Last, there’s this little tag thing leading us into part three, coming in around the 3:00 mark. And now we’re back to Drake, but not to the harmony fog — just a nice, clean E♭ minor loop. Even all the shouts and “yeah”s are neatly auto-tuned to E♭ minor pentatonic.
Due to the way that YouTube’s algorithms have recently started moving users around based on several years worth of tracking their preferences, recommending content that is not always the obvious next step (because if you simply want the next track on an artist’s album, you’re probably already on Spotify), and then leveraging “discovery results” that are considered successful, thousands upon thousands of listeners streaming long-playing ambient music and sounds have been led directly to user Jackamo Brown‘s upload of Through the Looking Glass. The record had found its audience.
One such example of horizontal hemiola that follows a similar design appears in George Frideric Handel’s iconic “Alla Hornpipe” from his Water Music Suite No. 2. In the video below, the hemiola occurs about 13 seconds in. It’s easiest to notice this happening in the harmony voices, which switch from a 3 feel to a 4 feel, with quarter notes being momentarily grouped in sets of four and groups spreading across the bar line. Without changing time signatures, the pulse of the music momentarily changes, resulting in a perfect example of horizontal hemiola.
Sammy Hakim is an up-and-coming young songwriter based in New York City. In May, 2018 she graduated from Berklee College of Music with a Major in songwriting and a focus in music business. These days she spends most of her time in songwriting sessions with artists all over the country.
So starting with my big vision (Garner, I’m coming for you!), I know I’m going to have to work on my stride playing and block chords a bit. That’s still pretty vague though, so I think I’ll start by trying to figure out the left hand part of “Stompin’ at the Savoy.” Suddenly, that’s totally something I can figure out in a few sessions and I’ll be a little bit closer to my overall goal.
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In several interviews, Sandison and Eoin reveal how they love using old reel-to-reel, four-track, and cassette tape machines as pseudo-preamps to impart a certain sound. The aim was to drive the inputs on this old tech and harness its audio downsampling, imprinting a sense of nostalgia and decay right into the tracking process of the recording.
Planning your next cross-country tour? Here are 8 cities where you’re guaranteed a great, youthful, and excited audience, and a variety of spaces to boot.
Mengyuan Xu is an electronic music artist from China who really leans into the musical aesthetic of traditional Chinese musical instrumentation. His heavy use of zithers and flutes gives his music a unique feel. I think it’s a really wonderful mix of old and new sounds to create something catchy and unique. A recent song of his, “Flame,” is more firmly rooted in the contemporary EDM pop sound, however it still has that Chinese opera influenced flavor that is undeniable.
Some equalizers excel at adding a powerful bottom end to hip-hop vocals, others are great for adding mid-range bite to rock tracks, and some are best for boosting the highs to create a brilliant top end on pop productions. Try a few options and see which EQ works best for your particular song.
A few oddballs and nerds have explored tuning systems that use bigger prime numbers to generate finer pure intervals. Harry Partch used the primes up to 11 to make a tuning system that divides up the octave into 43 pure parts rather than 12 impure ones. You can try the Partch scale using the Wilsonic app or Audiokit Synth One. It’s extremely strange! But, I guess, it’s strange in a pure way?
The word “hemiola” originates from the Greek words “hemi,” meaning half, and “holos,” meaning whole. In other words, one and a half. And so, a hemiola is a rhythmic pattern that uses a ratio of three to two, and the Greeks, ever concerned with ratios, noticed that three divided by two gives you one and a half, thus their description “hemiola.”
According to the Ed Sullivan website, the popular host struck a handshake deal with Beatles manager Brian Epstein for, rather than a one-time appearance, a three-time opener/closer appearance. This offered exposure to over 23 million American homes on that very first performance, and thus, the ensuing Beatlemania took the United States by storm.