The key is to link up a singer’s already incredible ear with what they see on the page — and, use a more robust knowledge of harmony to anticipate what comes next. Learning key signatures, intervals, scales, chord progressions, and function help singers be one step ahead. And, become the kind of colleagues that get hired back again and again.
An annotated score of Berg’s Lyric Suite was discovered, which he secretly dedicated to Hanna Fuchs-Robettin, with whom he was in love. Without delving too deep, the secret meaning of the Lyric Suite also made its way into Lulu, where Berg’s special use of the two notes, H (musical German for B) and F — for “Hanna Fuchs” — made yet another example of Berg’s unique predilection for coding emotion in musical geometry.
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Freewriting is the act of nonstop writing for a predetermined amount of time without concern for grammar, quality, or any other regulations. Initially, this can look like some serious word-vomit, but if you keep going, you’ll often find yourself coming up with interesting ideas, or finding momentum on specific topics. Much like stretching before exercising, this process can kick-start your creativity and help you overcome any feelings of self-criticism.
One great way to do so without having to ask people for their contact information is through subscribing to your band where they consume music directly. For listening tendencies, this means encouraging them to subscribe on Spotify, YouTube, Apple, Amazon or whatever their favorite streaming site is. If they want to just know when they can see you live again, ask them to subscribe to your tour dates on BandsinTown or Songkick; whichever platform you use to post your shows.
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I’m hardly the first person to want to hear how Bach sounds over a groove from the African diaspora. Django Reinhardt recorded a similar idea back in 1937.
I think the title, “La Fine Del Futuro” (“The End of the Future”) is apt because truly, we’re living in a post-modern era. How heavily do you allow technology to influence your composition? I read that you arranged the album by hand on manuscript paper.
“Lucid Dreams”: This opening synth motif throws you a bit by going to a different second note on the repeat. And then you get thrown by the fact that he’s only singing five notes within a perfect fifth tessitura: scale degrees 3^-4^-5^-6^-7^. Don’t be alarmed, but there’s no tonic being sung, so if you took away the chords it would sound major, like 1^-2^-3^-4^-5^ (do re mi fa sol), like effing Beethoven’s 9th and stuff. To my ears, it makes the melody feel lost, adrift, never going home. Of course, that’s appropriate for the song’s theme of heartbreak.
We look at Ligeti’s famous composition in order to decide how much, or how little, the use of music’s foundational parameters really matter in composing.
And then of course, all the notes that aren’t in the scale would be numbered and identified in relation to their function in a chord, but we won’t go into that right now. This all came about as a result of music psychologist Carol Krumhansl’s experiments on how average listeners judged the placement of a “probe tone” in a short melodic excerpt. These tests would later be known as “the probe tone experiments.”
And since we’re here, we may as well bring it back to the Fab Four again. The Beatles‘ “Hey Jude” starts on a minor third interval, once again at 0:00.