But at the same time, it’s important to realize that this doesn’t really count as practice. As Dr. Ericsson writes, “You seldom improve much without giving the task your full attention.” If you’ve had a long day and your mind feels like it’s drizzling out of your ear lobe, then maybe that’s not the best time to try to focus intensely on a very difficult leap forward.
If we compare D Dorian to its parallel (and generally more familiar) mode (D natural minor and not D major!), we would notice the following difference:
Here’s one of my favorite on the list! One of Michael Jackson’s most uplifting melodies ever, his lyrical ramp up to the title refrain in “Man in the Mirror,” actually gets a jump start with a downward interval of an enormous major sixth gap! At 1:06, when he sings, “I’m” and “start,” you can hear how energetically it leads into the ascending melody. Top-line composers, take note!
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For musicians looking to integrate sophisticated retail capabilities with their sites, Metablocks is a good option. Through their widgets, you can sell music, accept email addresses, and even integrate Spotify’s Pre-Save campaigns. They’re able to link with hundreds of music retailers, and offer analytics in real-time about who’s clicking, when, and why.
Modes and Key Signatures have a variety of different characteristics and are great for outside-the-box songwriting. Here’s a cheat sheet to remember them!
This is a very classic song structure that can be found in everything from James Taylor to Ariana Grande. Here are some recent songs that use this structure (or something similar):
I often wonder what would happen if we bring back more of this kind of multilayered, allegorical thinking, this juicy stuff that made the music of Bach and others so meaningful in its day? Reviving these older creative methods and conceptions of music makes a worthy and profound experiment.
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Does the solitary fact that Once Upon a Time in Shaolin eschews all forms of distribution and mass-listenability effectively set it apart from its counterparts? I’m not sure the answer is yes, but I would argue that it’s at least a very good step in that direction.
During this program, the initial conversations with your mentor allow you to articulate your targets and then make them explicit through your Learning Plan. You don’t have to adjust to generic goals — you’re setting your own objectives with your mentor.
For some unestablished musicians, the thought of going from making music in a bedroom or garage to playing on stage in front of strangers seems more like a Grand Canyon’s wide leap than a seamless transition. Even before the thought of potential nervousness over performing live for the first time sets in, there are things to consider like how to build your set, where to play, and who to get in touch with about booking. This can indeed be a tricky transition, but luckily, it’s one you’ll only have to make once.
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All this is corroborated by an intensification of dynamics, which grow gradually into fortissimo (1:05 onwards). A first climax is reached in the Prestissimo section: (d.) is now played by both hands and the staccato articulations are now accented, longer (and therefore heavier) notes (1:58).