters are diversifying to hedge against industry turmoil, inflation, and declining royalties. It’s something worth checking out!

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Program fees: The residency fee, including room, studio, and residency programming, is $400/week ($57/day). Sponsorships are awarded based on merit and need. The cost to apply is $25.

Lulu has been languishing in jail, and the stage directions require a pre-recorded film to play, which begins to run in reverse halfway through the reel. The music matches this, pivoting on dense piano arpeggio that mirrors its ascent and descent:

Music psychologist Carol Krumhansl once argued that when we listen to a song, “How the parts are perceived depends on their functions in the whole.” So we’re going to hear a song differently depending on whether we hear the verse or the chorus first. And if we jump into a song halfway, we’ll get a completely different experience all together.

“THERE IS A PHRASE about two minutes from the end of J. S. Bach’s famous Chaconne for solo violin that, if you are in the right mood or are hearing the right performer, can suddenly sound like a shriek or a growl or a moan…. What it really is, in official violinist’s terms, is bariolage: the rapid repetition of one note against which another line rises or falls. In this case the violinist obsessively saws on one pitch while the main melody strains to climb beyond it, bulging and sinking and then repeating the effort.”

Given that sample size, it’s almost impossible to narrow down “the best” without leaving something amazing out. This list simply represents a few of what we consider to be the most impressive, creative, and authentic covers out there in the entire “chipiverse.” Hopefully they inspire you to start creating chip covers of your own (and if you’re looking for a place to get started, check out our free course series, Chiptune Crash Course, and create a 60-second cover of Devo’s “Whip It” for the chance to win a modded Game Boy!).