By stressing and manipulating the common and uncommon tones between these three scales, we can create a lot of tonal variation out of very little harmonic information — freedom in limitations, for sure. Examine these three scales to see the crossover:
When it comes to visuals, nothing is unimportant, and everything helps. Don’t be afraid to try a bunch of different things until you find something that fits.
Okay, when songs like this sound so chill and happy, it’s hard to notice they’re actually in minor at first. Could it maybe be the ninth chords? I mean, these chords are thick right from the get-go, so for type names I’m gonna have to go by the bass notes and piano chunks to make i iiº ♭III ♭VI v —, and then also a V after that iiº. But again, there are so many sevenths, ninths, and elevenths boo’d up here combined with the fizzy timbre of the synth that it’s hard to tell what exactly to call all these exotic ice cream flavors.
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In 2013, I started listening to a band called Groovanova and wanted to buy their records. I was heartbroken to find out they had none because they didn’t know how to do it, who to work with, or whether their albums would sell. Three years later, Diggers Factory was born, and Groovanova was the first band to produce an EP through our service!
Tone and slap sounds are both produced by striking the drum closer to its edge where there’s more tension in the skin than in the middle. It is actually the contact area of the fingers that determines the pitch of the strike.
Lisa Occhino is the founder of SongwriterLink and the Director of Marketing & Communications at Soundfly. She’s also a pianist, award-winning songwriter, and graduate of Berklee College of Music.
Believe it or not, professionalism goes a long way when it comes to booking shows or tours. If you shoot off a poorly written email with the promise of bringing 500 fans out to your first show, your email will be promptly mocked and/or deleted. Be thoughtful and measured about how you first introduce your band. and be honest.
Because of this, soundproofing is an important aspect of any home recording setup. In this article, I’ll run through some inexpensive soundproofing hacks that my bandmate uses in his home studio that you can try for yours. But first, let’s go over a few things.
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Hopefully you have some ideas for crafting your own narrative now. Remember, your narrative doesn’t need to be groundbreaking, and even if you think you have nothing to say, you can find a story to share.
“Look Alive”: Aaand we’ve got more Drake. Aaand we’ve also got another somewhat subjective tonality. What we’ve got is three intervals, A and E (an A5 chord), A and D (D5/A), and B♭ and D (B♭ no fifth), and a bass line that adds an F in there (for a♭VI chord, arguably). There’s also no singing to help us establish tonality, and so I first heard it in D minor, but after repeated listening, I realized it was just my brain filling in gaps to meet my tonal bias. It would actually be truer to classify this as A Phrygian because with the A F D B♭ bass line, and without any concrete triads, it’s best to leave it up to the musical scale that matches the sound, and the Phrygian scale here clicks better than anything else.
Gear Acquisition Syndrome (G.A.S.) is a serious disorder that affects millions of musicians worldwide. In fact, one in six musicians is obsessively refreshing online classifieds right now looking for deals on used gear.
One such example is here in “Let’s Go,” where bassist Benjamin Orr does a double chromatic run in the interlude at the end of the chorus and leading into the “She’s laughing inside” verse. It’s a simple, basic riff, starting at the major third, walking up three notes to the fifth, and continuing with another four-note chromatic run up to the octave. It comes at an opportune moment, building up the suspense leading into the last set of verses, in an already high-tempo, high-energy song.
It’s a great time to be a musician! With all the tools available these days, there’s a ton of ways to publicize and sell music online. Here’s just a few.