Funnily, his music also set off debates across Europe about the new “trend” towards effeminate, sentimental, and “cowardly” music! Despite its popularity, people were worried composers were taking the modern opera in feminine directions. And perhaps to make matters worse, Queen Marie Antoinette rather loved his work and invited him to Paris to compose for the Academie Royale de Musique. We won’t go into the competitive “compose off” between he and Christof Gluck, but it is rather humorous that he had half of Paris up in arms about whether they’d support his music or his rival’s and declare themselves as either a Piccinnist or a Gluckist.
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!
Well, depending on how comfortable you are, inviting guests into your closet where you may or may not have clothes could be a difficult task. Try to find a spot that is softly furnished and quiet. Bars, for example, are not ideal for interviews. You’ll also ideally need a second microphone if the premise of your podcast is interviews. This complicates things slightly and you may have to delve a little deeper into your pockets. Be aware of your acoustic surroundings; it will save you time and money in the long run.
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There’s an old studio saying: “Crap in, crap out.” No amount of mixing is going to save a bad vocal recording, so it’s important that you get it right at the source. Unfortunately, you probably don’t have much say over the recording process if you’re already at the point of mixing. But if you can get your hands on the raw tracks, you’ll be able to cherry-pick your favorite words or lines from each take and comp them together to create the ultimate Frankenstein-style performance.
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There’s something magical about a director or composer’s ability to create that poignant sense of looking back or the joy of feeling like a kid again, and the cascade of emotions that come with it, with image and sound. Depending on the project, it might be as simple as a well-arranged descending chord progression, or adding sound design to paint an expressive picture of a particular moment in time shared by many of us in our youth, like a swing set or a wind chime, for example. But there really is no one magical trick that works for all audiences all the time.
A lot of pop, hip-hop, and electronic tracks are skipping the bridge these days. You can hear this song form or something similar in the following tracks:
Need help on a project, or buying a new piece of gear, or even deciphering your favorite band’s lyrics? Forums are where people go to help one another.
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The first chords of your song will set the emotional precedent that your lyrics should ultimately follow. Here’s a few suggestions for starting strong!
As with many musicians, coffee is a necessity to do what we do, most often nocturnally. I’ve lost count of both the number of late-night performances and studio sessions I’ve done over the years and iced coffees (my saving grace) that have helped me make it through long nights.
I like this YouTube one a lot, because there have been a few times I’d throw on a Spotify playlist for pup, only to get in my car, turn on Spotify, and realize if I played my music through my headphones or car speaker, that it would stop it from playing inside the house.
A narrative also plays a huge factor in the press you get as a musician. Blogs, magazines, and freelance writers/interviewers are all in the business of sharing stories. Sure, they’ll review your music, but what they really need for a successful article is some kind of hook. And if you can approach them with a well-crafted and interesting story all ready to go, you’re going to stand out from all the other artists who approach them with pleas to cover their new music.
Anytime you want to use intervals based on perfect fifths, you’re multiplying and dividing by 3, but anytime you want to use intervals based on major thirds, you’re multiplying and dividing by 5. Starting from C, it’s possible to produce any note on the piano if you multiply or divide your frequencies by 3 enough times, but those notes won’t be in tune with the notes you’d get multiplying or dividing your frequencies by 5, because 3 and 5 don’t mutually divide evenly. This is not just an abstract mathematical issue. It’s the reason that it’s impossible to have a guitar be in tune with itself.