Music composition and playback software...FREE!

For all you songwriters out there, this program will make your music notation for songwriting so much easier.  It is called MuseScore and it is FREE.  I personally downloaded it and am also using it in many of the latest compositions I am working on.  The beauty of it is that, like many of the other paid music notation software programs, this will also let you play back any note combination you input in the staff.  So far so good for this one.  Highly recommended.

Songwriting and Authenticity

Take any one of the successful songwriters from any era, and you will find one thing in common.  Whether is Carole King, Bob Dylan, or John Lennon, one finds the same recurring theme:  great words to good music.  Why are the words great when the music is just good?

Here is a technical explanation as I see it.  In music, we have musical resources that are limited by more boundaries than the words themselves.  A typical alphabet form has a set of just over 20 letters that could be used in any way, shape or form.  The musical alphabet has far less tones.  On top of that, it has the issue of tonal versus atonal...etc...etc...etc.  In other words, the ear will judge the music and translate this judgement into emotions.  Words are quite different.

Therefore here is a more conception explanation on this same scenario of songwriting.  Words speak directly to the hear.  A song is usually judged, not on how many many key changes it brings to the songwriting table, but on how effective it was on conveying the message or multiple messages.  Therefore, that is why there is a constant repetition in one way or another of great melodic lines.  These get used and reused!  And, the fact of the matter is that: it is OK...the song listeners will judge the song progressively on its effective humanity.  We are all about connections, and sometimes, a simple but very powerful one could be made as long as the authenticity of the song is not overshadowed by its musical ideas.  

Blog changes name...

For the past year+, this blog has proudly posted on a vast array of topics concerning music and musicians.  Many of the music related posts were guitar playing oriented.  The name change comes from the study of the past year postings and stats.  Music unites us all: musicians and audience alike.  Therefore, since music blogging (and writing overall) comes from ideas that turn into postings, passages, etc we have decided to rename this blog aptly so...:)

Writing a 2 Chord Song and Why are these song so Brilliant…

Writing a 2 Chord Song and Why are these song so Brilliant…

Writing a 2 Chord song or piece of music is the essence of saying more with less.  Let me take you to an example we all may relate to well enough to understand this concept.  The concept of “Speed vs. Power”.  Anyone that has driven a stick shift car knows that you will get the most hauling power in first gear.  However, the most speed will be achieved in your last gear such as 5^th.  Same thing happens in music!  You have the “speed” or rhythm and the “power” of the chord progression.  These concepts can be interchanged.  However, for purposes of achieving a great song with just 2 chords, we will keep these items in the said order.  Think of speed = rhythm and power = chord progression. 

The different nature of just 2 chords (harmony), and a compelling rhythm gives you the perfect combination of “power” and “speed”.  Use this to your advantage.  Find a good progression that works and find the right rhythm.  Can you imagine a complex rhythm and a complex progression all happening at the same time?  YES!  But, this will defeat the purpose of the brilliance of a 2 Chord Song…    

Taking 3 factors out of the traditional music business model....

Having a great composition is the beginning.  The rest could simply be put into 4 extra steps that a singer-songwriter must follow in order to get their composition and performance out of their tape deck, or laptop.  The traditional music business model called for:  Production, Promotion, Pressing, and Distribution.

Thanks to the world of instant communication and the world wide web, aggregate distributors such as CD Baby, Ingrooves, Tunecore, etc. are making it really affordable to distribute one’s art form.  The basic differences here in the world of distribution are financially in nature.  Some distributors charge up front, while others do not.  Some let you hold all of the royalties earned, while other take a cut.  However, keeping all things equal in this respect, the outcome is pretty much comparable depending on the songwriter’s situation. 

That summary took care of the distribution side of things.  So, iTunes here we go!  Now, the production could be done inexpensively by purchasing a DAW and using a dedicated piece of equipment such a as a laptop or PC (Mac vs. PC is a different question).  The rest of the equation mentioned in the beginning still leaves us with the duplication of the product or the “pressing” of it.  Digitally, this done automatically by your distributor.  If one wishes to sell through for example, CD Baby, physical copies of the product, then it is just a matter of increasing the budget a bit, but nothing that will break your pocket.

So, what about the last part of the 4 part system?  The “Promotion” of everything is still the most expensive part of developing a successful product in the end.  It is advisable then, that one’s budget go toward promotional services.  The promotion should take on a life of its own.   Although there is a lot one could do such as:  performances, independent promotion, PR company engagement, etc.  The fact is that this could turn out expensive.  Therefore, before one spends all of the resources in hiring a great local studio and engineer to go with it, one must make some executive decisions as far as how will it all get to the ear and eye of public.   

Here is a great company to follow and dive into when optimizing your music marketing:

Music production in a 1-2-3 format!!!

Tertian harmony, the triplet feel, etc...what do all of these have in common?  They all share the number 3.  Tertian harmony speaks about how we use chords/harmony built in thirds.  and the triplet feel is the way in which we break up one beat into "1 and a" like we feel a waltz.

Now, how about music production in 123...take a look at this very motivating video on the subject of making music.  The author talks about how you take a period to write, a second period to record, and a third period to mix.  Follow along and enjoy...

 

 

 

 

Intellectual Property: Music Cases...

According to current copyright law, and the written articulation presented at USC’s music copyright cases page, the University of Southern California mentions that in order “to establish copyright infringement, two elements must be proven: 1) ownership of a valid copyright; and 2) copying of protected elements of the plaintiff's work.”

One of the cases presented in their educational webpage is the copyright infringement case of the song Bright Red Chords vs. the song Domino, and respectively, Will Loomis vs. Jessica Cornish as the plaintiff and defending composers.  The plaintiff in this case argues that “several chains of events to show that Defendant Cornish had access to BRC prior to creating Domino.” In essence, the outcome of the case was that the court found that the plaintiff failed to provide any substantial evidence “to support any of its purported chain of events theories of access to the song in question.  This is a very interesting case in which the court looked at a series of events that lead to ruling in favor of the defendant.  A summary of the case could be found here.

Another interesting case having to do with some trademark issues had to do with Apple Corps (the Beatles’ publisher) and Apple Computers.  In this case, the issue was more about a trademarking issue since both companies had the same essential name and a good portion of the same logotypes.  But it went to a higher order of the trademark law, affecting both companies’ business models.  According to an article produced by the webpage Low End Mac:  According to Apple Corps, the iTunes Music Store, part of Apple computers, was in clear violation of a prior trademark settlement that obliged Apple computers to stay away from the music industry.  However, after deliberations were made, “the judge found in Apple Computer's favor, since the company was not marketing music, merely delivering it to customers through its own network.  Apple Corps was required to pay Apple Computer for its legal fees (estimated at £2m) - and Apple Corps promised to appeal the decision.  But on the trademark issues, according to the article and its references, “Apple Computer ultimately paid Apple Corps $26.8 million for the right to use the Apple name in computers and music distribution.”  This complete article could be found here.

A third copyright case involving Vincent Peters as a plaintiff and Kanye West as the defendant had to do with the song “Stronger.”  In a nutshell, the plaintiff was complaining of similarity between the songs.  However, after the court sided with the defendant, it stated that:  “Ultimately, because the Vince P failed to establish substantial similarity and only contained minor cosmetic similarities the court affirmed the district court’s decision that there was no similarity as a matter of law.”  This was a very interesting case since the song in question references the same lyrical themes and even the same third party in the lyrics (Kate Moss).  However, the court’s decision was clear.  A link to this specific article/case could be found on UCS’s legal section found here.

How to make a simple chord progression?

So a chord progression is a sequence of chords that repeats over and over in a particular song or piece of music.  But, how do we make the decision of what goes where?

A simple way of looking at this is by the 1st rule that governs any progression.  That is to look at the root of the chord and move accordingly.

The interval we need to remember is simple:  the "fourth"...

Example in C...if in the key of C major, then think of any note, say D...the chord that goes with it is Dm (the ii in C major is minor)...then simply go up a fourth...all this means is that you count 4 notes up from D including D in the count...so D becomes 1, E = 2, F = 3, G = 4...so G will become the next logical chord...then from G major (the V in C major is major) you keep counting a fourth....so G =1, A = 2, B = 3, C = 4....so the next chord becomes C major....and there you have it!  Now figure out what chord comes after the above mentioned sequence of:  Dm - G - C - ?....

Keep playing and keep your chord progression simple for now...it will make you more aware of your expression on top of the progression.

Make the most money $$$ selling your music!

How to market your most prized possession?  As a songwriter and owner of intellectual real estate, your songwriting should be taken very seriously.  However, how do you make the most money from the actual sales of your music?

The key here is "time"...would you pay now or pay later?  In other words: would you rather pay the cost of your music now or in the future?

The top 2 online distribution companies are respectively:  TuneCore and CD Baby...

Which of the 2 suits your needs in the best way?  Well, the question has to do with the way they charge their fees.

TuneCore charges the artist on a annual basis per song or songs to remain under their umbrella regardless of the sales.

CD Baby charges the artist on the actual sales rather than on maintaining the catalog.

Therefore, if you are the kind of artist that needs to be actively releasing new material and leaving old material behind, then TuneCore would be a good option.  Plus, they have the ability of marketing your music in the licensing field.

If you wish to build you roster as a songwriter, and need to have every single tune available and ready to be sold on the major platforms, then CD would be the option.  However, they will keep a modest piece of your revenue.  This option, by far, exceeds TuneCore IF you need to have all your productions online all the time since it could get really expensive to maintain a roster with a company that lets you keep all the royalties but charges you to have your music with them.

    

Let's talk about your music...

Much of the composition time happens either with an instrument in hand or a note pad.  Now, a very useful technique that may of the most successful songwriters have used has been to talk about their music.  Much of the music we hear and categorize as successful (either mainstream or not), has gone through several filters and levels of critique.

Therefore, take advantage of the music community in your area.  How?  Make sure you are letting others critique your art.  Do not keep it to yourself!  Any publicity is good publicity, especially if it's coming from colleagues.  Do not be afraid of the interaction, the opinions, the criticism, or whatever it may be.

Think of this question:
Would you have rather kept your music unknown and left alone in your hard drive?  I think not!

Therefore do exactly the opposite.  Make your music stand on its own 2 feet.  Let the composition survive on its own and show you what it is made of!!!  

How to change from one key to another?

There are 3 basic types of modulations when it comes to adding tonic flavor to your compositions.

1.  This very first one is pretty simple to do and it is called: chromatic modulation.  You achieve this by chromatically increasing or decreasing the 3rd of any of your chords.  An example would be (if in the key of C major), to sharpen the 3rd note of the 2nd chord of the key.  In other words, the 2nd chord would be D minor, and the 3rd note of D minor would be F.  If that F gets sharpened, then you would achieve a modulation to the key of D major or any other key where D major fits.  However, you achieved this by increasing a note by a half step, or chromatically.  You could always come back to the original key by doing the opposite.

2.  The second type of modulation is called: phrase modulation.  This requires little analysis.  Just plan where you want to go and simply go there.  An example could be to simply take your song to any key at any moment for a specific phrase within the song and then come back to the original key.

3.  The third modulation is called: pivot modulation.  This is like the first example above, but instead of concentrating on the 3rd of the chord, you simply concentrate on the whole chord.  That is, keeping the original chord, you make this one chord fit the next key.  In the key of C major, (if on the chord of D minor), simply stay there and make it fit another key.  For example D minor could turn a very nice pivotal transition to the key of F major since D minor is the 6th chord in F major.  You would come back to the original key later by using a pivot chord of F major to return to C major.

The best way to use modulations is to, first and foremost, find the goal you want to achieve with it.  Then, the rest is easy.  Use the techniques above to make some theoretical sense of your modulations and add flavor to your music!!!

Gustavo Santaolalla | Interview | TimesTalks Madrid

Notes on my earlier post...
Santaolalla seems to be a very intuitive producer that belongs to a different level of musicians due to his artistic philosophy.  This interview showcases his diverse background and ability to communicate his music.  Check it out, it is extremely informative and inspirational at the same Time.  

Writing a bi-lingual song...English/Spanish

Many have dared and few have achieved success...writing a bi-lingual song.  For the purposes of this post, we will use the English and Spanish example.  We will also translate this next paragraph to Spanish in case you want to see it explained from a different perspective.  Here goes...as I said, first in Shakespeare mode and then in Cervantes'.


English...
A very talented artist and business man by the name of "Pit Bull" has taken the chance on not only collaborating, but also recording in a dual language format.  Enrique Iglesias has also done it quite successfully.  Now, what do these two artists have in common?  They ventured into a bi-lingual setting from a pretty successful career already.  So, how do you, the unrecognized artist achieve it?
First, begin with a story in mind.  Try to covey the message WITHOUT translating from one language to the other.  Also, try to think and conceive each story in the language that it will be written in.  It helps to have proficiency in BOTH languages, but it is not necessary.  The glue that will hold the song together will be the musical style.  Sometimes, the lyrics of the song do not even have to relate.  You may wish to make sense of the song in your native language, and then simply pick one or two phrases in the other language from a related poem or a literature excerpt.  Remember that it CAN be done. And, you may just double up your audience in the process!!!

Español...
Muchos artistas talentosos han intentado componer y producir en ambos idiomas.  De hecho artistas como "Pit Bull o Enrique Iglesias lo han logrado muy eficientemente.  De todos modos, la diferencia entre el éxito en este tipo de canciones tiene mucho que ver con el hecho de que en casi todos los casos, los artistas como los que mencioné anteriormente ya gozaban de previo éxito.
Primeramente, una manera muy elemental pero también muy efectiva es tratar de escribir la canción SIN traducir el mensaje.  También, intentar hacer que la historia original tenga sentido en ambos idiomas pudiera ser algo difícil, de modo que escribir y producir 2 historias pudiera ser una alternativa. Las historias no tienen que necesariamente ir de la mano.  Recordar que lo que hará que la composición tenga éxito es SU "música", hará el proceso mas fácil.  Intentar hallar inspiración para la letra de la lengua en la cual tengamos menos dominio pude ser otro reto.  Mucha de la letra de canciones tanto en ingles como en español han sido muy bien fundadas en otras canciones y fragmentos literarios.  Se puede hacer exitosamente? Sí!  Pero no solo eso, sino que en este proceso de componer y producir una canción en ambas lenguas pudiéramos estar duplicando nuestro publico!!!        

Songwriting 101? Think again!

Whenever you decide that there is a song in you that simply has to come out, the "other" journey starts.

"What other journey?"  You ask…

Well, transferring that song from your brain into a standard audible form.  Now, how to do it?

Without getting too complex, just remember that now you have not only ventured into songwriting but recording musician, producer, and sound engineer.

"How did it get so complicated?"

You rightfully keep asking…and then you add: "I thought we were just writing a song. Right?"

Yeah, that is the biggest and probably the most difficult part, coming up with that song that is greater than the sum of all its parts.  However, unless you put it into some acceptable, standard form of listening media, the song will remain in your head for days, weeks, months, etc….

Know your role: You are a songwriter.  Spend your time doing just that:  writing MORE songs!

The rest?  If you can hack it, great!!!  If not?  Then move on to "outsourcing"?

Find the $$$ whether (now or later) in order to secure a person that could assume the roles mentioned of "engineer" and "producer"…you could keep the songwriter and musician roles.  Then, work out a deal were you could get this final product in a decent format for a modest upfront fee and then some royalty commissions.  Therefore, avoid the high upfront fees you can't afford or simply need for that new guitar you have been wanting to get.

Two benefits are derived from all of this…

One, you would have cut your time in half by hiring a professional (whichever the level; sample some of the work first), and continuing with a better use of your time.

Second benefit:  you can now market your song!!!

Using sound loops in your songs...post #1

When composing, a good loop library could be the best option for getting your song from point A to point B.

A great FREE resource for sound loops could be found here: http://www.looperman.com/loops

Another more organic sound approach and nature loops could be this other site: http://www.freesound.org/

Both sites are great for downloading free samples.  However, how can you take your loops to the next level?

Look for a post on this topic following this post...keep playing and experimenting with all the resources available.

Remember that some of the greatest acts in music use loops/samples in a very creative way in producing their hits.  Examples are:  JayZ, Drake, and Mr. 305 himself:  Pit Bull.

Songwriting with 3 chords in mind...

Take any blues and you will find that most are rooted in the 1, 4, and 5 chords respectively.  These are typically dominant 7th chords however apply the same theory for any set of 1, 4, 5 chord in any major or minor scale.

Look for later posts with original samples beats played by yours truly.

Please subscribe to the RSS FEED here in my blog in order to have access to these free samples!!!

Arranging the rhythm part of the guitar.

Arranging is the process by which you decide and "arrange" a particular song before you record it.  When coming up with the arrangement for the rhythm guitar part/parts of a song, you should think of the voicing you will use.  

Voicing is the register (highness or lowness of notes) used when playing the chords of the song.  For example, a chord could be played in at least in 3 different ways.  Here are 3 examples to look at:  

One: in the lower register (power chord). 

Two: in the mid register (such as an open chord).

Three: in a higher register (a bar chord).  

Registers could be looked as the place in the neck of the instrument.  The lower register is closer to the tuning pegs, and the higher register is closer to the sound hole.  That is a good rule of thumb!

The rhythmic part of those 3 voicing forms (within the same song) should be decided by the groove and rhythm set by the percussion arrangement and bass groove.  

You don't want to clash all the chords and their rhythmic patterns.  For example, you may want to strum more aggressively and continuously a mid register chord, just strum once the power chord that goes with it…and the upper register chord?  Well, how about arpeggiating it!  

These are all tricks that one could think of when getting to the task of the arrangement in a song.  This should all be done as a PRE-RECORDING/PRODUCTION task.  Do not take it lightly, as the arrangement of the rhythm part IS crucial to setting the groove for the song, and even giving it a genre!  

Over which chords does the blues scale fit???

Well, a debatable question!  But, if you think about it, the blues scale has a minor 3rd in it….so the first is: any minor triad or minor 7th chord….

The scale has a minor 7th so even a dominant 7th fits fine….

Also, the blue scale could even sound well over an altered chord since the minor 3rd will be heard as the #9 note of the chord….

So, in essence: a blues scale has a dominant 7th sound to it as well as a minor chord quality.  Therefore, what chords could one play on say a Bb blues scale???

Here they are:  the 1 - 4 - 5 chords in a minor 7th quality…and a 1 - 4 - 5 progression as well in a dominant 7th sounding quality!

There you have it one scale = 6 possible chords :)

Mixing up the chords to modulate in a tune.

How to make a song more interesting?

In the words of one of the best songwriters of all time proven by his track record (Barry Manilow), you must not make the song predictable.

For example, if you know that the chords that a major key (and its relative minor) calls for are in this order:  major, minor, minor, major, major, minor, half diminished (I - ii - iii - IV - V - vi - vii half dim.), then mix this sequence up a bit.  How?  Borrow!!!

Make any of the minors, majors!  For example try in the key of C major making D a major triad chord instead and then always resolve the transformed chord by playing up a P4 (perfect 4th) back in key…so the D major chord in the key of C major would have gotten resolved by a G chord in the key of C major.

What did you do?  You added spice to your songwriting!!!

The tritone sound in the major scale!!!

Think of the major scale.  Pretty consonant.  However, we must remember that even the not so consonant tritone sound achieved by 3 whole steps in distance from the any one tone to another one, is also in there.  Use this to your advantage when composing.

Q:  So where does it happen?  

A:  From the 4th degree to the 7th degree (in C major this is from F to B).

A:  From the 7th degree to the 4th degree.

You can use this for compositional purposes to add dissonance and resolution when scoring visuals or simply composing melodies.