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No engineer’s library would be complete without some technical information, and Ballou’s Handbook, now in its fifth edition, is a serious contender for being your go-to in this field. A university-standard textbook, it’s not for the layperson.

The word “hemiola” originates from the Greek words “hemi,” meaning half, and “holos,” meaning whole. In other words, one and a half. And so, a hemiola is a rhythmic pattern that uses a ratio of three to two, and the Greeks, ever concerned with ratios, noticed that three divided by two gives you one and a half, thus their description “hemiola.”

This autumn, we’re launching a brand new mentored online course teaching you how to get your home-recorded vocals sounding like the pros, check it out!

The gottlieb foundation individual support grant

Guitarists often jump to the conclusion that if you want a bigger sound, you need to add more layers. The downside of adding more layers to your guitar tracks, though, is that you lose some of the textures that make your tone so great. So, instead of layering, try using more complex harmonic chord shapes like open voicings and sevenths. Here’s a quick tutorial on how to build seventh chords out of simple triads, courtesy of Soundfly’s popular Mainstage course, Unlocking the Emotional Power of Chords. 

Our customized goal-oriented music mentorship program Headliners Club is built around proven behavioural science research. Learn why it works so well here.

Technology opens doors for instantaneous craftsmanship, creativity, collaboration, and interactivity, and we need to rethink our educational models to reflect those experiences.  In other words, education should mirror the new normal processes that children and adults are experiencing in all other facets of life. We need to make the classroom more collaborative, more interactive, get more feet more wet and quicker. Just as we can now communicate with people via a swipe or a click, our classrooms need to enable instantaneous applications of what we learn. This will deepen student engagement with teachers as artists or practitioners.

Marty Fowler is always searching — searching for the right harmony, the right note, the best way to compose a new track, the path to musical enlightenment. As a highly in-demand bassist and electronic musician, he gets around. We caught up with him to find out a little more about what drives him. 

By now, you’ve probably heard us shouting from the rooftops about our new and improved customized mentorship program, the Headliners Club — or as we like to call it, our “build-your-own-course course.”

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If you’re a Splice user, you can choose an 808 sample from their library, or just generate your own and drag it into a sampler (not a drum rack!) of your choosing. Most samplers will automatically start resampling the sound so that its pitch is adjusted as you play it in.

The two scales differ from each other by only one note: B natural in the Dorian mode (a major sixth) as opposed to a B♭ (a minor sixth) on the same degree of the D Aeolian (Natural minor). These two modes are minor modes, because they share the presence of an F as a third degree of the scale (which, in music theory books is called “Modal” degree because it sets the mode of the scale and its general mood).

Yesterday, we launched a new version of the app, the Theory aQWERTYon. It visualizes the notes you’re playing on the chromatic circle in real time. Click the image to try it! (Be sure to whitelist it on your ad blocker or it won’t work.)

Tim Maryon is an Soundfly Mentor, an award-winning composer, and film scorer. He has an MA in film scoring from the Royal College of Music, and has written music for documentaries for the BBC, scored animations for BFI, and worked with major brands. His original works have been performed all over Europe. You can read more about him and hear his music here. Want to work with Tim on your project? Fill out this form to tell us about your musical goals and be sure to mention his name in your response!

From this basis, I arrived at an elegant system of harmonic possibility that allowed me to compose music in an entirely new tuning system. I discovered rather than created this system, through a Bach-inspired process of “imaginative research,” infused with musical-theological connections in the spirit of Baroque metaphysics. For example, my use of the seventh partial mirrors and supports the subject matter of the Christmas/Nativity-themed text of the piece — according to Andreas Werckmeister, an organist and one of the main Baroque-era theorists of this system: