Chamber music america 2020

Give yourself a very clear sense of what you’re hoping to accomplish and discuss it with your engineer(s) ahead of time. For me, that looks like setting some clear “Must-Haves” (e.g. all the bass tracks for the entire album) and then a few “Nice-to-Haves” (e.g. a random track of all of us hollering like banshees). Accomplish the “Must-Haves” first and then allow yourself to go crazy on the “Nice-to-Haves” with whatever time you have left.

Everyone has their own tastes, so it’s difficult to pin down what makes some lyrics better than others — but still, there are many lyricists who are widely regarded as particularly masterful. A good starting place is to identify our personal favorites, study their work closely, and focus on developing our own skills.

“To B, or not to B.” That is… not a question this year, because none of our songs were in the key of B! It was E♭— minor, specifically — that was our huge winner this year (black keys on the piano in general, really), with low showings for the keys of D and E, once again proving that nobody writes Top 40 pop songs on their guitars anymore.

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A firm fixture in the late 20th century avant-garde scene, Bertoncini’s abilities as a pianist also led him to perform piano repertoires from the Baroque era through the early modernist canon, and even piano and keyboard pieces written by Terry Riley and John Cage. He wrote numerous pieces for solo musicians and ensembles that include a variety of instruments and acoustic environments and treatments, such as Japanese gongs, prepared piano, speakers, mimes, photoelectric motors, sitars, “kinetic shadows” (whatever those are), and — of course — many Aeolian harps. Yeah, he was a weirdo, and an enormous influence on the late 20th century Italian avant-garde.

Decades before he was laying down the bass track for Daft Punk’s “Get Lucky,” consummate studio session man Nathan East was playing on hit records left and right. A song that is a little bit hard rock, a little bit R&B, done by a band that until then was sort of new-wave-ish, “Would I Lie to You” seems like a fitting way to end this list.

All of your favorite Scrubs characters get to act out different themes of a musical, with tons of genres present — sad songs, happy songs, ballads, the like. And every important hospital topic in the show is covered as well: drama, love, uncertainty, Mr. Cox’s hate of JD, and poo (I’m not kidding). If you, too, hear the world in song, feel free to check out our course, Music Theory for Broadway Actors.

“This Is America”: We’ve found the first of this year’s modulating pop tunes: changing from a gospelly F major to what I hear as E♭ Phrygian, which happens whenever Gambino shoots someone (in the video). I hear it as Phrygian because of the shark-in-the-water E♭ and E (or “F♭” if you’re being kosher theory-wise), and then the high-pitched whistle being a solid B♭, so there you go: E♭ Phrygian. Elements from the two tonalities fuse in places, like at 1:35 where there’s what sounds like a sample of previous F major vocals that drone on the very-not-Phrygian notes A and C, creating a heavy tension. This fusion is also present in the outro. Rhythmically, watch out after the second chorus, where it sounds like they added or skipped a beat, but they didn’t. It all flattens out after a few thumps. 

In Bach’s pre-Enlightenment time, understanding how and why he composed his music might lead contemporary composers to new and exciting areas. Learn more.

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The first option for writing hip-hop bass lines is to utilize the low to low-mid range. The most obvious choice for working in this frequency range is to turn to the electric bass guitar. These lines are loud and powerful but have a surprising amount of nuance and flexibility. An excellent electric bassist can bring a track to life, so it’s always worth considering recording a live bassist. They can create a lot of humanity in simple, unobtrusive parts, and add depth to otherwise dry, electronic-sounding beats.

With all of Logic’s inredible instruments, producers often rely on the sound of the samples right out of the box, here’s how to make them more interesting.

Angela Mastrogiacomo is the founder of Muddy Paw PR, where her artists have seen placement on Alternative Press, Spotify, Noisey, Substream, and more, as well as the Director of Community and Events for Music Launch Co. Her free training ‘Reaching a Wider Audience Without Spending A Dime’ helps emerging artists cut through the noise and get in front of fans and industry influencers in just a few steps. She loves baked goods, a good book, and hanging with her dog Sawyer.

Many microphones also feature built-in “roll off” switches, which filter out unused bass frequencies to prevent unwanted noise. Another common feature is a pad, which lowers the input volume of the microphone. This can be very useful when dealing with particularly boisterous speakers who tend to clip the microphone even at low gain levels.

I find that Ariana Grande’s “Thank u, next” has a similar message of saying “bye bye bye” to a lover. Grande is herself a pop princess and I love that today, this one woman is breaking all of the pop records, because some of those records were previously held by boy bands like Exhibit A above. The industry is still male-dominated, but at least we’ve got a few femmes like Grande killing it. Speaking of which…