“Call Out My Name”: Hey-hey, look, it’s another compound meter, with an ultra-slow 45 BPM tempo. By comparison, the slowest tempo we reached in last year’s Chartmania was 57 BPM — also a compound meter. The form here is why they made up the word “formulaic.” Though perhaps the absence of any tricks lays a foundation for Abel Tesfaye to take more liberties with his phrasing, starting his melodies first where you’d expect them, later well before the bar lines dictate, and then after the bar lines for a stumbling, dizzying effect. Watch out in the outro for the strong G♭ in the bass making a good argument for a G♭6 chord. Then again, it may be a first inversion E♭.
If you’re a part-time musician, you know the struggle. You want to make music, but you run out of time in a day. Or you lose heart. Or your music time is not as efficient as you want it to be. Every day, it’s an uphill battle of sticking with it, being productive, and not losing your mind.
Using the guitar fretboard as a template, music theorist Dean Olivet has redesigned harmonic notation in a colorful, intuitive methodology for learning.
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For many, this is the dream. But not for me. My eyes become misty when I think of my teenage PC’s dial-up modem croaking into life, a low-quality MP3 of “Guerilla Radio” or “Ms. Jackson” seeping onto my hard drive through the unregulated glory of vintage peer-to-peer technology. Long Live Limewire!
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Say what you want about rap metal, Rage Against the Machine brought it. They brought their supreme rhythmic tightness and their politically leaning message, which is more pertinent now than ever. In the mid-’90s, they were blowing up, and they were asked to play SNL. (I can only guess that after this incident, whoever asked them to play was fired.)
Since we had some Lydian keys this year, and Lydian is technically a major mode, I lumped these songs in with the major column — above, at least. Below you can see these separated out.
In this edition of “Talking Points,” composers and electronic artists Ryuichi Sakamoto and Alva Noto discuss the nature of collaboration and improvisation.
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For many of us, creating works of art takes a certain level of inspiration and solitude — time to reflect and a surrounding environment that suits our mental well-being. Whether we’re composing, songwriting, or producing music and sound, the act of creation is often at its best when it’s organic.
Lalita says she’s seen a lot of criticism of people leaving during this very critical time. But for her, the best way to help — now and in the long term — is from outside. Not everyone can afford to leave the island, and many will choose to stay to help rebuild, regardless of their financial situation.
Although most of these modes have been used quite sparsely in Western popular music (and mostly in jazz-fusion), some of them have been used more. The mode built on the fifth degree of a Harmonic minor scale, Phrygian (Major third), for example, has been used in heavy metal by guitarists such as Yngwie Malmsteen or Ritchie Blackmore, while the mode built on the seventh degree of the Melodic Minor scale is commonly used in jazz over altered dominant chords (for example, try to use G# Superlocrian on a G#7(♭13) and unleash its altered, dissonant character).
Learn the different scale types and modes that exist and the popular songs that make use of them, and all inside your DAW’s piano roll, in Soundfly’s game-changing free online music theory course series, Theory for Producers, taught by NYU professor Ethan Hein.
So you want to show off your brand new song to a record label or potential manager, or to book a string of upcoming gigs, or even your friends and family, but there isn’t a producer in sight who could do it on short notice and for less than a few grand. Well, the good thing is that this situation is exactly what Logic Pro is made for.