The Cardigans’ “Lovefool”’ is one of my favorite songs of all time. It features such a fun bass line, and you can’t help but sing along to that top-line. But the lyrics are begging someone to love them back. All of Lizzo’s lyrics are about her not giving a f*#k about someone loving her back because all that matters is that she loves herself. That’s a message that resonates with me more now for sure.
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.
In this piece, harmony and melody are very limited. Harmony is non-existent (if considered as the use of at least three different pitches at the same time) and melody is reduced to one single note, with the only possible combinations resulting in unisons and octaves.
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This is one I’m sure you’re familiar with, even if you might not have known its fancy name. It’s also sometimes called Verse-Repeating or Chorus form, because it essentially repeats the same section, but with new lyrics each time. If we’re thinking of things in terms of “A” sections and “B” sections and so forth, this would just be multiple As, one after the other.
From a South American dance to a romantically rubato performance piece, Bach’s Violin Partita in D minor has some funky rhythms and bizarre chromaticism!
Another approach that works for some players is to use the C major scale on those two strings (6th and 5th) to map out the other notes as referential to them. If your aptitude for memorization is quite high, this would be quicker.
So this capital gains classification for catalog sales is a major boon. But note that it only applies to sales. Royalty income, advances, etc. all count as regular income.
You might feel like your project is ready to tackle your town’s biggest and hippest venues, but the folks who book talent at those places almost certainly feel otherwise. Venues demand that the acts who frequent their stages bring in lots of people because their business models depend on it. But even if you’re certain you’ll be able to draw huge crowds for your first local shows, you should still look for modest places to play when you’re just starting out.
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Let’s use my own childhood as an example. I heard a few too many nursery rhymes from my crib, like “Mary Had a Little Lamb” and “Merrily We Roll Along.” Songs that focus on the 1st, 2nd, and 3rd scale degrees, small intervalic jumps, feel more familiar, more comfortable, and more nostalgic, to me at least.
In my 2008 piece for Greek Byzantine choir and strings, Nativity Kontakion, I discovered a beautiful harmonic structure based around the Byzantine whole step you get when you divide the octave into fourteen 72nds — a bit wider than the whole step on the piano, which is twelve 72nds of an octave wide. Invert that wide “14/72” whole step, and you get a minor seventh narrower than the usual one. It so happens that this narrower minor seventh is almost equivalent to the seventh partial — one of those pure, God-made mathematical ratios that fell out of favor when equal temperament took over.
A common idea using this scale position is to bend the major 6th up to the flat seven. This gives further flexibility and is a favorite of many players in the fusion, soul, and blues genres. In this lick, we end on the 6th. Ending on the 6th can be especially useful in blues, because the 6th also functions as the major 3rd of the IV chord.
Where you set up your equipment will separate you from the crowd. This is where my expertise really shines. I’ve been professionally recording and editing voices in some shape or form for over 10 years, so if there’s one thing I’m good at it’s making people sound great on a microphone.