Berg understood that these mechanical principles were only techniques to aid the communication of emotion, rather than ends in themselves. While freeing himself from the conventionality of earlier compositional techniques, he also relaxed many of the dogmatic rules handed down by his teacher (and serialism’s doctrinaire evangelist) Arnold Schoenberg.
According to Hughes, “The remaining notes, on the next rung down, are all of the notes left in the key of C major that are not C, E, or G. So that would be D, F, A, and B.” These are the diatonic notes that produce other chords in need of resolving back to the root.
As one commenter pointed out, though, “Clair de Lune” is in 9/8, so of course it’s going to sound strange over a 4/4 beat. However, for me, the 4/4 beat actually makes it sound less strange. I find 9/8 totally unnatural; I can count it deliberately but I haven’t internalized it intuitively. On the other hand, groups of triplets over 4/4 is a common sound in the African-descended American music, and I can feel it just fine.
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Muru was initially created to solve a professional problem I had as a music curator. As a consultant, I was creating these incredibly long playlists for small venues like bars, restaurants, hair salons, etc. The very initial idea for Muru was to build a search tool that would help me find more songs with the same “vibe” as the ones I had already found. If a Jackson 5 song worked really well in a previous playlist, I wanted to find songs with a similar vibe for the next playlist.
These ideas all might ring true in other area of life, but they don’t have to apply to your singing voice. Singing does not necessarily have to render you “open” and vulnerable to the listener. Try to disconnect from these notions. The best way to do so is to see your voice is an instrument, and your singing is a product of your creativity and skill. Your singing is not a reflection of your “soul” (so to speak).
This is why creative residencies are so vital. They take us out of our hot, urban apartments and out of our busy, chore-laden lives. The best residencies for many of us are situated in natural settings that are purely inspirational in and of themselves, much lass as a result of the institutions or art centers hosting us.
It’s right there in the title — you’ll be able to make music in Logic Pro X! By the end of this course, you’ll be comfortable writing and editing complete tracks in Logic, and starting to get your mixes sounding awesome in a rough state.
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.
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There’s no arguing with this point. It’s science. The dot-com boom geeks who wanted you to have all the world’s music for free were clever enough to deploy basic concepts in psychoacoustics, or the study of how the brain interprets sound, in the architecture of the MP3 format. A quick-and-dirty summary of the compression processes at play includes the use of minimum audition thresholds, and simulated masking and bit/sample-rate management via the Nyquist-Shannon Theorem to discard any sonic information that doesn’t contribute meaningfully to a human’s listening experience.
This was an offer I sent to someone who said they could bring 300 people. So if they weren’t exaggerating, they would get the full guarantee, but this way I also protected myself if they were misrepresenting themselves.
If you’re an electronically trained home producer, you might not have a lot of experience writing lyrics — perhaps you’re more used to working with outside lyricists, singers, and topline melody writers. But in my online course, Songwriting for Producers, I’ve set out to give you the tools and strategies you need to become a profession, all-in-one producer, capable of churning out mega-hits without relying on collaboration to get you that extra mile.
Berg was obsessed with numerology and symbolism. Lulu is accordingly littered with geometric expressions of human themes as above. The most notorious example of this obsession comes into play during the piece’s famous musical palindrome, hinging at bar 687 of the score.