When you’re on a national tour playing in new cities every night, you never know what you’re going to get. Here’s a list of the types of venues to expect.
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However, from an opposing perspective, we could also raise the following question: What’s the point of building technological tools that merely mimic what we’d otherwise be able to do manually, or at least through existing musical technology (i.e., instruments)? Instead we should be pushing the envelope and introducing tools into our learning practice that expand our potential for expression and leave preconceived boundaries behind. Or, we should be looking to change our educational curriculums to incorporate software that opens up new worlds for students to dive into.
Think outside the box and let your songwriting generate a bit of extra side money! Here are some potential revenue sources you may not have thought of yet.
This technique is so common in dance tracks that it’s almost a cliché that cannot be avoided. If you frequent raves, dance clubs, or electronic music festivals, you’re probably used to hearing claps, snares, toms, or kicks that start with quarter note hits, then speed up to eighth notes, and then finally reach for sixteenth and thirty-second notes as you get closer to the drop.
The form here is seemingly as sparse as the accompaniment, and it’s just about the most “organic” thing I’ve seen so far in this study. After eight bars of verse, he introduces what will be the refrain lines (you really can’t call it a chorus because it’s only two lines over four bars). But then there’s a big stretch of verse at a non-standard, “just-feeling-it-that way” 36 bars, and then, just cutting this dough with his fingernails (as in, no pre-made cookie-cutter shapes), Drake gives us six bars of the “my head is spinning” sample, followed by, for some reason, only one of the refrain lines? Then there’s eight more bars of the sample and, following that, a mammoth verse section weighing in at 56 bars. To close it out, we get that refrain/sample combo again, but this time it’s punctuated with the first refrain line, and then the next line. Pretty innovative organization.
I love this quote from one of my favorite songwriters. Have you ever heard a song that captures exactly what you’re feeling? A song that makes you say, “YES! That’s exactly it, I just wasn’t able to express it myself!” Well, my friends, that’s one of the many joys of songwriting. So yes, you have a responsibility to help others with your words and melodies. Some days you might feel like you’re not helping anyone, but remember: The world needs the magic of music. And if musicians didn’t exist, we would never have that feeling of catharsis. And I don’t want to live in that world.
List of fake gangsta rappers
Don’t make the mistake of running a crowdfunding campaign with little or no planning. Take the time to put these 6 things in place, and you’ll succeed.
In a song known for its supremely catchy guitar riff (what else is new?), this is Hamilton’s moment of rising up to say, “Hey, don’t forget about the bass… it’s flashy, too!” The high run works particularly well juxtaposed against the lower notes he’s played up to that point in that section (which is basically the same riff as in the verses). Specifically, the vamping on C, then dropping down to the open E and walking up chromatically to the fifth below it (G), makes the shooting up to the next octave C and climbing up to the E above it sound really great together.
Looking to infuse your guitar playing with the whining, whimpering and screaming tones of your blues heroes? Here’s a tonal menagerie of pedals to help!
The best way to keep fans engaged is to go back and see them regularly. In past articles I’ve spoke about the importance of building regionally before trying to tour in markets farther away from your home. This is one of the main reasons for that point.
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