This course is for producers and DAW users who have no trouble generating ideas, but tend to veer off track and spend all their creative energy on the production, leaving the actual song behind too early in the process. It’s also for any non-professional songwriters (musicians, composers, synthesists) who produce music at home, but lack structure in their process. The course is genre-agnostic, but is best suited for those who lean heavily on their computer to make music.
At the heart of the University of New Mexico is a small place affectionately named the Duck Pond (named, cleverly, for the abundance of ducks who frequent it). Here you can collect your thoughts and mediate to the sound of water and ducks quacking. It’s a great place to sneak away from the hustle and bustle of the city’s sounds and hear nature’s music.
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!
Emergency financial assistance for musicians
Hunter Farris runs the Song Appeal podcast, which focuses on the psychology behind why we like the music we like. His podcast on music theory and music psychology has appealed broadly enough for Hunter to speak at Comic-Con 2018, and is instructive enough to be used as homework by a music theory professor. He currently teaches people to play piano by ear and make their own arrangements of other people’s music.
When the studio asked for a song that sounds like The Beatles, Schlesinger decided to use similar instruments, style, and production techniques from the time period. If anyone in their 40s or 50s walked into the theater to watch the film, they were immediately transported back to their youth. For those of us too young to have lived through the early 1960s, it’s likely that our parents introduced us to the music of The Beatles at some point so that we’d have our own developmental reference point as well.
For a tone, most of the area of the fingers and the edge of the palm will contact the drum. Move your hands towards you until your knuckles are just off the edge of the drum. Your fingers themselves should be over the drumhead. You strike the drumhead with all your fingers flat at the same time.
No matter what kind of music you listen to, there’s almost no way that you haven’t come across one of these impact accentuators in today’s electronic-heavy music landscape. Whether it’s a bunch of pitch-altered 808 snares in a trap song or some tuned toms in an ’80s inspired synth-pop track, drum fills are a great way to let the listener know that the chorus is about to hit.
I think the title, “La Fine Del Futuro” (“The End of the Future”) is apt because truly, we’re living in a post-modern era. How heavily do you allow technology to influence your composition? I read that you arranged the album by hand on manuscript paper.
Gangster rap 2018
Evan Zwisler is a NYC-based musician who is most notably known for his work with The Values as a songwriter and guitarist. He is an active member of the Brooklyn music scene, throwing fundraisers and organizing compilations for Planned Parenthood and the Anti-Violence Project. He started playing music in the underground punk scene of Shanghai with various local bands when he was in high school before going to California for college and finally moving to New York in 2012.
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Live at the Apollo, 1962 opens with Fats Gonder, the emcee of the evening, addressing the Harlem, New York crowd. He says, “So now, ladies and gentlemen, it is Star Time. Are you ready for Star Time?!” He then rattles off a list of Brown’s hits to further bolster the frontman’s larger-than-life persona. After a brief instrumental, the band launches into “I’ll Go Crazy,” which sets the tone for the evening. The band is inhumanly tight and every musician is an absolute slayer on their instrument. I’ll remind you that this was a Wednesday night.
I often wonder what would happen if we bring back more of this kind of multilayered, allegorical thinking, this juicy stuff that made the music of Bach and others so meaningful in its day? Reviving these older creative methods and conceptions of music makes a worthy and profound experiment.
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