These ideas all might ring true in other area of life, but they don’t have to apply to your singing voice. Singing does not necessarily have to render you “open” and vulnerable to the listener. Try to disconnect from these notions. The best way to do so is to see your voice is an instrument, and your singing is a product of your creativity and skill. Your singing is not a reflection of your “soul” (so to speak).
Finally, don’t apply blending effects (reverb, chorus, delay) too heavily in the mix as they may stand out much more noticeably after mastering boosts volume and brings out details in the sound.
From the influential mid-century Czech composer Bohuslav Martinů, we have his Fantasia for theremin, oboe, string quartet, and piano. Composed in the summer of 1944 and premiered the next year in New York, this work may not be one of Martinů’s better-known pieces; but, nevertheless, it’s exciting to see a composer exploring a new and exciting instrument so late in their career. With the microtonal possibilities of this instrument, the entire tonal spectrum is your oyster, and Martinů’s off-kilter expressive notation really brings out the depth of beauty and unrest that this instrument is capable of producing.
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When you’re in the trenches every day, it’s so easy to forget where you’re headed. When you see your friends or other musicians on social media growing their fan base like crazy, remember the big picture. Take a few minutes every day to zoom out and look at where you, specifically, are going.
One thing you might have noticed is that we haven’t seen a ton of instrumental music so far. As previously stated, it’s not always as easy to identify a verse and chorus in instrumental music, so thinking in terms of Section A and B can be more useful. But given that, there’s really no limit on what sort of structures you might see:
Hip-hop is no different. Your loops and melodies are your main themes, and how you vary them creates excitement and drama in the music. Remember, hip-hop is a minimalist music — less is more.
Where to start! Mica Levi has been dancing to the beat of her own drum since she started making music. Just 32 years old and already an international star composer and producer, Levi is also the lead singer of the experimental pop group Micachu and the Shapes. After four years studying at the Guildhall College Of Music and Drama, Levi launched into the world of film scoring creating an incredibly original score for Jonathan Glazer’s debut film Under the Skin. Both her score for Under the Skin and her later work on Pablo Larraín’s Jackie won her BAFTA nominations and an Oscar nomination. Fast becoming one of the most original and sought-after film composers out there, if you don’t yet know her music I highly recommend you make its acquaintance!
Eventually, the bass line drops down an octave and changes its stubborn pedaling to play chord tones along with the rest of the rhythm section. It starts with the same old D and A. Next, it moves to C♯ and A for the A chord. Then it moves to the B chord but still keeps the pressure on with that non-chord-tone A. Finally, it rounds off with a pleasant, resolute walk-up, bouncing back up between notes of the major scale and A, which is the root of the chord. Classic!
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You’ll probably be asked to stick to a short set time of between 20 and 30 minutes. Create a tight set of songs that showcases your music and creates some kind of momentum, and don’t play covers unless you’ve specifically cleared it with the venue. Some music venues aren’t legally set up for their bands to perform covers.
All of Soundfly’s mentored online courses come with six weeks of 1-on-1 professional coaching and feedback on your work. It’s like having a personal trainer, but for music! Whether you’re interested in diving deep into a production-related topic like Modern and Advanced Mix Techniques, Songwriting for Producers, or Making Music in Logic Pro X, or just in working with a Soundfly Mentor directly to achieve a musical goal specific to you, we can help you get there!
Knowing your audience is a crucial aspect of marketing your music, but it is also important to consider your audience when writing your music. What kind of people (outside of your friends and family) do you want your music to appeal to? What artists do people in your target audience listen to? Which moods and lyrics does your audience relate to?
“At the end of the day, being able to throw your hands up and laugh when a project goes horribly awry, or bringing an attitude of openness and humor onstage, can make space for very magical things to happen out of the blue, and that’s what I love most of all.