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“No Tears Left To Cry”: There’s so much tonal candy here, we had to have a whole public hearing about it when the song came out: the Kabalevsky-esque interplay between major and minor scales in the melody, the Vsus chord, and these yummy jewels-in-the-necklace add2 chords that make up the main chord-riff. It’s the add2 in the major tonic chord (I) that softens and disguises the tonal change between major and minor, by the way. The intro to this song is really two intros that use chorus material — first as is, then she slows it down from 122 to 100 BPM. Then the second intro is an odd 14 bars long, before we finally get to the verse.

The great thing about studying pop tunes is that they very rarely stray from a given key. They like to keep things rather diatonic. This means that with just a small bit of practice, you can start to recognize these chord progressions for yourself, even without your instrument in hand. We will go much deeper into our understanding of how these chords function in later articles, but for now let’s just get comfortable with what we get from “Sorry.”

So if we play the C major scale, but begin on the note D, we alter the sequence of whole and half steps. The displacement of the intervals creates a different tonality. In the key of C major, this will give us the D Dorian mode, which, as you can see, is constructed on the 2nd scale degree of the standard major scale. 

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In this piece, harmony and melody are very limited. Harmony is non-existent (if considered as the use of at least three different pitches at the same time) and melody is reduced to one single note, with the only possible combinations resulting in unisons and octaves.

Try to create a space that is free from distractions, especially if you’re easily susceptible to checking social media during down times, like when a session is saving. One way to do this is to just be diligent about taking periodic breaks and working towards a goal before you get to your break. Another way is to shut your wifi off and put your phone on airplane mode when you’re in your home studio.

Student-Artist: Emily McCullough

Project Sonata is an American charity that uses the Japanese synthesizer program UTAU to create electronic vocals for its animated avatar, Sonata. Sonata helps raise awareness and funds for the Depression and Bipolar Support Alliance.

The music business in 2019 has obviously changed immensely from what it was in 1919, but one thing about music hasn’t really changed all that much: It’s still inspirational, motivational, and capable of producing emotional power and beauty. Music itself brings people together, crosses boundaries, and inspires us to be better human beings, and the artists who make it often share their perspectives in the form of statements to the same result.

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Learn more about the new course and sign up here. And remember, since it’s a Mainstage course, you’ll have the full support and guided coaching of a Soundfly Mentor along your journey. Here’s a closer look at how this online mentored course experience will unfold from week to week over the full six weeks of the course.

The bariolage part isn’t only exciting because of the chromaticism — all those repeated A’s are intense too, in a way that doesn’t come across fully in MIDI form or played on a piano. On violin, you’re not just hammering the same note over and over. You’re really playing two different notes that are both very close to being A — you alternate between the open A string and the D fingered at the equivalent of the seventh fret in the guitar. These two A’s are a little out of alignment with each other.

Bands who play on proper venue stages are removed and distanced from their audience. The band-to-fan connections artists constantly seek to forge in live performance are made much easier and more frequently in the setting of a living room or back porch. You’ll also have a better chance at making friends with members of the audience and other performing musicians, because after your set, there will literally be nowhere to hide — unless you awkwardly pack up your things and leave the house without making eye contact or saying a word to anyone. I don’t recommend doing that.

We’re all about these amazing beat makers who hail from Africa, Asia, and South America, and the rest of North America is captivated too. You need to listen to these seven electronic producers with a wholly unique sound and approach right now.

In this edition of “Talking Points,” we take a look at a panel held at this year’s Ableton Loop Conference on the uses of technology in music education.