But at the same time, it’s important to realize that this doesn’t really count as practice. As Dr. Ericsson writes, “You seldom improve much without giving the task your full attention.” If you’ve had a long day and your mind feels like it’s drizzling out of your ear lobe, then maybe that’s not the best time to try to focus intensely on a very difficult leap forward.
Blues guitar is often defined by its light, natural-sounding distorted crunch and a pleasant, round tone. You’ll also need to use the natural expressiveness of the guitar to be able to play both softly and loudly during a blues song, and so I always recommend blues musicians going for a tube amp. Set your gain right where you can play lightly for a nice, clean tone, but where you’ll also get some tasty, soulful distortion when you dig into a note. If you’re getting a tube amp, I’d recommend getting something with a lower wattage so you can crank the gain right on the amp and use its natural distortion settings (no need for fancy pedals in the blues).
One of the keys to obtaining this sound is fluctuation. Drive your synth sound through a piece of hardware or a plugin until you can hear the warmth and compression. Then place a regular old EQ on your chain, high-passing at 120Hz and low-passing around 6kHz. This will give you that blunted, warm sound. Then, in whatever soft synth you’re using, start firing up your LFOs (low frequency oscillators). Set them to a moderate speed and depth (nothing crazy, we’re going for chill vibes) and start routing them to various settings.
And disappear’complex · 9 hours ago
And now to debunk one of the most common misconceptions about drinking water. Did you know that it can take up to four hours for the water you’ve consumed to actually reach your vocal folds?!
The classical music world evolved over time away from Bach’s cool objectivity and toward the fiery emotionalism of the Beethoven era. In 1853, Johannes Brahms wrote a letter to Clara Schumann about the chaconne, and his description was a wee bit over the top:
“Wait, we’re musicians, we don’t write agendas.” Ok, but that’s a great way to ensure you don’t get anything done. Being a good musician sometimes requires a little business sense, and I’ve found a clear agenda can really help. Knowing exactly what order we’re going to record in can make the whole thing so much smoother and more efficient. And laying it out a week in advance gives your bandmates and engineer a chance to prepare, make suggestions, or consider alternate approaches.
“The Middle”: Maybe that Drake one from before was just messing with my head, but I’m pretty sure this one is in Lydian, too. Either that, or again, there may be “multi-modal” possibilities here. The melody is definitely rocking the G major pentatonic, but on the other hand, the changes return to the C chord on the stronger beats all the time, so there’s that. And the fact that the song ends on a D chord (not G or C) doesn’t give us any tie-breakers. It’s almost like both the G and C tonics just “met” somewhere, like… in the…
“No Brainer”: So I’m not really hearing, like, “chords” here — just the bass line with the funky leading tone, the ping-riff thing, and the baby-robot notes. I mean, together they do sort of make “chords,” but it’s pretty subjective. I’ll tell you what, though: I’m not building chords off the fifth and sixth notes of the bass line. I just don’t hear vi and V chords like I’m hearing the other chords I can pick out of this loop soup.
Old rappers 2000
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.
“Without Me”: To start, we have an arpeggiated riff making some jazzy tetrads: E♭m to G♭add9 and D♭ to A♭m7, and then watch out at the end of the bridge when they sneak in a C♭m. The first two choruses extend from eight to twelve bars by repeating their second halves, which I think creates a kind of pang of abandonment at the end of the song when the repetition doesn’t come back. Another thing about these choruses is how their stanzas all begin and end in the middle of the bars. Most lyrics begin and end near the bar line, so when we hear lyrics phrased all off-center like this, we can’t tell whether we’re being rushed or being left behind. Do I smell a songwriter’s homework assignment?
Cole Porter’s standard, “I Love You,” sung below by Sarah Vaughan, provides a broad, sweeping plunge into the major seventh interval. Listen as Vaughan sings “Love” and “You” after briefly holding on the “I” around 0:21.
This is actually a really common method for tons of artists and topliners. There’s a great “making of” video on YouTube of Jon Bellion and how he developed the songs and lyrics for some of his songs on his record, The Human Condition.
Our mentors can give you feedback in all three areas on a weekly basis during the program. They might offer a new perspective on your song based on your intentions, or give you honest feedback about where a piece falls short based on the expectations of the field, if that’s part of your goal. This can help you hone in on where to focus your efforts to make the most progress.