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The promise of the era was that through intellectual property reform, we would move to a more artist-friendly and less commercial music business. But the more things change, the more things stay the same.
Blues guitar is often defined by its light, natural-sounding distorted crunch and a pleasant, round tone. You’ll also need to use the natural expressiveness of the guitar to be able to play both softly and loudly during a blues song, and so I always recommend blues musicians going for a tube amp. Set your gain right where you can play lightly for a nice, clean tone, but where you’ll also get some tasty, soulful distortion when you dig into a note. If you’re getting a tube amp, I’d recommend getting something with a lower wattage so you can crank the gain right on the amp and use its natural distortion settings (no need for fancy pedals in the blues).
Tim: Taylor has created some really impressive work this session! Both his technical and creative understanding of his process have exponentially increased over the two sessions we’ve had together. I look forward to the next one!
Jhoni Jackson is an Atlanta-born writer based in San Juan, Puerto Rico. She covers Latinx music and culture for Remezcla, runs a monthly queer party, and also organizes a recurring pop-up feminist bazaar. Until last year, she co-owned a mid-size venue; right now, she’s plotting a new venture. Follow her on Twitter for links to her stories or on Instagram for (mostly) pictures of her cats.
An interval is simply the distance between two notes. We classify intervals in two ways— by quantity and by quality. Quantity tells us roughly how far apart the notes are on the scale; and quality tells us more about the unique sound of the interval or which scale it’s pulling from.
For a particularly clean and easy-to-follow rendition of this section, check out this video, which follows the full orchestral score through the Act II interlude.
If you’re a songwriter interested in the legal grey areas of using other people’s music, check out our recent article on the basics of legally covering and sampling songs.
Music technology grants
A further fragmentation of the material brings us to (d.). This rhythmic cell is then chopped into (d1.) and (d2.), which reinforces the sense of urgency. All this material is also subject to octave displacement and expansion of registers (0:59 onwards): From a low A3, the fragments are interspersed with notes in the upper octaves (A4, A5). The note A6 is presented as an interval of an octave (A5 and A6) with a leap in register (1:31).
[AC]: “I think the most interesting thing about this is that even participants or listeners who don’t have any musical training show the similar patterns. So in your head, I’m sure you’re not really thinking, ‘How important is that tone?’ You’re giving it a rating based on your gut feeling.”
More and more Americans are self-employed, music industry aside. Having a 1099 income is becoming increasingly common, and banks are coming across this issue more often. As a result, the whole system may open up more as lenders become more comfortable with loaning to independent contractors and the self-employed.
“Psycho”: After 15 weeks in the Top 5, this song finally made it to #1 for a week. Good going, everyone. The form here is pretty clear-cut; it’s almost a palindrome. It’s just that the two verses have our singers doing their own thing. Like, Post Malone does this isolated line for the second half of his verse, just his own thing not to be repeated. This song, combined with others in this study, like “Look Alive,” also illustrates how important the beat is in determining the subdivision of the tempo.
In the Presence of Wolves wants to record their sophomore album, stay the course, inch towards fame one step at a time, and do it with a smile. Okay, maybe a smirk. These guys are goofballs, and they’re able to convey their true personalities along with their struggles (“Dude, we play prog-metal, we don’t have any girls at our shows”) in their well-crafted pitch video.