All of our mentored online courses come with six weeks of one-on-one professional coaching and feedback on your work. It’s like having a personal trainer, but for music! Whether you’re interested in 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.
Like everything in the guitar world, there’s a lot of debate about the differences between active and passive pickups and which are better. And like everything, it’s absolutely subjective. In my experience, passive pickups pick up more of the unique resonances and vibrations from the guitar, but active pickups tend to benefit the subtleties of the player’s actions on the string.
You can see why turntablists like scratching “ahhhh” and “fressssshhhh” so much — they’re structureless slabs of tuned white noise, so they’re more forgiving. Scratching a rap a cappella is another story. The words have meanings, and the pitches have a musical context. When a word falls in the wrong spot or with the wrong emphasis, it sounds much worse than a wrong note in a jazz solo, and an untrained listener is more likely to notice it.
This piece also makes use of other “unusual” concert instruments, such as the waterphone, the daxaphone, the log drum, Hapi drum, Ufo drum, and more to convey a sense of music as an alien and unearthly being in and of itself.
Bandtraq, another company formed by musicians, creates digital tools to help artists and fans alike. The musician-oriented tools they offer include a handy customizable widget that lets artists present social media feeds, videos, music, and more, all in one place. The unique Bandlink feature helps bands design smart landing pages to promote and present new releases through a single short link, which is ideal for rolling out new music over a website in a quick and easy way.
So far, we’ve kept to pretty mainstream pop tunes, but when we start to move away from those, things can get murky pretty quickly. For instance, while verses and choruses might be easy to recognize in a big pop anthem, how they function in an electronic dance song might not be as clear. Or how would you describe the form of something like “A Day in the Life” by The Beatles? It’s basically two entirely separate songs smashed together, so there’s no obvious “verse” or “chorus” section. Same thing with Travis Scott’s “Sicko Mode,” but for three songs’ worth!
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.
Professional songwriters can generate many different sources of income from their songs in the same way an author creates additional income turning a novel into a movie, TV series, or graphic novel. It doesn’t matter whether your song has gathered a million plays or just a handful of listens — you can still put your compositions to work for you to generate more revenue. All it takes is a little creativity and a sense of adventure.
Musician hip hop artists
All of our mentored online courses come with six weeks of 1-on-1 professional coaching and feedback on your work. It’s like having a personal trainer, but for music! Share your goals with us and we’ll find a course for you, or create a custom mentorship session with a pro musician, engineer, educator, or music industry veteran, to help you achieve them.
A further fragmentation of the material brings us to (d.). This rhythmic cell is then chopped into (d1.) and (d2.), which reinforces the sense of urgency. All this material is also subject to octave displacement and expansion of registers (0:59 onwards): From a low A3, the fragments are interspersed with notes in the upper octaves (A4, A5). The note A6 is presented as an interval of an octave (A5 and A6) with a leap in register (1:31).
I’m not so interested in figuring out whether the track is “good” or “bad.” Instead, I want to find out, given the student’s goal, how they could move closer to it.
To once again refer back to Mr. Bowie, here’s an interesting fact. Surprisingly, young Bowie wasn’t considered an exceptional singer by his teachers. “David Bowie’s teachers called his idiosyncratic style “vividly artistic,” but only rated his voice as “adequate.” As voice coach Lisa Popeil writes, “though vocally agile as an adult, Bowie was never known for great pitch accuracy.”
The music becomes frantic and highly directional. It is pointing towards a piu’ che sforzatissimo (sfff) octave double-stop in the low register, followed by the apparition of silence, which contributes to hold back the accumulated energy for a moment (2:03). It is this moment of silence which creates a striking contrast with what follows: A powerful “quadruple-stop” (marked with “tutta la forza” — or, “with utmost strength” — and “ferocissimo” — “very ferocious”) in which five octaves divide the notes in the left and right hands (2:09).