So whether you’re a musician eager to get some demos recorded at home, a producer looking to make better use of your personal space, or a fully committed DIY home recordist, we definitely have an online course for you. But which one is the right one? Let’s explore the options!
Soundfly welcomes new voices each month to offer unique perspectives, shine a light on unexpected musical worlds, and help our readers find their sound.
Have you ever heard the term “glue” in a conversation about recording and mixing? No, I’m not talking about the kind you used to put on your hands in elementary so you could peel it off when it dried. (Am I the only one who did that?)
Rap groups 2019
Here’s a quick video full of tips about how to reach out to venues you’ve never played at, courtesy of Soundfly’s free online course on DIY booking, management, and promotion, Touring on a Shoestring.
With overwhelmingly positive results, we’re happy to share a few select testimonials of Soundfly’s Beginner Harmonic Theory course directly from our students.
Student-Artist: Chris Bassaline
Okay all this is super cool, but the thing is that Björk says, “first and foremost, Biophilia, is an album”. No matter how we view the creation and dissemination of the album and its concepts, it is true that Biophilia, like Magna Carta Holy Grail, is fundamentally available as a mass-produced musical product. The ingenuity and approach that went into these albums may end up influencing as many people as, say, Sgt. Peppers or Metal Machine Music, or Graceland, but they are all in the same family.
To find out which note is in Fret 8 on the 3rd string, we need to route it back to the same note an octave below on the 5th string. In order to do so, we move two frets back and skip one string (follow the green arrow). The resulting note is in Fret 6 on the 5th string, so D#/E♭.
Gangsta rap talk
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If we want to take this a step further and become experimenting with even more unusual sounds, we can build modes on the two other Minor scales: The Harmonic and Melodic Minor scales. The resulting modes would be the following:
Sometimes, I’ll mention “I Wanna Dance With Somebody” and someone in the room will just start singing the chorus immediately. Part of that has to do with this melodic context stuff and the tonal hierarchy of certain notes that dominate that section, but it also has to do with other stuff like lyrical repetition in the chorus, tonal resolution, the rhythm and meter, and even with personal memories we might attribute to that song. Cognitive science can explain a portion of this, but not all of it, as Cui is sure to mention.
“No Tears Left To Cry”: There’s so much tonal candy here, we had to have a whole public hearing about it when the song came out: the Kabalevsky-esque interplay between major and minor scales in the melody, the Vsus chord, and these yummy jewels-in-the-necklace add2 chords that make up the main chord-riff. It’s the add2 in the major tonic chord (I) that softens and disguises the tonal change between major and minor, by the way. The intro to this song is really two intros that use chorus material — first as is, then she slows it down from 122 to 100 BPM. Then the second intro is an odd 14 bars long, before we finally get to the verse.
When you’re on a national tour playing in new cities every night, you never know what you’re going to get. Here’s a list of the types of venues to expect.