Showing posts with label everyone. Show all posts
Showing posts with label everyone. Show all posts
Aug 17, 2016
Dave Grohl's advise.
Listen to Dave Grohl's advise on Off-Camera as this will perhaps make your day:
Dec 18, 2013
Fender vs. Gibson?
Many artists wish to have the ultimate answer of which guitar to choose according to the brand. However, think about it, that is like comparing an 18 wheeler to a sedan. If you want to get in a McDonalds drive thru, then you would use your sedan, otherwise you could cause major damage! Right?
Well, think of guitar brands in the same way. It is not about which brand is better...it is all about which sound will work most effectively for your project. It almost always is: A matter of taste. However, getting to know some of the major differences in guitar brands will put you in a very nice place to make the best choice.
Here is a great article from Ultimate-Guitar on finding the right tone for your composition. I use it as a means to an end. Therefore, do not hesitate to break the rules since you will find out that there is nothing to break really! As stated before, it is a matter of taste and need. However, once you have found your vision and the sound you'd like, then you could make a "sound" decision on which guitar (or vehicle) to use in your particular situation. Remember you do not want to use a 4 door sedan to transport 2.5 tons of anything whether it be bricks or cotton candy.
The most important thing to remember is to make the best of what you ALREADY HAVE. There is no need to spend more $$$ in equipment if you have the basics.
Well, think of guitar brands in the same way. It is not about which brand is better...it is all about which sound will work most effectively for your project. It almost always is: A matter of taste. However, getting to know some of the major differences in guitar brands will put you in a very nice place to make the best choice.
Here is a great article from Ultimate-Guitar on finding the right tone for your composition. I use it as a means to an end. Therefore, do not hesitate to break the rules since you will find out that there is nothing to break really! As stated before, it is a matter of taste and need. However, once you have found your vision and the sound you'd like, then you could make a "sound" decision on which guitar (or vehicle) to use in your particular situation. Remember you do not want to use a 4 door sedan to transport 2.5 tons of anything whether it be bricks or cotton candy.
The most important thing to remember is to make the best of what you ALREADY HAVE. There is no need to spend more $$$ in equipment if you have the basics.
Sep 29, 2013
SXSW
Becoming part of professional associations is key to promoting any kind of brand in the music industry. Whether a band, singer/songwriter, etc. an organization can add just that: organization to a promotional campaign.
As many of you know, the Internet has brought a means to an end. However, it has been that same end that has brought many other strategies to the music business. A great example that although has been around since the late 1980's and traces its conceptual roots to several hundred years ago is that of SCSW.
Their history mentioned the following:
"The classic problem facing Austin musicians was being isolated from the rest of the world here in the middle of Texas. SXSW was a way to reach out to the rest of the world, and bring them here to do business. To do that successfully, SXSW needed to appeal to people other than local artists whether they were from Austin, Ft. Worth, Chicago, Toronto, Munich or Tokyo."
I plan, as an independent musician, to become part of such a culturally rich niche event. It has clearly received national and international recognition and its neighboring state lines is a factor that musicians in Florida should consider.
As many of you know, the Internet has brought a means to an end. However, it has been that same end that has brought many other strategies to the music business. A great example that although has been around since the late 1980's and traces its conceptual roots to several hundred years ago is that of SCSW.
Their history mentioned the following:
"The classic problem facing Austin musicians was being isolated from the rest of the world here in the middle of Texas. SXSW was a way to reach out to the rest of the world, and bring them here to do business. To do that successfully, SXSW needed to appeal to people other than local artists whether they were from Austin, Ft. Worth, Chicago, Toronto, Munich or Tokyo."
I plan, as an independent musician, to become part of such a culturally rich niche event. It has clearly received national and international recognition and its neighboring state lines is a factor that musicians in Florida should consider.
Sep 8, 2013
Improvising on Piano –by Jennifer Lin on TED.com
Improvising on Piano –by Jennifer Lin on TED.com
Musical improvisation is sometimes thought of an
“in-the-moment” art form. Improvisation
happens everyday in our lives without even thinking about it in the form of
communication. However, when it comes to
music, there are musical genres that have even evolved from the improvisation
or creative process. In all, what makes
something improvisation or not is simply it timing. Just as we all know the phrase that says that
timing is everything, the same phenomenon happens here.
I recently watched a video on TED.com that made a huge
impact on the way we should see improvisation.
A young pianist tells her story on how she goes about improvising. Her name is Jennifer Lin and she was 14 years
old when she posted her TED talk. Her
talk (more like a master class) could be seen here on video #11 of the playlist that will open at TED.com
She goes on to describe her creative process and how it all comes from improvising on random notes. Jennifer Lin not only talks the talk but walks the walk when she asks for someone in the audience to come up and choose 5 random notes out of a set of cards in order to use these for her improvised piece.
She goes on to describe her creative process and how it all comes from improvising on random notes. Jennifer Lin not only talks the talk but walks the walk when she asks for someone in the audience to come up and choose 5 random notes out of a set of cards in order to use these for her improvised piece.
The creativity in this video and performance by Ms. Lin goes
to show that as stated in the first paragraph of this post: timing IS everything! As we mentioned, she introduces her TED video
by performing an original composition. But
then, after being through with her creativity and her talk on improvising, she
ends with an improvised piece that could very well become part of her original
repertoire. The difference is that the
last piece performed is the one based on the 5 random and in-the-moment-notes
chosen by the audience member who happened to be Goldie Hawn.
She ends the piece with a remarkable and inspiring cadence
worthy of a standing ovation.
Her talk was simple, her composition likable, but her
improvisation simply inspiring!!!
Aug 21, 2013
The "I - IV - V" or "i - iv - v" chord progression...
It is almost automatic the feeling when we hear a progression of a "one" chord going to a "four" chord and then finishing with a "fifth" chord on any key.
Something curious to note is that the same intervals could be found on the relative minor variations of the typical major I - IV - V chord progression...
Taking the key of "A major" for example, we find that the I is A major, the IV is D major, and the V is E major...all major because of their triad formulas. Right? Still with me? Post questions if you come up with any :)
Now, if we look at the same key of A major, and we set the 6th degree of that scale as its "relative" minor key (by the way, this is a fact in every major key...the 6th degree of any major key will always give you its relative minor!!!), we find that going from that 6th degree which can now become a "i" chord, the pattern of the minor "i - iv - v" is repeatable here too. See the example on the paragraph below...
Example applied and explained:
F#m (that 6th degree in A major) - Bm (the 2nd degree in A major) - and C#m (the 3rd degree in A major)...also make a "i - iv - v" progression.
So, in the same key of A major, we can find 2 sets of "one-four-five" sounding patterns of chord progressions. The major I - IV - V or relative minor i - iv - v chord sequence. The first sequence discussed speaks to the major key and the second sequence speaks to the relative minor key within that major key.
Again, this is a constant in every major and of course, relative minor key :)
Something curious to note is that the same intervals could be found on the relative minor variations of the typical major I - IV - V chord progression...
Taking the key of "A major" for example, we find that the I is A major, the IV is D major, and the V is E major...all major because of their triad formulas. Right? Still with me? Post questions if you come up with any :)
Now, if we look at the same key of A major, and we set the 6th degree of that scale as its "relative" minor key (by the way, this is a fact in every major key...the 6th degree of any major key will always give you its relative minor!!!), we find that going from that 6th degree which can now become a "i" chord, the pattern of the minor "i - iv - v" is repeatable here too. See the example on the paragraph below...
Example applied and explained:
F#m (that 6th degree in A major) - Bm (the 2nd degree in A major) - and C#m (the 3rd degree in A major)...also make a "i - iv - v" progression.
So, in the same key of A major, we can find 2 sets of "one-four-five" sounding patterns of chord progressions. The major I - IV - V or relative minor i - iv - v chord sequence. The first sequence discussed speaks to the major key and the second sequence speaks to the relative minor key within that major key.
Again, this is a constant in every major and of course, relative minor key :)
Aug 10, 2013
Making the best use of "time" and "intros" in your songs.
Time in a song is pricey real estate, therefore use it well. Just like in any conversation, a "pitch" line right at the beginning could mean hitting the ON or OFF button, the same happens musically.
For example, it has been researched that 3/4 time tends to actively work on the brain in a different way than 4/4 time. Therefore, if your song is 3/4, 6/8, or any of the compound meters, your listener will remember something about its rhythmic pattern that will tend to stay longer in their mind. The brain may say: "this is unusual..."
Therefore, if your song (like the majority in the world today) is in simple meter or 4/4 time, make the best use of your intro. However, the same principle should be said for compound meter. Making the best use of the intro is always a good practice. If not sure of the intro, leave it for last. This technique has proven effective in speeches, use it in a musical way and it will become another goodie for the bag of tricks.
How to make good use of the intro and its timing? Look for patterns that make contrary motion with vocals. Example: one repetitive chord over an active vocal line (or vise versa). This specific example, by the way, will make your melodic line in the vocals "free-up" some of its own artistic tendencies. Sometimes this is used in songs in order to let the melody survive the battle of harmony vs. melody.
However, these are just tips in order to achieve a purpose. Feel free to experiment and move boundaries.
For example, it has been researched that 3/4 time tends to actively work on the brain in a different way than 4/4 time. Therefore, if your song is 3/4, 6/8, or any of the compound meters, your listener will remember something about its rhythmic pattern that will tend to stay longer in their mind. The brain may say: "this is unusual..."
Therefore, if your song (like the majority in the world today) is in simple meter or 4/4 time, make the best use of your intro. However, the same principle should be said for compound meter. Making the best use of the intro is always a good practice. If not sure of the intro, leave it for last. This technique has proven effective in speeches, use it in a musical way and it will become another goodie for the bag of tricks.
How to make good use of the intro and its timing? Look for patterns that make contrary motion with vocals. Example: one repetitive chord over an active vocal line (or vise versa). This specific example, by the way, will make your melodic line in the vocals "free-up" some of its own artistic tendencies. Sometimes this is used in songs in order to let the melody survive the battle of harmony vs. melody.
However, these are just tips in order to achieve a purpose. Feel free to experiment and move boundaries.
Jul 22, 2013
Microphone guide FREE from Sound on Sound
As an avid reader (or at least I try to be) on the topics that relate to mics, I was able to find a pretty useful guide provided by soundonsound.com
After some information, the book was pretty easy to download. It looks extremely comprehensive. A bit commercial but useful anyway.
My plans are to use it as a point of reference. One thing I have learned quite the hard way, is that not all mics are created equal! There are good, bad, and mediocre imitations of industry standard mics. However, it is truly not so much about the price, but about your vision and what you want to accomplish.
Check the book in an online format or download in PDF at:
Free guide to microphones from Sound-on-Sound
After some information, the book was pretty easy to download. It looks extremely comprehensive. A bit commercial but useful anyway.
My plans are to use it as a point of reference. One thing I have learned quite the hard way, is that not all mics are created equal! There are good, bad, and mediocre imitations of industry standard mics. However, it is truly not so much about the price, but about your vision and what you want to accomplish.
Check the book in an online format or download in PDF at:
Free guide to microphones from Sound-on-Sound
Jul 17, 2013
Sound check...the instrumentalist after-the-fact!
What tells the story of your performance? Possibly a recording of it. However, not all recordings are created equal! Why?
Recording and therefore, reproducing audio, is not a given. Yes, it could be set to automatic, but even then, it will require some monitoring.
The "audio engineer" will be the artist behind this particular part of the concept, and will essentially tell the story to the masses. In the days where no audio/sound could be recorded, musical pieces had to be played over and over again if needed. Now, very inexpensively, one could have a performance stored for an indefinite amount of time in the future.
Just like you may identify you favorite musician with a specific sound of interpretation, improvisation style, composition approach, etc., an "audio engineer" uses her/his ears in order to add that final touch to the performance. And this happens usually in real time, and whether or not the performance is getting recorded.
It really all begins with the sound check.
Although the audio engineer may be tracking and mixing live, it may be after the fact, where she/he could use her/his ears in order to make everything come together. Sometimes taken for granted, the audio engineer will use any technology available in order to convey a final product according to production specs. Even if the performance requires no after the fact mixing, capturing it to begin with, required some sort of engineering support.
Therefore, form the mic to the mixing board to the hard drive, the sound engineer gives shape to a performance just like another band member. Without their support reaching the masses would have a direct correlation to venue capacity.
Recording and therefore, reproducing audio, is not a given. Yes, it could be set to automatic, but even then, it will require some monitoring.
The "audio engineer" will be the artist behind this particular part of the concept, and will essentially tell the story to the masses. In the days where no audio/sound could be recorded, musical pieces had to be played over and over again if needed. Now, very inexpensively, one could have a performance stored for an indefinite amount of time in the future.
Just like you may identify you favorite musician with a specific sound of interpretation, improvisation style, composition approach, etc., an "audio engineer" uses her/his ears in order to add that final touch to the performance. And this happens usually in real time, and whether or not the performance is getting recorded.
It really all begins with the sound check.
Although the audio engineer may be tracking and mixing live, it may be after the fact, where she/he could use her/his ears in order to make everything come together. Sometimes taken for granted, the audio engineer will use any technology available in order to convey a final product according to production specs. Even if the performance requires no after the fact mixing, capturing it to begin with, required some sort of engineering support.
Therefore, form the mic to the mixing board to the hard drive, the sound engineer gives shape to a performance just like another band member. Without their support reaching the masses would have a direct correlation to venue capacity.
Jul 15, 2013
Scott Henderson superimposing on the pentatonic....why?
As clearly explained, the pentatonic shape can take us places where we want to be. Scott Henderson explains how the B minor pentatonic shape can be taken a whole step up and a P5 up as well. The reason as stated in the video is that IF we put the B minor pentatonic scale in the dorian position or 2nd degree, then we are assumed to be in the A major scale.
Nothing wrong with sticking with just one of these over the key of A major, but spicing things up on the fretboard is Mr. Henderson's specialty. Now, choosing which one of these you will turn into a blues scale is completely up to you :)
The A major scale has 3 minor chords that we can bank on in order to make the journey more exciting!
F# minor (the relative minor in A major)
B minor (dorian mode in A major)
C# minor (phrygian mode in A major)
The 3 degrees can be interchanged. This adds flavor....!
Jul 14, 2013
Improvisation concept and...Getting around the fretboard
Ever wanted to know what goes on in the mind of a guitar player that is "in the moment"?
Meaning that she or he is simply soloing away, or strumming away on a particular tune, and we want to know what is "passing through" their mind?
Well, exactly that: musical ideas that are JUST "passing through".
It is almost as impossible to describe, as it is to believe, that a truly improvised guitar part is the result of extreme caution and plan!
Just as we improvise on what we know when we speak, we improvise on what we know when we play.
A great guitar teacher once explained this concept to me in simple terms. He said, "Jon, improvisation is what we do everyday when we need to explain a specific idea to someone. For example, you may need to improvise an explanation to tell your teacher why you were late to class".
Then it all made sense! He went on to say, "Just because you don't know every word you will say, you still explain your case based on what you know on the subject."
His words took on a very important meaning as my musical training went on. That explanation he gave me then, I compare to good wine now. It really got better and tastier with time. His bio and music can be checked out here.
Marc Vee
Another issue that we struggle with is the connection of plain music theory and guitar theory. Although these are synonymous of each other, the guitar is a different animal, if you will. Developing shortcuts around the fretboard has become a common practice of mine. This has become a way of life, a philosophy of some sort. Although we all learn in our own different ways, the goody bag of tricks that comes with learning some shortcuts is immeasurable. Check out some of these guitar shortcuts here:
Guitar shortcuts
Keep playing!
Meaning that she or he is simply soloing away, or strumming away on a particular tune, and we want to know what is "passing through" their mind?
Well, exactly that: musical ideas that are JUST "passing through".
It is almost as impossible to describe, as it is to believe, that a truly improvised guitar part is the result of extreme caution and plan!
Just as we improvise on what we know when we speak, we improvise on what we know when we play.
A great guitar teacher once explained this concept to me in simple terms. He said, "Jon, improvisation is what we do everyday when we need to explain a specific idea to someone. For example, you may need to improvise an explanation to tell your teacher why you were late to class".
Then it all made sense! He went on to say, "Just because you don't know every word you will say, you still explain your case based on what you know on the subject."
His words took on a very important meaning as my musical training went on. That explanation he gave me then, I compare to good wine now. It really got better and tastier with time. His bio and music can be checked out here.
Marc Vee
Another issue that we struggle with is the connection of plain music theory and guitar theory. Although these are synonymous of each other, the guitar is a different animal, if you will. Developing shortcuts around the fretboard has become a common practice of mine. This has become a way of life, a philosophy of some sort. Although we all learn in our own different ways, the goody bag of tricks that comes with learning some shortcuts is immeasurable. Check out some of these guitar shortcuts here:
Guitar shortcuts
Keep playing!
Jul 6, 2013
Hi Blogees!!! (not sure of the right terminology here :)
This is just to let everyone know that ALL of your support is greatly appreciated.
Feel free to leave not only comments but also questions about anything related to guitar, music, theory, etc. I will promise to be as prompt as possible!
In the mean time, I will also let you know that I will be posting mini-lessons for the "visual" learner as one great friend calls it.
So, check out prior/future posts for the video links to the lessons...
Watch this one video by clicking on it or on the link, as it showcases one of the "greatest" of all time. Enjoy :)
Feel free to leave not only comments but also questions about anything related to guitar, music, theory, etc. I will promise to be as prompt as possible!
In the mean time, I will also let you know that I will be posting mini-lessons for the "visual" learner as one great friend calls it.
So, check out prior/future posts for the video links to the lessons...
Watch this one video by clicking on it or on the link, as it showcases one of the "greatest" of all time. Enjoy :)
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