Whether you are a seasoned songwriter or you have just recently begun to write your own music, an important part of songwriting involves being self aware. Knowing what makes you tick will spur your creativity in new and unexpected ways. What kind of music do you enjoy listening to? How does your taste in music reflect the style of songs that you want to craft? How do certain grooves and tonalities make you feel? Which events and stories from your own life or the lives of others around you inspire you? These are all questions for self reflection while trying to write music.
The short answer is: I don’t. I grade for effort, in a very coarse-grained way. If the student completes the project, following all the guidelines and requirements, they get full credit, regardless of the quality of the resulting music. (My assignment guidelines are always technical in nature; I don’t put any restrictions on musical style.) If students don’t follow the guidelines and requirements, or hand the assignment in late, or obviously half-ass it, I deduct points accordingly. I don’t give any consideration to the music itself when grading because then I’d just be grading on how closely the student’s musical taste is to mine, which would be arbitrary and unfair.
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Nih music and health initiative
Datsounds’ OBXD is an emulation of the famous Oberheim OB-X, OB-Xa, and OB-8 synthesizers. It features a continuously blended multi-mode filter that allows you to shape the EQ of your sounds easily, as well as a random micro-detuning feature that emulates oscillator drift, which was common in the original analog synthesizers. This plugin comes with three different color themes that you can choose from, depending on your own mood drift. While this synth does not come with any internal effects, it can be paired with delays, reverbs, and choruses in the DAW to enhance its sound.
Let’s get a little more serious now. Finnish composer Kaveli Aho’s concerto for solo theremin and chamber orchestra (recording released in 2014, piece written a few years earlier), performed here by theremin all-star Carolina Eyck is an eight-part homage to Lapland, the most northerly region of Finland. Based on the eight-season division of the year, which is traditional for Lapland’s native Sami people, this work is dense with expressionistic harmony and icy, shimmering textures. It’s great, too, to hear the theremin being explored in all its range — often we only hear the middle and higher registers. In this piece, there are moments when the theremin takes on the sounds of other instruments, like the Chinese erhu or the viola, but also moments when it flutters like a bird. This piece is a real treat and a welcome introduction to the expansive oeuvre of Kaveli Aho.
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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.
Gangsta rap 2019
“Havana”: The only thing that stands out for me here is the bold choice in janky piano samples, just pitchy enough to transport you to the world of well-preserved cars and state socialism. It’s also subjective whether it’s a different chord change, or just a different arrangement of the same chord change that happens when Young Thug comes in. I’ll tell you one thing, nobody on the dang dance floor cares if the implied chords are diminished or dominant.
One of Martin’s most memorable musical moments happened while working on the score to the indie film Experimenter, composed by Bryan Senti. During the recording session, Marty was asked to re-voice and notate a section that involved a lot of string harmonics — one of the toughest things to notate, given all the math of matching which note works with which harmonic and which finger hovers where. Marty dove in head first and got it done, despite biting his nails the entire time — and in the process learned not to be afraid to put it all on the line for the music.
Course: Headliners Club
My playlists generally had a progression in them. It wasn’t just a random set of songs thrown together, but rather, a journey with songs that connected somehow. I knew that aspect was key for our tool, which ultimately meant we needed to codify the DJ part of my brain. A.I. was still in its early days, particularly for music, but we were confident we could pull it off. However, as we went down the rabbit hole, we came across a very big problem…
With his final piece, I think Stefano achieved a really amazing vibrancy and power. The way it climbs the register increases the tension and emotional pull. The monophonic transitions create urgency and more power. And the different treatments of the different sections create a lot of interest and variation. Overall, he created a beautiful piece!” — Ian (Soundfly Mentor)