Marty Fowler is always searching — searching for the right harmony, the right note, the best way to compose a new track, the path to musical enlightenment. As a highly in-demand bassist and electronic musician, he gets around. We caught up with him to find out a little more about what drives him.
The two scales differ from each other by only one note: B natural in the Dorian mode (a major sixth) as opposed to a B♭ (a minor sixth) on the same degree of the D Aeolian (Natural minor). These two modes are minor modes, because they share the presence of an F as a third degree of the scale (which, in music theory books is called “Modal” degree because it sets the mode of the scale and its general mood).
Welcome to Flypaper’s editorial column, Talking Points, where we revisit a lengthy lecture or Q&A with the greatest minds in music composition and production, and elucidate the most interesting details or concepts to gain a fresh perspective on the topic in question. In other words, we’ll pull out the talking points. Follow along with the series here, or sign up for our Soundfly Weekly newsletter to get more music learning like this in your inbox every Tuesday!
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Most importantly: Have fun with it. The chances are you won’t have any huge sponsors in the early stages of a podcast, so use those opening episodes to fine-tune your process and overall sound. Having professional, clean sounding audio will make the difference between listeners taking you seriously and not.
“The situation with PledgeMusic is incredibly heartbreaking for musicians and their fans,” says Bandzoogle’s Director of Artist & Industry Outreach, Dave Cool. “And it’s yet another reminder that as an industry, we need to do much better by the musicians we’re trying to help. With Bandzoogle, artists can be assured that any money their fans pledge to their campaigns is reaching them directly, and immediately.”
He goes on: “And the next two notes on the hierarchy are E and G.” Those are the third and fifth notes of the C major scale, they make up the basis for the C major chord, and so they are of secondary importance.
To collect these royalties, songwriters must be registered with a performing rights organization, or “PRO.” These organizations exist to track, collect, and distribute public performance royalties. The U.S. PROs include ASCAP, BMI, and SESAC. In the UK, there’s PRS For Music, France has SACEM, Germany uses GEMA, and so on.
These different ways to get your song out there can be that little extra push you need to help generate more revenue. Think of your song like a business by doing research on other revenue avenues to help you get compensated for your work, but always remember to remain the owner of your copyright.
In this OpEd from a former Soundfly student, we explore the effective active learning approaches key to getting the most out of any learning experience.
Blues guitar is often defined by its light, natural-sounding distorted crunch and a pleasant, round tone. You’ll also need to use the natural expressiveness of the guitar to be able to play both softly and loudly during a blues song, and so I always recommend blues musicians going for a tube amp. Set your gain right where you can play lightly for a nice, clean tone, but where you’ll also get some tasty, soulful distortion when you dig into a note. If you’re getting a tube amp, I’d recommend getting something with a lower wattage so you can crank the gain right on the amp and use its natural distortion settings (no need for fancy pedals in the blues).
“The Luv Pack, Vol. 1,” is comprised of samples created by producer, drummer, bandleader, and author of Soundfly’s The Art of Hip-Hop Production course, Charles Burchell. As a bass player, I have been lucky enough to play a little with Charles over the years, and it has always been an instant hook up for me. His pocket is on another level and given that his raw playing features heavily in the source material for these samples, I knew I could get inspired by digging into the drum loops first.
“In My Feelings”: Check out the rad three-beat pickup to start. I’ll call it an intro, even though it’s only three-fourths of a complete bar. The guest verse, provided by The City Girls out of Miami, smashes into the chorus like peanut butter and chocolate for the most funky-crazy chorus variation of the year (C3). It’s so chopped up that Drake has to spoon-feed us the original chorus directly afterwards — although, technically, even this stabilizing chorus version counts as a variation because he drops everything out at the end for two whole bars before the bridge. Slick craftsmanship.
Everyone has their own quintessential summer event. It might be watching the fireworks with friends on the 4th of July, or jumping into the sweet relief of a pool on that absurdly hot day. Maybe you’re still a kid at heart and it’s not really summer until you hear the ice cream truck for the first time. For me, summer was and still is all about road trips: new adventures with old friends and seeing the country from behind a windshield. I may have traded in my Firebird for a Corolla and my high school buddies for a wife and a sheltie, but as long as I have a new playlist ready, the summer road trip remains the same.