Okay, how about A? The interval between F and A, called a major third, is the same as the one between C and E. So we can go up a major third from F by multiplying 4/3 by 5/4 to get an A at 5/3 Hz. Alternatively, A is a perfect fifth above D, so we could just as easily multiply 9/8 by 3/2 to get… uh oh… 27/16 Hz. This is a problem. While 5/3 and 27/16 are pretty close to each other, they are not the same. Which one of these should we use? We’d ideally want the interval between D and A to be a perfect fifth (a multiple of 3/2), but if A is at 5/3 Hz, then it’ll clash pretty horribly with D at 9/8 Hz. On the other hand, we’d expect the interval between A to E to be a perfect fifth too. But if we go up a fifth from 27/16 Hz, we get 81/32 Hz, and if we move that down an octave to 81/64 Hz, we’ll be pretty close to E at 5/4 Hz, but not close enough.
Do you have a two-minute number that somehow feels like it’s dragging on without going anywhere? Maybe you need to add a bridge. Does the move from your verse to your chorus feel overly sudden, leaving things disjointed? Consider using a pre-chorus to ease that transition. Do you want a place for the audience to clap along? Sometimes doubling up the last chorus can accomplish that nicely.
When it comes to organizing the structure of your song, where and when certain sections come in, and the roles they play as your song develops, there are a few ways to go about this. Some of the most common types of song forms are just variations of verse, pre-chorus, and chorus, with the occasional bridge or solo thrown in, especially in pop music.
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If you have an existing instrumental and want to come up with a strong melody, try improvising and experimenting while singing nonsense words. This can help you ignore lyrics entirely to focus on the melody and rhythm of the words. From there, it’ll be easy to write in lyrics to fit the rhythm.
And when he knew for certain
For another change of pace, you could amp up the electronics and work with a guest DJ to make an electro-dance version of your original song. If you’ve got fans who don’t speak English (or you’d like to have some), try translating your lyrics and creating a foreign-language version of your song. You could also re-record your song live at your favorite venue, and release it as a live single.
It’s important to note that I’m not a banker, realtor, or CPA. This is just my perspective and understanding. Before making a big purchase like this, be sure to talk to a professional. Every situation is different, even if the broad strokes may be similar. But hopefully this post has helped equip you with some knowledge to be prepared and get the loan you need.
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Convenient though it is, some musicians don’t want to accommodate a 12-TET, insisting instead that we continue to use pure intervals derived from harmonics the way God and Pythagoras intended. Harmonics-based tuning systems are collectively known as just intonation. This is a poetically apt term, because it implies fairness. By contrast, the implicit message of 12-TET is that life isn’t fair. As we’ve learned, just intonation systems give you some lovely pure intervals, but are severely limited otherwise. A few malcontents prefer alternative historical compromise tuning systems that make some keys sound better at the expense of others sounding worse. There are many such esoteric temperament systems, but none of them are in widespread use.
“Dancing in the Street” is not a Bowie/Jagger original. It’s actually a cover of a song that was originally performed by Martha and the Vandellas and was written by Marvin Gaye. This version, however, is without a doubt the most famous modern rendition and representation of the old song. (Fun fact: It was also covered by Van Halen shortly before Bowie and Jagger did it.)
Take a big task — like building a music website — and break it into steps. What part of that process can you do right now with the time you have? Then tomorrow, you can do another step in that process. If you only have 15 minutes to do something, get something done in that 15 minutes. Then you can go to bed knowing you pushed your music career a little further forward.
This post is part of Flypaper’s Home Recording Week, where we’re sharing tips and insights from our community on home recording and production workflow. Read our featured articles here, or sign up for our weekly newsletter to make sure you never miss a beat!
Whatever state the track is in, what will take it to the next level? If it’s a complete mess, what steps might begin to pull it together? If it’s a good idea that’s poorly executed, how could it be smoothed out? If it’s a promising fragment, how could it be developed into a full thought? If it’s a complete and polished track, could it have lyrics, or another section, or an alternative arrangement?