Soundfly started scraping our own free course, Crowdfunding for Musicians, of as many mentions of PledgeMusic as possible. We were beginning to think the incredibly hopeful era of crowdfunding and its implied economic utopia — fans funding artists directly and becoming stakeholders in their success — was coming to an end. But then we heard the good news.
Although this list is technically geared towards kids… adults, do not be shy about confessing your love of these books! I’m actually prepping my Amazon cart with a few of these myself. And, more importantly, for those DIY touring musicians out there — not that we know how popular these books are — why not consider making one of these books yourself for your merch table? (Just a thought…)
Add a little something extra to your music. Learn about all of the different scale types and modes that exist and the popular songs that make use of them, and all inside your DAW’s piano roll, in Soundfly’s game-changing free online music theory course series, Theory for Producers, taught by NYU professor Ethan Hein. Take your time, start and stop, and come back to it whenever you like! Check out the excerpt below and join the free course here.
90s rap songs
As soon as I started to scope it out, I very quickly realized that it would be even better if I could build a tool that would allow my clients to create their own playlists — let them be in charge of their music journey.
The answers lie in the way that melody takes words and frames them in a different time and space. Melody can change the amount of time we spend on certain words (rhythm) lengthening or shortening the length of notes or space — by changing the pitch between words (intervals), up or down. This is what makes song so different from speech. And yet, there are parallels you can take advantage of.
Funnily, his music also set off debates across Europe about the new “trend” towards effeminate, sentimental, and “cowardly” music! Despite its popularity, people were worried composers were taking the modern opera in feminine directions. And perhaps to make matters worse, Queen Marie Antoinette rather loved his work and invited him to Paris to compose for the Academie Royale de Musique. We won’t go into the competitive “compose off” between he and Christof Gluck, but it is rather humorous that he had half of Paris up in arms about whether they’d support his music or his rival’s and declare themselves as either a Piccinnist or a Gluckist.
A prolific Nashville songwriter (who shall remain nameless) has a strategy where he wakes up and writes down five ideas, lines, or thoughts in his journal. In the sessions he goes to that day, he’ll pull from that list and use the words as the first line of the song, the last line of the song, the first line of the chorus — it could even just be a word. The point is, the words he writes down are often fresh to him, but they also came up for a reason — something he’s dealing with, or something a friend is going through — and he’s able to use that idea as a target for that day’s sessions.
If you’re interested in becoming a content partner, please send articles and inquiries to support(at)soundfly.com!
New rap groups
Looks like a pretty even tempo spread this year with 77-78 BPM eeking out a win. From 71-72 BPM there is still a gap in the chain, similar to last year, and from 113-118 BPM is still a very curious drought-land, at least when compared to all the tempos found in Rolling Stone’s Greatest 500 Songs of All Time list.
While the basic idea of sectional form can be stretched pretty far, it’s not uncommon to hear songs with additional types of sections. Pre-verses, post-choruses, breakdowns, ad-libs — there are plenty of examples of alternate forms.
Do you have a two-minute number that somehow feels like it’s dragging on without going anywhere? Maybe you need to add a bridge. Does the move from your verse to your chorus feel overly sudden, leaving things disjointed? Consider using a pre-chorus to ease that transition. Do you want a place for the audience to clap along? Sometimes doubling up the last chorus can accomplish that nicely.
It’s amazing how you can play something perfectly 20 times in a row and then the moment someone switches on a mic, it all goes down the drain. One of the ways we dealt with this was by taking particularly challenging parts of songs and either breaking them into multiple tracks or separating them out and then re-splicing them together after. It takes all the pressure off getting one perfect take, start to finish.
In the story, Lulu is loved by many, but manipulates her lovers, moving from one to the next. At the height of her adoration, her fortunes begin to fall: she’s chased by the police, imprisoned, forced into prostitution, and then eventually murdered. To drive this musical and thematic symmetry home, Berg specified that the actors that play her first three lovers are the same actors that play her last three clients when she is a prostitute. This dramatic palindrome dovetails with the musical palindrome: Berg’s marriage of disturbing musical formalism with dramatic technique highlights Wedekind’s unearthing of the violence within patriarchal sexuality.