All of Soundfly’s mentored online courses come with six weeks of 1-on-1 professional support and feedback on your work. It’s like having a personal trainer, but for music! That means you’re not just getting the course content, but a coach who’s invested in your success. With courses like The Art of Hip-Hop Production, Beat Making in Ableton Live, and Modern Pop Vocal Production, there’s nothing you won’t be able to improve on after a session with us!
+ Join our email magazine, Soundfly Weekly, a weekly review of the best in music learning and inspiration, all focused on helping you learn one new thing a week. In other words, tons more stuff just like this. Sign up here.
Lauren Hill’s “Ex-Factor” is a timeless song that will always give me goosebumps. I danced around my living room to this song — lip syncing and wishing I was in a music video, wishing I could sing like her. Today there exists another artist, and another song, that encapsulates Lauryn Hill’s soul, but more contemporary, and that’s Lianna La Havas’ song “Green & Gold.”
National endowment for the arts dance grants
Ischi’s electronic, accordion and yodeling dance track featuring “bock-bock-begooock” interludes is unlike anything you’ve likely heard before. And his story is downright inspiring for any musician trying to carve out a life for themselves through music.
Moving on, this particular section hypes up the actual bridge. It comes back (something bridges don’t often do) acting as an outro, with a hard cut-off on beat four to end the song. Pretty Fly for a Sound, guy?
Evan Zwisler is a NYC-based musician who is most notably known for his work with The Values as a songwriter and guitarist. He is an active member of the Brooklyn music scene, throwing fundraisers and organizing compilations for Planned Parenthood and the Anti-Violence Project. He started playing music in the underground punk scene of Shanghai with various local bands when he was in high school before going to California for college and finally moving to New York in 2012.
The specific frequencies you choose to boost will vary from track to track, and especially from genre to genre. It’s common to apply a subtle boost on the high end using a gentle shelf, typically around 8 kHz or so. So be sure you don’t bring back any of that nasty sibilance — and be careful boosting between 3-6 kHz, as it often causes the vocal to sound shrill and harsh.
Hopefully Tredici Bacci’s listeners understand the inherent joke underlying a song about the ’70s written by someone who was born in 1991. Of course, I can’t seriously mourn an era that I mostly learned about from watching erotic films and talking to my parents’ friends. That said, most things that I love (in music, art, fashion and the aforementioned erotica) were made in the ’70s, and I wonder if I would have thrived had I been born back then. “In The 1970s” is more of a loving ode to what I admire about that decade, and as a compositional experiment, an attempt to write something that used my favorite “’70s-sounding” signifiers.
Chamber music america 5.0 (1) non-profit organization � new york, nyopens at 9:00 am(212) 242-2022
All of our 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! Share your goals with us and we’ll find a course for you, or create a custom mentorship session with a pro musician, engineer, educator, or music industry veteran, to help you achieve them.
Okay, when songs like this sound so chill and happy, it’s hard to notice they’re actually in minor at first. Could it maybe be the ninth chords? I mean, these chords are thick right from the get-go, so for type names I’m gonna have to go by the bass notes and piano chunks to make i iiº ♭III ♭VI v —, and then also a V after that iiº. But again, there are so many sevenths, ninths, and elevenths boo’d up here combined with the fizzy timbre of the synth that it’s hard to tell what exactly to call all these exotic ice cream flavors.
Let’s kick things off with a banger! Bernard Herrmann is a film scoring legend. Psycho, Vertigo, Citizen Kane, you name it, he’s probably written it. One of his earliest films, The Day the Earth Stood Still, directed by Robert Wise, was also the first time Herrmann made use of the theremin. And, in fact, Herrmann used two theremin soloists in the score!
“Bach, in his Ciaccona for solo violin, transforms the dance into an extended soliloquy of tragic character. It sounds entirely unsuitable for a wild wedding, yet the triple rhythm of the original dance is implicit throughout, as is the pattern of a repeating chord progression.”
Finally, we come to the latest album in the list, although Ambiant Otaku is, like many of the others, the debut solo album of a legendary minimalist artist. Tetsu Inoue has been active since the early ’90s and has collaborated with other electronic artists such as Bill Laswell, Pete Namlock, Taylor Deupree, and others. Enjoy this last spacey, spectral, synthesized voyage!