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Using NYU MusEDLab’s embedded aQWERTYon widget here, or by joining our free Theory for Producers: The White Keys and Major Modes course and playing along to several other songs in different keys and modes, you can play along to “Under Pressure” directly in your browser! See if you can follow along with the chord changes, nail that classic bass line, or simply fuss around in the key of D Major.
He’s a virtual reality pioneer, a software humanist, a former rock musician and student of classical music. No surprise that Koosha’s current experimental electronic music embraces paradoxes. It’s chaotic, but reveals deep compositional intent. It’s futuristic while feeling nostalgic. It’s kitsch as well as sincerely melancholic. Born in Tehran and now based in London, he courts a vaporwave aesthetic and is firmly in the sonic vanguard of ambient sound. He has a bunch of stuff up on Bandcamp and the latest Stamina is a good place to start.
Grants for nonfiction writers
Now that I’m a professional touring artist myself, I wanted to revisit quotes from my favorite all-time artists to see if they’re still relevant. They are.
So, as you can see from these experiments of mine, I believe that this line of inquiry can help retrieve powerful and beautiful ideas from a venerable worldview that is strange to us, having gotten the short end of Enlightenment thinking. I think this perspective can ground us in deep cultural roots, offering us immense creative potential for our current moment, and I’m curious to see what others working in this capacity will bring to the table in the future! Perhaps it’ll be you.
If you think through what music your listener was likely exposed to as a child, you can easily figure out how to write to job their nostalgia response. But it’s important to remember that “nostalgia” can also be associated equally with sentiments of sadness and loneliness as it can joy and comfort. As a composer, this is where it becomes important to play with instrumentation, timbre, and tempo, in order to get the right balance.
If you’re anything like me, your practice routine is something you do intuitively. It often involves sitting down with your instrument, playing a few scales, banging around for 20 minutes on a few songs or improvs, maybe working on something specific for 10 minutes in a repetitive manner, and then bowing out. Basically, it’s casual, repetitive, and thoughtless.
I’m happy you think it sounds varied! Of course, I’ve been freaking out for awhile about the exact opposite; when I listen I of course hear a lot of similar patterns, progressions and melodies, which worries me a bit. Ultimately, I try to maintain a sort of “been there, done that” mentality to writing new music, meaning that if I find myself venturing into too-familiar territory I look for ways to steer myself towards a new direction.
Mockingbird foundation grant
Introducing Soundfly’s newly revamped Headliners Club program: a fully customized one-month learning and coaching experience built around your musical goals.
Dre DiMura is a professional guitarist, songwriter, and author. While his friends were studying for the SATs, Dre was already touring the world with Gloria Gaynor, Dee Snider, Palaye Royale and Evol Walks. He’s a musician and he’s played one on TV too. You may see him at your local enormo-dome on tour with Diamanté.
Now, here is a project the world desperately needs! Vinyltryk is a record-pressing plant in Denmark, servicing both local and international artists and labels with everything from long runs to custom, limited-edition pressings.
“Thank U, Next”: The sustain of that dreamy electric piano in this chord loop solidifies the G♭ chord as a G♭M13 and the F chord is an F7(#9) secondary dominant (V/vi )! Then we have a regular B♭m before returning to the tonic — but not so fast! We haven’t really returned home, since it’s a D♭7, another secondary dominant (V/IV) that sends us back to G♭M13. These secondary dominants act like coal nuggets to fuel a perpetual motion chord-loop machine. Form-wise, you could also call the chorus extensions “post-choruses,” but I already used up my “P” for the pre-chorus sections, so I’ll just call these extensions “variations” and be done with it.
“I Wanna Dance With Somebody” uses the first, third, and fifth notes on that scale more often in the chorus than in the verses and pre-choruses. Since Cui and Dr. Hughes have each worked on different versions of an experiment about how notes 1, 3, and 5 on a scale affect us psychologically, they can tell us a lot about why that difference matters through the lenses of music theory, music psychology, and cognitive psychology alike.