Chamber music america 2020
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The chorus is also not what most would consider a traditional “hook” (though, that’s probably the point). Plus, the pre-chorus is doubled, and it precedes (I mean, “abuts”) no chorus the second time, making it seem like maybe this section should be called the chorus instead — but yeah, he didn’t name the song “Get Your Money,” did he? So there. The guitar plays solid chord types I and ii, and you can hear the I, IV, and V chords in what the choir is singing as well, but whether they’re fully there is somewhat subjective since they’re only harmonizing thirds and not whole triads.
Sometimes the bass sounds great merely doubling what is being played on the guitar — and especially when that guitar is being played by Jimmy Page. John Paul Jones actually had tons of bass-hooky songs, but here in “Over the Hills and Far Away,” the bass is a bit subdued throughout most of it — which makes this particular section stand out even more. That section is when Page climbs out of his solo with a three-octave arpeggiated run, and Jones follows alongside with a standard pattern of root-third-fifth-minor seventh across each octave, a mixolydian theme that would sound good in basically any context.
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You isolate the harmonics on a guitar string by lightly touching it in certain places to deaden some of the vibrations. If you touch the vibrating string at its halfway point, you can hear it vibrating in halves. (On the guitar, the halfway point is right at the twelfth fret.) If you touch the string a third of the way along its length, you can hear it vibrating in thirds. (On the guitar, this point is right at the seventh fret.) Each whole-numbered fraction of the string produces a different harmonic. The shorter string sections produce higher and quieter harmonics.
But listen to it, and I mean REALLY listen to it. Does that C minor chord sound like home, or just a temporary passing chord on its way to the dominant? I respect those who feel differently, but my ears practically beg it to go to that E♭ and it doesn’t, which is why I dig it.
With overwhelmingly positive results, we’re happy to share a few testimonials of Soundfly’s Orchestration For Strings course directly from our students.
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Write down exactly what you hope to accomplish during a session and include all the relevant steps or sub-goals. For example, if your main goal is to record “Song A,” get specific about what you need to do in order to get it all done in the most manageable way. From laying down a scratch track in the demo phase to knowing when in the production process to add ornamental sound design elements, chart out the steps so you don’t end up wasting valuable time. This saves you time because it forces you to plan and act before recording, not reactively and inefficiently throughout the process.
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A short essay on why we should’ve never eaten the apple of industry-approved digital music streaming, and why the low-bitrate MP3 is all we really need.
Paul Weinstein, aka Chipocrite, is a chiptune musician who uses original Nintendo Game Boys, often accompanied by guitar, bass, drums, and other instruments, to create complex audio masterpieces. He has performed at numerous festivals and conventions, including the Vans Warped Tour, Blip Festival, MAGFest, and AnimeNEXT; provided soundtracks for commercials as well as video games and online videos; and released three EPs in addition to his full-length album, Wordplay, in December 2014. He is currently working on the soundtrack for “EarthNight,” a rogue-like runner game coming soon to several devices. Paul is the instructor for Soundfly’s free Chiptune Crash Course series.
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I often wonder what would happen if we bring back more of this kind of multilayered, allegorical thinking, this juicy stuff that made the music of Bach and others so meaningful in its day? Reviving these older creative methods and conceptions of music makes a worthy and profound experiment.