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use this method to connect an equalizer to your car stereo in the dash if you want easy access to the controls . decide where you would like to install the equalizer . purchase 2 pairs of rca cables . remove your receiver from the dash . connect the rca cables to your in - dash receiver . bring the cables to the equalizer and plug in . mount your equalizer . turn off your ignition . connect your ground wire . connect the power cable . connect the remote turn - on wire . test the equalizer by turning on the car . replace the receiver . | how to hook up an equalizer 5 | some equalizers are designed to for installation in your dash while others are designed for a remote location such as the trunk . the installation location will depend on your particular choice of equalizer and preferences . many prefer to install their equalizers in the dash of the vehicle so that they can have access to the controls continuously . equalizers can be installed anywhere between your amp and receiver . the best place to install an in - dash equalizer is right above or below your head unit , or stereo control unit . some vehicles will have space for this in their dash . other vehicles will not have space and the equalizer can then be mounted under the dash . the final option is to custom - fit your equalizer into the dash . if you have space in your dash , then you will simply need an installation kit to mount your equalizer . these kits are brackets that hold the head unit to the dash and require only a few screws to attach . your kit will come with particular instructions for mounting . if you do not have space in your dash you will need an under - dash mounting kit . these kits are usually designed for under the dash on the drivers side although other options are available . there are many different designs for under - dash kits so choose on that you prefer and works well with your vehicle . if you would like to have a custom install then it is best to leave the job to a professional audio installer . to run a signal from your stereo receiver to the equalizer and back again , youll need 2 sets of rca cable the same kind that is usually used to connect source components like turntables and cd players . the length of the rca cables should match the length of the distance between the receiver and the equalizer . to avoid cable clutter , its best to buy patch size cables , which are only about a foot 30 cm in length . remove your receiver from the dash so that you can access the wires behind . usually you can pull off the plastic piece covering the dash and then pull the receiver slightly out . plug the two rca cables into the receivers preamp outputs . tape them together so they will not come apart . route the cables through the dash to the equalizer . you should use tape or wire ties along the way to connect the two cables together . plug the cables into the preamp inputs on your equalizer . mount your equalizer to whichever location you have chosen . you will simply need to attach a few screws in order to mount your equalizer . turn off your ignition completely and remove your keys before you begin installation . this is for your safety while you connect the wires to avoid getting shocked . on your equalizer you will see three wires . the black one is the ground wire . on the back of the receiver will also be a black ground wire and you should splice or crimp these wires together . after making the connection , wrap it in electrical tape . if you cannot find a black wire on the receiver , remove a bolt near the equalizer mounting location and scrape away any paint covering the location around the bolt . crimp a ring on the end of the wire and bolt this to the vehicle . if there is no location available then you will have to drill a hole in the chassis . be very careful not to damage the gas tank or brake line while doing this . the yellow wire could be red or another color - check your manual on your equalizer is the 12v power cable . connect this cable either to the power cable attached to the receiver or to a 12v variable power source in the fuse box such as the wiper fuse . if your receiver does not have a wiring diagram to show which wires are switched power cables , then you should use a digital multimeter to identify the correct cable . connect the multimeter to the cable when the key is in the off position and make sure the voltage reads at zero . then turn the key into the on position and see if there is now 12v . if the wire follows this pattern then you have found the correct switched 12v power wire . splice the wires together and wrap the exposed metal with electrical tape completely . this prevents the exposed areas from touching other wires and potentially shorting the system . you can also crimp the wires together but this is not as strong as splicing . this wire will need to be routed from the receiver to wherever the equalizer is mounted . this wire will usually be a blue wire with a white stripe , and should be labeled on your equalizer . on the receiver should be a blue usually blue but can be other colors wire that goes to the amplifier . connect this wire to the blue wire on the receiver after routing it through the vehicle from where the equalizer is located . splice or crimp the wires together to make a connection and then wrap the connection in electrical tape . put the key in the ignition and turn it to the on position . then turn on the radio to check that everything is working well and that the equalizer turns on with the radio . put the receiver back into its bracket and place the frame covering back into place . be sure all the wiring is pushed inside the dash beforehand . |
never show that you are upset , to the person declining your music . be gracious . keep your rejection to yourself . reflect on your music . consider a voice teacher . never take negative responses as a sign to stop singing , playing or writing music . never stop learning about your instrument or your voice . dont get discouraged . keep working , and keep seeking feedback . | how to deal with rejection of your music | the reason for the rejection might just be that they arent looking for an artist like you . they may want a different genre or a different styling . sometimes it is just that you have brown hair or you are a man and they need a female singer . put on a good front . be a good sport . this is so important because they may like your next project or your revise and if you make a big deal about how upset the negative response made you , they may not want to work with you in the future . after you receive the negative response thank the person for their honest opinion , and ask them how they think you can improve your work . this shows you care about your music and want to learn how to improve it . dont go advertising that someone hated your music or song . this is one of the biggest mistakes artist and songwriters do . when you get home and you are feeling the blues because of the negative response , take some time and listen to the songs again with their advice in mind . write down ways you can improve on the song or your voice . after you do this i advise you to take some time away from that song , not long , but enough time that you can get an objective viewpoint yourself . if you are having pitching issues on the song dont worry , call a voice teacher asap . voice teachers are essential for all singers . yes , even the good ones need voice teachers . the reason voice is taught is to help you learn how to build and maintain a solid voice . the voice teacher will work with your flaws and help you to improve . so they say you are tone deaf , this isnt a life sentence to never perform again . go to a voice teacher and have them help you with finding tones . there is a way to learn this and a good voice teacher will be able to help you . rather , take the rejection as a learning tool . when you evaluate your music and improve on the work it makes a better musician out of you . many times new songwriters or singers and musicians present their work way too early in the creative process . maybe your work is just not a finished product . great musicians are always learning new ways to present their talent . try to keep you head up , not everyone is truthful either . maybe they have a reason for putting your talent or music down . some people do this when they are jealous of others . the next step is to get another opinion after you improve on your project . the next answer may be a yes |
go to reverbnations website . enter your e - mail address and come up with a password . confirm your e - mail address . add your music to your account . add a profile picture . sync your social networks . invite friends through facebook , twitter , or e - mail . click continue . you will be asked if you would like a tour of new profile dashboard . go to reverbnation . com . click the sign up button . select which type of account youd like . enter the required information . agree to the terms and conditions , and click submit . you have now created a reverbnation artist account for your band . | how to create a band profile on reverbnation | click on the sign up for free button on the upper right corner . alternatively , you can sign up using your facebook account . go to the e - mail you used to sign up and click the link in the message you received for confirming your e - mail address . it will bring up a page with the next step in the process . if you used your facebook account to sign up , you wont receive any confirmation e - mail . to upload a song , click the button that says upload a song , browse your computer for the file , and enter the file information . this step until step 11 may be skipped by scrolling to the bottom of the page and clicking skip this step . if you decide to skip these steps , proceed to step 8 . click the profile picture button , browse your computer for an image , and add a caption . you may opt to sync your social networks to sync to your bands facebook page , you must first sync your personal facebook profile . do this by clicking sync next to facebook , and then signing into your account . click the install button next to free facebook artist app . you will need to grant permissions to allow reverbnation to manage your bands facebook page . next , you may select the page reverbnation will manage , and then click update . to sync to twitter , do the same thing when syncing with facebook click sync next to twitter and log into your twitter account . to sync to youtube , you need to be signed into your youtube account as well . click the invite button and select which way youd like to send word of your new reverbnation account . this screen will appear periodically until you complete the steps . click dont show me this screen again if you dont want to see it anymore . its up to you whether you take the tour or not . you now have a reverbnation profile and a dashboard that allows you to manage all your social media posts in one place . it should redirect you to the mobile site . if not , follow the steps above . if there isnt one at the top of the page , click the menu button at the upper - left of the page , and select signup . bands should use artist . you will then be prompted to sign up with facebook or by entering your e - mail address . if you select facebook , you will have to sign into facebook on your phones browser . if you enter your e - mail address , youll also need to come up with a password . after either choice , click sign up . you will now need to create your profile by entering the following information band name genre what style is your music country of the band city state postal code you may download the reverbnation control room app or login and manage your profile from the browser . |
• first , turn your production station on . wait for the mpc to load the operating system and anything else saved to the compact disk chops , edits , sounds , instruments . after the machine has loaded , navigate to the main menu by pushing the mode and window button . here you will be able to find the load option , hit the menu button then pad 2 . once you have reached the load screen , using the wheel on the mpc , scroll through the different sounds that are saved onto the hard drive , if any . once you have found the sounds you would like to use , highlight each one by moving the wheel and hit pad 2 to load each sound and to assign them to a pad . the mpc will ask you which pad you would like to assign with a particular instrument you have four sound banks lettered a to d which has 16 pads for each bank . after you have assigned your pads , you are now ready to start recording programs or sequences . head back to the main screen where you will see the 1st empty sequence . before you record anything , take a few minutes to hear what the instruments sound like when tapping the pads . after you have done the proper editing , go back to the sequence screen . now that you are back on the sequence page , you are ready to record . make sure you set the tempo for your recording , this control how fast or slow the bar counter will count . after that , you will also need to set how many bars you want the sequence to record a standard hip - hop track will consist of 16 bars . after this is completed , select the pad that has the instrument you want to record . press the play button , while holding it hit the record button as well . play the desired pattern of notes for the first track . make sure you play the notes all the way to the end of the bar counter or there will be silence towards the end of the sequence . after the first sequence is recorded , use the wheel to select next track . continue this until you have recorded a sequence you are happy with . if you make a mistake whether you pressed the pad too many times or recorded off tempo simply go back to the track you would to edit and delete and record the pattern on the instrument over again . once you have recorded the instrument patterns , you can now play the recording back by pressing the play button . pressing the menu then save button can save all recordings or you can delete the sequence by using the wheel and highlighting the sequence and hitting the delete button . once you get familiar with recording sequences , you can venture off with recording other instrument samples into the mpc 1000 . | how to create an instrument sequence on an mpc 100 0 | the power button is located in the back left hand corner of device . , the mpc does come preloaded with instruments so you can use these as well . to make sure you are in the correct screen , you should see the track option , mute , solo , tempo speed counter , bar counter , etc change the program option to the folder we loaded the sounds on previously . also , make sure the sequence is on number one and make sure there is nothing recorded on this sequence . some instruments may sound louder or softer than others , if this does occur , press the menu button then program button to adjust the velocity , frequency and any other levels affiliated with that instrument . , this will start to record any pads you hit . by selecting next track , this will make editing much easier since the instruments are being recorded in single tracks . |
turn off your effects , set all your eq knobs to the middle , and set your amp to a clean channel if you have one . set your guitars controls . play your guitar a bit and listen . if youre too dirty , turn down the gain and lowbass frequencies . if you sound too bright , roll down your guitars tone and your amps hightreble frequencies . if it sounds dull or weak , try adding a hint of reverb at the amp or with a pedal . | how to get a good jazz guitar tone | jazz guitar tone is usually very simple and clean , and though some guys like john scofield might play with distorted tones , most jazz groups will want a sound that blends into the mix better . you arent playing a lead role like you might in a rock band , so get ready to back down your master volume too . the volume and tone controls on your guitar are there for a reason , and its not to be rolled all the way up all the time . set your guitar volume around seven or eight if you dont have marked knobs , just estimate and set the tone around halfway . youll be adjusting as you go but this is a good way to hear the basic sound of your guitar and amp . play some lead lines and strum some chords . is your tone too bright too distorted figure out what you want in a guitar tone and what you dont like about your current sound . if your amp has a lot of headroom , then you can get away with a higher gain setting , but if your amp distorts quickly , then youll need to turn that down . depending on your speaker size , lower notes can make your speaker distort too . dont go too low , or you will be inaudible during solos , but try out different settings and see what works . consider playing with your fingers if youre a fan of wes montgomerys tone . you dont want to sound like a rockabilly player , but a bit of reverb can give you a fuller tone and make you sound better in an acoustically dead room . |
format the document . add the title . identify the parties to the contract . insert your recitals . include a definition section . clarify the artists recording obligations . identify costs which will not be charged back . include an overcall album provision . add an exclusivity provision . add a non - compete clause . identify any deposit the artist paid . explain how the artist will pay the balance of the recording fees . explain how the artist can cancel a recording date . explain who owns the tracks recorded . identify your distribution rights . identify the royalty rate . include a covenant that the artists work is original . add an indemnity provision . insert a dispute resolution clause . include provisions that explain the music industry is risky . include a termination clause . add a merger clause . insert a choice of law provision . include the address of the parties . include signature lines . add a notary block . show the contract to your lawyer . give the draft contract to the artist . distribute copies of the signed agreement . | how to draft a recording contract | you want the contract to be easy to read , so make sure that you set the font to a comfortable size and style . times new roman 12 point is fairly standard . you can also play around with bold and larger font sizes if you want to emphasize certain portions of the contract . at the top of the first page , you should center artist recording contract between the right - and left - hand margins . you can make the title a little larger than the rest of the type . at the beginning , you should identify the artist and the recording company . you should create the contract as a template that can be used more than once . to do so , you should insert blank lines for the date and the artists name . sample language could read , this agreement made of between ‘company , ‘record label , or ‘recording company and ‘artist . recitals are the whereas clauses that describe the general nature or background of the contract . you will want to include recitals that describe the desires of each party . it is standard for recitals to be fragment sentences . you could write whereas the parties desire to enter into a contract whereby the artist will record songs for the recording company and that company will try to market the songs for a period of 12 months starting with the date this agreement is signed . now , therefore , in consideration of the mutual benefits and obligations contained in this agreement , the following agreement is made . the contract might contain terms you need to define because they would not be understood by the average person . if you end up in court in a contract lawsuit , you will want the judge to understand how you are using terms . accordingly , you should define any terms you dont think are clear . one term you will definitely need to define is territory . the record label gets rights to only certain territories . when signing a new artist , the label usually defines the territory as the entire world . more established artists will try to get separate contracts for different territories , such as north america . you might want to save this step for last . once you finish a draft of the contract , you can then go back through it and identify unclear terms . an artist needs to present you with some songs before you agree to market him or her . accordingly , you should explain the initial recording obligation . for example , a recording company might require that the artist cut a minimum of five songs using the companys master sound tracks . you should explain how the costs of recording these songs will be charged back to the artist . for example , you could write , the artist is under a ‘recording obligation for the next 12 months . the artist will fund the initial cost of presenting him or herself to the record company with a minimum of at least five songs , recorded using company master sound tracks . if the record label signs the artist , then further recording obligations will be at the labels expense . however , the artist must understand that all monies furnished to the artist will be charged back to his or her account . all of the money will be recovered from the artists publishing , record sales , personal appearances , corporate sponsorships , and product sales of all kinds . there are no ‘free rides in the music business , and all costs are recoupable by the company . you might not charge back all expenses to the artist . if not , then identify those costs which you wont charge back . for example , you might not charge for the following manufacture of the single record on compact disc mailing , labor , and postage related to mailing the single to all radio reporter stations service and re - service costs in - house label promotion you might get a deal for an album from one of the major labels or major independent record labels during the 12 - month term of the contract . however , the contract might have expired before you can record it . you should include a provision where the artist agrees to come back and record the album in this situation . for example , you could write artist may be called back to record at least one album on behalf of the record label after the contract period expires should the company have a contractual offer in hand from one of the major labels or major independent record labels . this obligation is called the artists ‘overcall album . the company may exercise an option at any time the company has written offers in hand . the ‘overcall album shall be completed subject to the terms and conditions of this agreement . artist will be provided with sufficient notice of the option being exercised in writing at least 30 days prior to the notice of time to appear to record . during the term of the contract , you dont want the artist recording or performing for anyone else . for this reason , you should include a term where the artist agrees to be exclusive to your recording company . use a clause like this artist agrees that during the period of this agreement that heshe will not perform for any other person , firm , or corporation for the purpose of producing commercial sound records . artist also agrees that after the expiration of this agreement not to record for anyone else any of the musical selections recorded under this agreement , and that in the event of a breach of this covenant , the company shall be entitled to an injunction to enforce same , in addition to any other remedies available to it at law or equity . legally , you can get the artist to agree not to record a contract or promote a recording for another label for a certain amount of time after your contract ends . you should expect the artist to push back on this , but you can include it in your template artist warrants not to perform or license or consent to the use by or exploitation of any phonograph record or recording by the artist for another record label , management company , or producer for a period of 12 months subsequent to the expiration or termination of this agreement . the artist or the artists music company will probably pay you a deposit in order to record the initial tracks . you should identify the amount of the deposit in this section . for example , you could state , artist has paid a deposit to the recording company in the following sum . you can also identify the method used such as wire transfer , certified check , etc . and where the money was sent i . e . the name of your bank . the artist needs to pay the remainder of the costs for recording before you will begin a recording session . you should explain the details . for example , you could write the artist must pay the balance of the recording contract 72 hours prior to the session being called . the recording date is scheduled for . the total cost of recording the complete project , less the amount of deposit , will be . you want to spell out clearly whether the artist can get a refund on their deposit or fees if they need to cancel a recording session . for example , you might write the artist cannot cancel a session without giving the producer , or company representative , written notice at least 10 business days prior to the recording session . if a session is canceled , the deposit is nonrefundable . however , it may be applied to another date . to prevent disputes from arising after recording , you should explain who will own the recorded tracks . it is standard for the record label to hold all rights to the music when the artist is a novice . more established artists can negotiate to gain control of the music after a certain amount of time . you could write , all sides recorded during the terms of this contract shall be recorded by the artist on the record companys behalf . all records or discs made therefrom , together with the performances embodied therein , shall from the inception of their creation be entirely the property of the record company in perpetuity , through the territory , free from any claim whatsoever by the artist . you should also explain in the contract that you have the sole rights to use the recorded songs throughout the territory you agreed to , as you see fit . with this clause , you are basically telling the artist that you will control distribution , not the artist . for example , you could include this distribution provision the record company shall have the sole and exclusive right to use the sides throughout the territory or any part thereof in any manner it deems fit , including without limitation the sole and exclusive right in perpetuity and throughout the territory to manufacture , advertise , sell , distribute , lease , license , or otherwise use or dispose of the sides . the artist will expect a certain percentage of the sale of each cd or digital downloads . you need to include provisions which address how royalties are paid . be sure to include information about domestic royalties and international royalties . most recording labels pay a lesser royalty amount on international sales than they do on domestic sales . if the artist has a lawyer , then you should expect to negotiate the royalty rate . to understand what is a standard royalty rate , contact other record labels or meet with an experienced lawyer in the music industry . you want to protect yourself from an artist who steals another persons work but presents it to you as original . in that situation , you could be sued for copyright infringement . for example , you could include this covenant artist covenants that heshe has the sole right to record such original songs without any restrictions whatsoever . artist further warrants that heshe has not entered into any written , oral , or other binding agreement of any kind prior to recording such songs on behalf of the record company . by agreeing to this provision , the artist agrees not to sue you for any misunderstandings in the agreement . obviously , including this provision wont entirely prevent lawsuits . however , it can be helpful to have . you might write artist agrees and warrants to hold the record company ‘completely and totally harmless from lawsuits , and litigation of any kind whatsoever , that might proceed from any misunderstandings spelled out or not spelled out in this agreement . you can agree to arbitrate any disputes that arise under this contract . arbitration is like a trial except it is private . you present your case to an arbitrator instead of a judge . alternately , you could include a provision that you will mediate any dispute with the help of a mediator . if a disagreement does arise , then the parties have agreed in this contract to seek binding arbitration for their differences outside the bounds of a lawsuit and before an arbitration panel made up of people within the music community who understand the legal aspects of each and every facet of this agreement . many young artists have stars in their eyes and imagine that fame and wealth are automatically guaranteed because they have signed a recording contract . you can include some provisions which explain to the artist that the music industry is risky . for example , you could have the artist promise to the following the artist covenants that heshe is not basing a decision to record on any intangible or fraudulent promises , dreams , or incentives given himher by the producers , company , or management firm . it is the reality of the music business that the artist is taking a chance at recording and may or may not ever be signed to a major label in the future . also , you can have the artist warrant that no one is guaranteed success the artist understands and warrants that no one can guarantee ‘superstardom in the music industry . only a small percentage of acts signed to the major labels go on to achieve superstardom . for extra emphasis , you can set these provisions off in bold type . near the end of the contract , you want to explain how the contract can be terminated and what grounds can trigger termination . generally , you will want to give yourself the power to terminate the agreement if the artist breaks any provision in the contract . for example , you could write if artist is in material breach of any material term or provision of this agreement , or if the company determines that artists ability to perform as a recording artist has become impaired , then in addition to all other rights and remedies available to the company at law or equity , the company shall have the following options 1 to terminate this agreement at any time , whether or not artist has commenced to cure the default before such termination occurs 2 to suspend the companys obligations to render accounting statements or payments to the artist until such time as the artist eliminates the default or condition andor 3 require artist to repay to company the amount of any advances not yet recouped . this clause states that the contract contains the entirety of your agreement . any prior agreements are merged and superseded by the written agreement . you want this clause so that the artist doesnt sue and claim that you had a prior oral agreement that isnt included in the contract . a sample merger clause might read this contract contains the entire agreement between the parties with respect to the matters contained herein . it may not be modified , waived , or supplemented except in a writing signed by all parties . if you find yourself in a contract dispute , then the judge will have to interpret the contract using a states law . you can decide which states law you want to use . generally , companies pick the law of the state where they are located . a choice of law provision could read this contract shall be governed and construed in accordance with the laws of tennessee , excluding that states choice - of - law principles , and all claims relating to or arising out of the contract , or the breach thereof , whether sounding in contract , tort , or otherwise , shall likewise be governed by the laws of tennessee , excluding that states choice - of - law principles . you should clearly lay out each partys address . dont put this information under the signature blocks . instead , you can insert it before the signatures . make sure that you have the following information for each party name address daytime telephone evening telephone fax number email address it is common for many different people to sign a recording contract , so you will probably need five signature lines . just above the lines , include the following in witness whereof , all of the following parties have caused their legal signatures to be affixed in agreement this . you should have a signature line for each of the following peoplerecord label representative management company producer co - producer artist or artists music company representative the contract may be signed in front of a notary public . if you want the contract notarized , then include a notary block . you can find an appropriate block for your state by searching the internet . this is only a basic recording contract . after you have completed a draft , you should show the contract to your lawyer . he or she will look it over and tell you if you need to include anything else . contracts usually have to be modified according to your particular business needs . if you dont have a lawyer , then ask other recording companies who their attorney is and whether they would recommend their attorney . you can then call the lawyer and schedule a consultation . take your sample contract with you . you can negotiate the terms of the contract . let the artist and the artists lawyer if there is one look over the contract . they may write comments on the draft and send this draft back to you . your lawyers may have to talk with each other to negotiate compromises on some issues . make sure that each side agrees to the entire contract before signing it . after everyone has signed the agreement , you should make at least one copy for each person who signed it . also keep the original in a safe place , such as a safety deposit box . |
find your musical talent . find your style . study your competition . find a good teacher . diversify your musical talents . practice constantly . try to meet similar performers or bands . play with everyone . play in front of people . make some home recordings . share your music online . start playing out regularly and organize a tour . start selling merchandise . consider taking your act to a bigger market . try out for a reality show . record a professional demo . prepare a press package . think about your image . send your material to labels that support your style of music . play a label showcase . consider putting out your own music . consider hiring a manager . | how to become a recording artist | do you want to be a pop singer a classical musician a rapper the path will be a little different for every kind of recording artist . the first part of the journey is finding your specific talent for music . what are you good at , musically want to be a pop singer it can be a tough road . if youre pretty good at violin , it might be quicker and easier to focus on those skills . be the pop diva of classical violin . what are you most passionate about do you want to perform , and be the center of attention or do you just want to put your head down and play guitar in the background not everyone gets to be a beyonce or a justin timberlake . but the drummers , programmers , and back - up singers are all recording artists too . if you want to work in the music industry as a recording artist , think about other kinds of roles . whatever your talent , there are lots of ways to specialize and focus . there are big differences between opera singers and jazz singers , for example . guitar players are an important part of jazz , metal , indie rock , and many different genres of music . to give yourself the best shot , pick one . what do you like to listen to who are your musical heroes what kind of music do you imagine that youre playing , when you imagine a future as a recording artist also think about who you are and where you come from . how might you market yourself it might be hard to be a gangster rapper if youre from the suburbs . that environment might give you lots of opportunities to focus on jazz , classical , or indie rock though . once youve discovered your talent and decided on a style youd like to pursue , its important to do some research . if you want to be a recording artist , study the other recording artists who perform in your chosen style . listen closely to the music like it was your homework . try to figure out whats good about a particular song , or style that you like . why is one rhianna single better than another what is the difference between grindcore and death metal also look into the stories of the people who play it . what did your favorite guitar player do to get noticed how did your heroes start check out interviews , documentaries , and liner notes as resources . pop stars almost always have teachers and coaches who help them at every step of the way . there are almost no professional musicians who have never received any kind of training or guidance whatsoever . if you want to be a metal singer , you might think its unnecessary to hire a vocal coach , and you might be right . but its still good to find someone that you can talk to and learn from . find a more experienced metal singer in your town and pick up the tricks of the trade . try to stick to contemporary musicians as role - model teachers . jimi hendrix might be your guitar hero , and its great to learn from him as a player . but the music industry works a lot differently than it did in his day . try to learn the business side from someone who knows it today . its hard to make it as a recording artist , and talent can only take you so far . the more parts of the business that youre familiar with , the better your chances of making it work . learn to be as good a performer as possible . learn to produce and record music to make you a well - rounded commodity . here are some helpful wikihow articles to help you round out your abilities how to read music how to write a song how to become a music producer how to record music at home how to start a record label how to sing how to learn to play an instrument being a recording artist doesnt happen to hobbyists . its not something you do on the weekend , or in your spare time . if you want to be a recording artist professionally , you need to put your head down and practice , several hours a week . learn fundamental scales and technique , as well as full songs that youre rehearsing . its usually better to practice for a short time every day than to practice one day a week for several hours . its much easier to build muscle memory and technique this way . if you play a classical instrument or sing , consider joining a school band , orchestra , or choir . these provide further instruction and opportunities . playing and singing at church is also a common way of getting started . if you want to be a singer , youll need some musicians to play with . if you want to be a rapper , youll need a beat - maker and producer to collaborate with . even if you want to be a solo guitar player , youll need to meet people to play shows with and to network . start going to shows in your town and introducing yourself . meet people as much as you can , and tell them youre a musician . advertise on craigslist , or other local online venues . find a message board for local musicians , or put up flyers in the record store or music store , old - school style . as you meet people , you may find that nobodys interested in playing the exact kind of music that you want to play . that can be ok . try out different styles , to make you a more well - rounded player . this can be a great way to get your foot in the door and start playing . worry about playing exactly what you want later . if youre a guitar player , itll be a lot easier to make it as a recording artist if you can play lots of different styles . youll always have a gig if you can switch between playing straight - up country twang one day and playing convincing metal riffs the next . even if youre not sure you can play something , if you meet some people who are talented and interested in your abilities , give it a shot for a while . you might end up liking it . once youve met people to play with and have some tunes together , its a good idea to play them for people to get feedback . ask some music fans to watch you perform and get their honest feedback and criticism . then try to improve your sound and continue developing as an artist . most of the time , hip - hop and electronic music will be recorded at home before playing live shows . most rock bands will probably play live before doing any kind of recording . play your music however works best . start small , if youre going to play live . lots of coffee shops and bars will offer open - mic nights , which are designed to give first - timers a crack at the stage . almost everyone at an open - mic will be inexperienced , so its an easy and understanding audience . if you want to be a recording artist , its good to get some experience recording music yourself and learning how to share your songs . ableton , garageband , fruity loops and other types of cheap software are perfectly good for getting started . as you grow , you might want to invest in more complex and expensive recording software , including protools and logic . these will give you more professional products for your sound . you dont necessarily need expensive gear to sound good . even just recording a few acoustic songs on your built - in computer mic or your cellphone can sound good enough with a little reverb in garageband . use what youve got and make it a part of your sound . chief keef and aap rocky got huge record deals based on the strength of a few youtube clips . for some kinds of music , this should be one of the first steps . electronic music , hip - hop , and vocal pop music will have an easier time getting recognized online than at a club or bar . instead of worrying about playing gigs in your town , take it straight to the internet . youre more likely to get noticed there . start separate social networking pages for yourself as an artist , or for your group . invite all of your own followers to follow that page for updates about gigs , new recordings , and other information about your music career . bandcamp , soundcloud , datpiff , and band are all excellent choices that allow you to share high - quality sound files of your music and follow other bands , labels , and accounts for free . as you rehearse , record , and share your music online , its important to connect with fans in a live setting as well , for most styles of music . try to grow your fanbase by playing regular gigs and organizing a tour when its financially possible . keep it local at first . find a few local venues where youll be able to play regular shows , and try to get in tight with the management . be reliable , consistent , and professional , and bring a crowd theyll ask you back . try and book a short tour when youre first starting out . world tours with shows in iceland and japan probably arent feasible for your first tours . keep it to the tri - state area , no more than a week or two at most . a cool looking band t - shirt , a few trendy patches , and other music - related merchandise is like free advertising for your music career . every time someone wears the t - shirt of your band , theres the possibility that a few more people might get interested and check them out . merchandise is also an excellent way to make money and sustain a band , or to make a little money for recording and other costs associated with a solo career . if youve got cool - looking stuff to sell , you can make quite a bit of money at a single gig between merch , ticket sales , and guaranteed fees from the venue . if you live in a small town , its going to be tough to get noticed by a wider fan - base , whatever kind of music you play . shows at the coffee shop around the corner are a great start . but think about whether or not it would benefit your music career by moving to a bigger city where there will be more opportunities . new york and los angeles are definitely places to get noticed , but it can be hard to crack into such a big scene . consider moving to a more local big city first . chicago or minneapolis are good bets in the midwest . providence or philadelphia are music towns on the east coast . nashville or austin represent the south , and portland or seattle hold it down on the west coast . one excellent shortcut to exposure is to get yourself on television . even if you dont win , an appearance can be huge exposure . this can give talented people like you important industry contacts . find those 15 minutes of fame and use them to further your ambitions . talent - based performance shows like american idol , x - factor , the voice , or others will often be a good way to get exposure to a mainstream audience as a potential recording artist . its a good way to see if you have what it takes . mtv and other music - programs will sometimes host shows searching for the next big star of some particular style . if you want to get signed to a label , you need to have a high - quality demo recording of your music to share . normally , the best way to do this is online , so its helpful to update those old bandcamp and soundcloud accounts to represent your best - sounding recordings of your highest - quality material . most good demos are no more than a song or two . record your hits , your absolute best material . no filler . remember labels dont sign artists because they hope theyll record great music one day . they sign talent who already records great music , then provide that artist with a push that they hope to profit from . press packages are used to accompany demo tapes . the press package should explain who you are , what you do , and where you come from in a concise way . a basic press package should involve the following items a short bio , explaining who you are photos newspaper write - ups interviews reviews quotes or endorsements from other artists the quality of your music is the most important part of a career in the music industry . but , talent wont take you all the way . to be successful , having a look that matches your sound is usually an important consideration in marketing a particular artist . use your sound to influence your look , and vice versa . if you look like a burly woodsman , it might be a good idea to emphasize the gruffer , more folk - like elements of your sound . if youre a clean - cut city - dweller , on the other hand , it might be a good idea to get some dirt under your fingernails and grow a beard if you want to be in a successful bluegrass band . who put out your favorite artists records where did they get their start who do you know at particular labels that might be willing to give your band a shot at a recording pick a few labels you think you might have a shot with and send them their a and r department your demo and press pack . major labels like warner brothers , virgin , and sony bmg have a lot of money to throw around at established acts , but they typically only look at groups that have big potential to make money . many of the acts will have multiple albums or industry success under their belts already . independent labels might have less money , but are more willing to give you control over your product . theres typically more freedom with an indie label . some people think the more labels you send you material out to , the better chance youll have of getting signed . its important to be familiar with the labels youre contacting . never engage in a carpet - bombing campaign . if youre sending your demo of folk tunes to metal labels , youre wasting everyones time . an alternative way of getting noticed and potentially signed by a record label is to try to find out about industry showcases and festivals , or travel to one for a gig . you can typically apply to showcases by submitting materials , and then play and network when youre there . for many acts , this is the best way to get actual face - time with talent scouts . south by southwest in austin , tx is one of the best places for up - start diy acts to get noticed by the music industry , but any type of music festival is huge exposure for a band . even if the stage you play on is the smallest one , its great to be able to say that your name was on the bill with other big acts . increasingly , very popular acts are going independent . if you can sell your music directly to your fans with nobody in the middle , why mess around with a record label at all consider selling your own music online and covering the fees associated with it yourself . record contracts include guarantees and advances , which dont require you to sell a lot . if youve got a single you know will sell a million copies , you stand to make a lot of money from itunes alone , but if youre not sure you can deliver , a contract offers you more security . as you gain exposure and access to the recording industry , it can get pretty complicated to handle on your own . to make sure you dont get locked into any deals that are unfavorable , its usually smart business to hire a manager that will handle the business side of your career , and possibly an agent to help you handle the marketing and public relations side of your career . |
know exactly what genre of electronic music you want to produce . do some research on different artists . get a digital audio workstation daw . invest in some plugins . get a suitable computer . acquire a sound system . invest in some non - essential hardware . learn your way around your daw . learn to use your plugins . learn to use your hardware . know what you want to produce . have a basic knowledge of music theory . write your song . share it | how to become an electronic music producer | there is a lot of variety in electronic music , and many different genres and styles to choose from . be it house , trap , ambient or dubstep , its up to you whatever sound you are going for . its a good idea to listen to a lot of electronic music before you make up your mind , so that you know what sort of music gets you the most excited , or you understand the most . alternatively , you can ignore genres completely and make something new and exciting , however this is very difficult and is best done with prior experience producing other genres . if you find yourself focussing on one genre in particular , this will help you to know what you are going to write when you first start . do some research on artists relevant to your chosen genre by listening to songs , reading interviewsarticle and reading reviews . this will help you to know what inspires them to write songs , how they go about the process and how they began producing electronic music . some examples could be for skrillex , flux pavilion , and barely alive for dubstep for house deadmau5 , disclosure , avicii and for trap diplo , jack ü , dj snake etc . a daw is the fundamental piece of software used to arrange , sequence and compose songs , as well as contain and connect all the plugins instrumentseffects used to create your songs . do some research into the pros and cons of different daws . if you are stuck deciding , research what daws your favourite artists use and which daws are most popular with your chosen genre . examples of popular daws include cubase , ableton live , logic pro osx only and fl studio windows only . a plugin sometimes referred to as a vst as this is a common format is a software instrument or effect you use in conjunction with a daw to create , edit and manipulate sound . you may need to invest in plugins such as synthesisers , mixingmastering effects and samplers . many plugins are not essential , but can help you to create interesting sounds to give your songs an interesting and unique edge . also , many daws come with their own plugins , so you may not need to purchase any of your own . you need to make sure your computer has good enough specs and capabilities to handle the processing you will need to make your music . most producers dont need a massively powerful computer , but it depends on the sort of techniques and sounds you want to produce . to begin with , your processing will most likely only be basic , so a high end computer is not essential from the get - go . aside from just a computer , you will need to have some sort of hardware with which to monitor and listen to what it is you are creating . getting the best sound quality is important to having a professional and polished sound . this means you should be willing to spend considerably more money on this than you would for general listen to music . for this you will either need headphones or studio monitors speakers . many people prefer monitors and will claim they allow for better clarity and accuracy , but good headphones are generally cheaper than good monitors . do some research before you buy to see the pros and cons of each . popular brands of monitors include krk , yamaha and m - audio . popular brands of headphones include sennheiser , audio - technica and akg . this can include hardware that will make producing music easier , but is not necessarily essential to making music . non - essential items of hardware for electronic music could include audio interfaces , microphones , midi controllerskeyboards and hardware synthesisersprocessors . many people claim the sound generated from hardware synthesisers is superior to any software plugins , but this is a matter of taste , and the average listener wont notice plus hardware synthesisers can be very expensive . the most essential step to effective music production is knowing how to get the most out of your software , and this is especially true for your daw . learning to use a daw can seem very daunting for first - time producers and can sometimes put people off making music all together . however , once you can use your daw effectively , making music becomes so much easier . make sure to thoroughly read the manual for your daw . this will help you to come to grips with the official functions and uses of different aspects of your daw , as well ways of using your software according to the people that designed it . watch tutorials on using your daw on youtube . youtube can be an invaluable resource when it comes to learning music production , as there are many high quality tutorials available for free , for varying levels of expertise . learning to use your plugins , particularly for synthesis , can be one of the most daunting tasks of learning to produce music . this is especially true as many plugins pride themselves on having a unique and intuitive way of working . this will require a similar approach to learning to use a daw . once again , read the manual and make use of tutorials on youtube . also , most plugins come with a wide range of presets that will allow you to make good music without being overwhelmed with an array of knobs and switches . learning to use hardware is generally much easier than software , as long as you dont have anything too complex such as synthesisers . things such as connecting up midi keyboards and audio interfaces are usually fairly easy to figure out . the only problem you may run into when setting up hardware is positioning studio monitors , as this will have a strong impact on the sound that they produce . a general rule is to have them pointing directly toward your ears at head height . also try to position the monitors so that they form an equilateral triangle with your head . this links to the first part of the article , and if you already have a good plan of where you want to go this should be fairly easy . start off by listening to lots of electronic music . this doesnt necessarily have to be from your chosen genre , as it can be good to bring in ideas and influences from other genres as well . if you are struggling , try writing down features from songs that you really like and implementing them into your own track this part may seem boring , but having a basic understanding of music theory will massively help you in writing catchy songs and doing it quickly and easily . just a small amount of knowledge on melody and chords can really help you write a decent tune . if you struggle with composing melodies , try to replicate melodies from popular songs as accurately as you can in your daw , as this will help you to understand how melodies are constructed . sometimes when you are fed up of all this learning and preparation , the best thing is to just have a go . remember , your first song will most likely be terrible , but that doesnt mean you shouldnt be proud of it . everyones first song will sound amateur , and even the most professional producers will have been at this stage at some point , just keep producing songs and improving . getting to a professional standard can take years . once you have made your masterpiece , show it off to the world . upload it to the internet , put it on youtube , soundcloud and share it with your friends . be proud of what you have done and dont worry if you think people wont like it , you should be proud that you made a song all by yourself |
take any melody you like , or two part composition you like . eliminate every repetition . reduce every harpeggio obvious such to a chord . eliminate every note in top voice which only serves to lead between two notes . eliminate every note in top voice which juts out below or above a note and then gets back to it . understand how the bass progression should work . reduce to its parts any chord not accounted for by bass progression as described above if a it is a dominant to it d g reducing to g , dm g reducing to g , am dm reducing to dm . b it is a sequence of subdominant or double dominant and dominant to it c d g reducing to g , a dm g reducing to g , or , c either bass or top voice includes a note according to 4 or 5 between two different notes if leading between them , between two repeats of same note if a neighbour to them which is integral to the chord which can otherwise not be explained . apply above to many different melodies and pieces some may involve also repeating parts over other octave registers or extending voices theoretically between top voice and bass to above theoretical top voice , but those are more complicated pieces of classical music , generally . start out with a top voice descent as described above , and fit it with a bass progression , also covered above . add repetitions , filling out of voices between bass and top voice , notes that lead between notes , notes that lead from and back to a note , chords that depend on such notes , after taste . add more , until you have what you consider a sound melody . | how to compose by schenkerian synthesis | write it down on music sheets and start analysing . whether four bars are repeated or one note is repeated once or twice in a bar , reduce to one example . so , if you see a sequence of c e g , this is reduced to simultaneous chord , with g as top note . one exception at the end of the analysis , you should have a falling sequence which starts a fifth or a third , possibly an octave , above the ending tonic note . this sequence will have 1 or 3 notes leading on down if starting third or fifth above tonic , or two parts , octave , dominant , tonic , with first part 8 to 5 having leading notes 7 , 6 , and second part 5 to 1 having leading notes 4 , 3 , 2 . but as long as you are not ready to reduce to this , any note coming between a lower and a higher note or between a higher or a lower one is eliminated . sometimes this will give you an harpeggio , which can then be further reduced , according to step 3 . c d c c . and c b c c . even c b d c and c d b c are reduced to c . this is done even if the note involves chords of its own . see the parts on chords and bass . this is not per se a step , but a description of how next step should look when finished . bass should end on a note an octave lower than tonic of end note in top voice . before that it should make a bass progression , parts of which may obviously be repeated in the full version of whatever you are analysing . the basic bass progression should go from tonic over another chord to dominant c d g , c e g , c f g and then not over another chord back from dominant to tonic g c . steps can be inverted so that dominant is lower than tonic . transition can then be directly down only c b a g , or down to d or f before going back up to a lower g c a f g , c a f d g . basic bass progression should on tonic and dominant not include inversions of chords , but an inverted chord is usually one that can be eliminated in this step . the basic bass progression can be identified not just by how it looks , but also by how it fits with basic descent in top voice . if top voice descends e , d , c , the bass c that starts will fit with e , the dominant g will fit with d , the ending c will fit with the ending c . the note in bass leading up to g d , e or f will fit with one of e or d . the top e can even be prolonged so that it corresponds to start of bass g . if top voice descends an octave , there are two bass progressions . if top voice descends a fifth , there is a choice with either one or two . the above also applies if the melody is in minor . when you feel confident about how it is done , then only go on to part two . |
find a drum base . get a package of balloons . cut the end off a balloon . stretch the balloon over the base . secure it in place with tape . play the balloon drum with sticks . | how to make a simple musical instrument 1 | you can use an old pot , a bowl , a vase , or a bucket . choose a deep , sturdy container as your base . avoid containers made out of glass or other fragile materials . youll likely pop a few in the process of making your drum , so its good to have more than one . choose large - sized , sturdy balloons . you may want to get a variety of sizes to you can be sure to find one that fits your chosen drum base . take a scissors and cut of the end of the balloon right where it becomes narrow . use one hand to hold the balloon over one end of the base while you use the other hand to stretch it over the other side . the balloon goes over the opening of the pot , vase , or bucket youre using as the base . you might want to get a friend to help you hold it it place so it wont snap back . if the balloon you used seems too small or to large for the base , try a different sized balloon . use a heavy - duty piece of packing or duct tape to hold the balloon in place all the way around the rim of your drum base . use chopsticks , pencils , or other long , thin objects to play your drum . |
choose a shaker container . pick out something to shake . put the shaking materials in the container . seal the container with a lid . wrap the container in masking tape . decorate your shaker . shake it up . | how to make a simple musical instrument 2 | you can use an aluminum coffee can , a glass jug with a lid , or cardboard cylinders to make shakers . wooden containers also work well . each type of container will end up making a different , unique sound . any number of small items will make interesting sounds when you shake them . gather a handful of some or all of the following items beads , either plastic , glass or wooden dried beans or rice coins seeds , overlap each loop of tape a bit to make sure the container gets completely covered . use paint or andor other decorating materials to add bright colors and patterns to the shaker . use the shaker as a percussion instrument by itself or with a band . |
get a glass jug or bottle . bore a finger - sized hole in the bottom . blow across the hole that is already in the top of the jug . cover and uncover the hole on the bottom with your finger . try tilting your head down and up to make the note sharp or flat . | how to make a simple musical instrument 3 | this works well with a wine bottle , olive oil bottles , large glass jugs , and any other glass container with a skinny neck . use a glass cutter to cut a small hole in the bottom of the bottle or jug . position your lips so that youre blowing horizontally right over the opening . keep blowing until you get a clear note . this may take a while , so be patient and keep practicing . do this as you blow , and experiment with the different sounds it produces . |
get five 20 ounce water bottles . fill the bottles with different amounts of water . play the bottles with a metal spoon . | how to make a simple musical instrument 4 | choose round bottles with flat bases and wide mouths . you can also do this with jars . number them 1 through 5 . add the following amounts to the water bottles bottle 1 19 oz . this will produce an f note . bottle 2 13 oz . this will produce a g note . bottle 3 11 oz . this will produce an a note . bottle 4 8 oz . this will produce a c note . bottle 5 6 oz . this will produce a d note . tap the spoon against the sides of the bottles to produce notes . |
hammer small nails into a paper towel tube . tape a cover to the bottom of the tube . add rain . cover the top . cover the rain stick with wrapping paper . play the rain stick . | how to make a simple musical instrument 5 | hammer them in sideways in random areas around the tube . hammer in at least 15 or so nails for best effect . tape a piece of cardboard or another sturdy cover over the bottom of the tube . pour in some rice , sand , dried beans , beads , popcorn kernels , and other small objects that will make the sound of rain . add a second cover to the top of the rain stick , and tape it down . you could also decorate it with paint or stickers . tip it from side to side to hear the sound of falling rain . |
decide what you want your music to do . decide what suits you . plan out everything . put it all together . spread the word . dont forget that , if youre just doing it for fun and want people to enjoy it , you would want to consider putting it on p2p sites like mininova and the pirate bay . constantly update your content . | how to put your music online | are you doing it for professional purposes or are you doing it as a hobby if you are doing it professionally , you would be interested in selling your music online . there are various options for putting you music online with various cost structures . you might want to just upload you music to an existing website that gives you your own page . this is mostly free . or , you might want to start a dedicated website . what you choose depends on how much you are ready to spend and what you intend to do with your music . if you are to sell your cds , then you have to think of many things at once . who will design and print the cd covers who will replicate the cds how will you accept payment these considerations are important . now that you have done the planing and all , you need to kick - off . design your own website , find a good hosting service and make it available to the world . or , register at a free site like moture and put your music there . for people to come to your page , they have to know that it exists . tell your friends . e - mail those whom you know . these can be chat friends , classmates or anyone else . the pirate bay often supports bands who release their music on p2p . keep providing new music and add - ons on your webpage . search engines love to show webpages that are frequently updated . |
realize that lead synthesis patterns in trance music can be just as important as lead guitar riffs in rock music . get a sound generator , basically any software or hardware synthesis that includes a sequencer will do to generate a synthesis pattern . set the tempo to 148 beats per minute bpm or something you find more entrancing . create an 8 - note pattern pivoting around one note using the sequencer . play back the pattern as a loop . cut a few notes just to make it interesting - say 4 notes - out of the pattern . choose from the number of different paths you can take . set your sequencer quantization to 16th - notes . copy your pattern and paste it one octave above on the next step of the 16th - notes . add 32 notes to your pattern and adjust the lengths of the notes . make the rhythmically important notes very short , and make sure the melodic notes are longer . | how to produce those tricky lead synth patterns heard in trance music | lead simply means that the pattern stands out in front of other elements of the music cf . lead singer , lead guitar . , for example c c c d c c c eb c c c g , from the example above x marks the cut c x c c d c c x eb x c x g instant trance add a cross delay and adjust feedback and delay time after your liking . if you set the tempo to 148 bpm try a delay time of 303ms or offset two delays a couple of hundred ms or adjust it to your liking . if your sequencer is capable of automation be sure to record movements or edits for each note cutoffs , filter - sweep that goes swoosh , resonance the faster the bubblier , and why not make the pattern beat out another rhythm by assigning accents to some of the notes if it does not sound right , turn it off for now always try the default settings first . , using the pattern in the example it would look something like this in 16th - notes c1 c2 x x c1 c2 c1 c2 d1 d2 . , in the example , shorten all the cs to 128th notes . a similar effect can be achieved by creating a 32nd - note pattern and adding an automated gate or using a second pattern and a side - chain compressor . |
drag and drop all of the tracks that you want to analyze into rekordbox . make a crate , name it , and drag all of the tracks that you want to play into this crate . organize your tracks in the order that you would like to play them . go through each of your tracks and check that the beat grids are all in line . cue your tracks in a way that is convenient for you . do a run through just to be sure . insert the flash drive that you plan on using the night of the show into your computer . find your flash drive in rekordbox . drag your analyzed , and cued crate onto the flash drive . insert another flash drive and repeat . get on a pair of cdjs or xdj set up , and run through your set . get to the venue early to plug in your flash drive . throw down a killer set . | how to analyze and cue tracks in rekordbox | it is important that you remember to drag every track that you plan on playing into the software , because unlike serato , you can not properly play tracks that have not been previously analyzed . this is also an important part of staying organized while you are playing . another organization technique that will really add to the fluidity of your set . instead of having to scroll through hundreds of tracks trying to find the song you want to play next , plan your set beforehand and get all of the tracks in order . you wont regret it . this is very important , because if your beat grids dont follow the beat of the song , it will make beat - matching very difficult . the same technique wont work for everyone . for example , you might set a - cue at the beginning of the track , b - cue 16 bars from the drop of the track , c - cue 8 bars from the drop , and d - cue 8 bars from where you want to mix the track in . this will help you avoid an occasion where youve loaded a track expecting it to be cued and it wasnt . there will be a small graphic beside each track telling you whether it has been cued or not . , make sure that you see it loading onto the flash drive on the bottom rekordbox , and make sure you dont remove the flash drive until rekordbox has finished exporting your crate . it is easy for files to become corrupted , and sometimes crates might not export in their entirety . it is also possible to experience issues with network connectors on cdjs where it wont load your tracks through all the devices . in that case you would need a flash drive to plug into each cdj you planned on using . play it safe , and be prepared for anything . flagship hardware can be very pricey so ask around the dj community , make friends , and share equipment with others . the dj community is generally a pretty cool bunch so be outgoing , and reach out to people so you never have an issue with finding the right equipment to practice on . make sure everything is set to go . just get there early and be prepared . make sure to have fun , and if you make a mistake keep playing . chances are the crowd didnt even notice . |
get a musical instrument you know how to play . if you know how to read music , grab the sheet music . listen to the song . count the beat slowly in 44 time . play g - g - c , holding the c . the song starts with one beats worth of pick up notes a dotted eighth note g and a sixteenth note g . these are followed by a dotted quarter note c above them held for three beats . play g - c - e , holding the e . on the fourth beat of the first measure , the same rhythmic pattern as before repeats , but with different notes . play g - c - e three times , holding the last e . next , the g - c - e pattern from above repeats several times , but with different rhythms . play c - e - g ascending , then e - c - g descending , holding the last g . on the fourth beat of the fourth measure , the songs short climax begins . play g - g - c , holding the c . to end the song , play the pattern you used at the very beginning . hold the long notes with fermatas over them . grow in intensity through the song , peaking at the high g note . let the final note slowly die . play loose with the rhythms for emotional effect . | how to play taps | taps can be played on virtually any instrument . as long as you can play a complete c major scale from one g note to the g an octave above it , you can play the tune . however , traditionally and at most military occasions today , taps is played on trumpet or bugle . being able to read sheet music makes playing taps much easier , since the music to the tune is public domain and freely available online . one good source for the sheet music is at the official site for u . s . army bands . note that the sheet music above uses the treble clef . if you can only read music that is written in bass clef , you will need to transpose the notes in the song or just identify each note individually . see our article on the subject for a brief guide . note also that there is an alternate version of taps for bass clef instruments that uses the notes of the bb major triad f , bb , d , and f again . if youre not familiar with the song already , its a smart idea to listen to a recording of taps before you start playing . though the song uses only four different notes and 24 notes in total , listening to the song being played can help you get a sense for the rhythms used in the song and , more importantly , the dynamics and emotional timbres used for it . the site linked above has a good - quality recording of taps played by a solo trumpet . taps is almost always written in common 44 time and the key of c . a slow , steady tempo e . g . quarter note 50 beats per minute thats appropriate for the songs solemn tone is generally used . a metronome can be useful for practice , if you have one . 44 time essentially means that there will be four beats per measure and that each beat will be equal to one quarter note . start mentally counting , one , two , three , four as you read the music , keeping your tempo as steady as possible . the starting g is the first g above middle c on most versions of the sheet music , but its possible to play taps in any g - to - g octave thats comfortable for you . note the pickup notes — this means that the song actually starts on beat four , rather than beat one . first , play a dotted eighth note g , then a quick sixteenth note c , then hit the e above these notes and hold it for three beats into the second measure . on the fourth beat of the second measure , play a dotted eighth note g , a sixteenth note c , and a quarter note e held only for a single beat . play this g - c - e quarter note pattern again . finally , play the same g - c - e pattern , only hold the e which is now a dotted quarter note for three beats instead of just one . this section is different than the patterns you played before . play a dotted eighth note c , then a sixteenth note e above it , then hit a half note g above that and hold it for two beats . play descending e and c quarter notes after the high g on beats three and four of the fifth measure . end by playing a dotted quarter note low g on the first beat of the sixth measure and holding it for three beats . note that the high g in this measure is exactly one octave above the low g youve been using for the rest of the song . play a dotted eighth note low g , a sixteenth note g , and a dotted quarter note c , holding the last note for three beats . congratulations — youve just played taps . playing the notes of taps exactly as they are written on the page is one thing , but playing them with feeling is another entirely . to do this , youll need to pay attention to the symbols on the page besides the notes as well . for example , on the songs sheet music , almost every dotted quarter note is marked with a symbol that looks like a downward crescent over a dot or a small eye . this is called a fermata symbol and it means to hold the note somewhat longer than normal . exactly how long you hold the note is up to you . usually , to keep the songs solemn and dignified tone , its best to play these notes for only a few extra beats , but feel free to play around with the fermata notes as you practice to find what sounds best . the fermata notes in the song are most of the dotted quarter notes the c at the start of the first measure , the e at the start of the second , the e at the start of the fourth , and the c at the end of the song . note that the low g at the start of the sixth measure doesnt have a fermata — if it sounds good to you , you can usually still get away with extending this note . notice the markings below the staff on the sheet music that look like long , skinny and symbols . these signal you to perform crescendos and diminuendos . this basically means that you should start the song at a medium volume signified by the mf mezzoforte symbol at the start , then get louder very gradually until you reach the climactic high g , which should be fairly loud signified by the ff fortissimo symbol underneath it . after this , decrease in volume to a moderately loud level until the end of the song . dont go overboard with the loudest notes . you want to play strongly and powerfully , but if you play loud enough to hurt your listeners ears , youll diminish the seriousness of the song . in addition , on most instruments , extra - loud notes are hard to control tonally — you do not want to miss a note during the climax of the song . notice the morendo under the final note on the sheet music . this is italian for dying and it means exactly what it sounds like . when you play the final note , hold it longer than you normally would and let its volume gradually decrease as if it is dying away . when you finish playing the note , it should be very quiet — as if youre almost playing nothing at all . the contrast between the climactic high g and the final dying c note can be very powerful if done correctly . the effect this creates is one of powerful emotion giving way to gentle , almost tragic resignation . the special significance of this part of the song at funerals is obvious . taps is often played as a chorale — that is , a slow , rhythmically simple song where the beauty of the tones is more important than the rhythms being played . this means that you can be a little creative when it comes to rhythm and tempo . as long as the relative lengths of the notes are preserved , dont be afraid to make individual notes longer or shorter than the music says if it gives the piece more emotional power . for example , one change you might make is to slightly slow down the tempo during the climax of the song to give the notes a bigger , more powerful effect . there are many more changes you may want to make like this . the exact changes you make are up to you in addition , its worth remembering that since youll almost always be playing taps solo , you dont need to worry about matching tempo with other players . |
gather your tools and materials . pick somewhere quiet to practice . set a goal . create a practice schedule and stick to it . warm up first . work towards your goal . use a practice notebook . take notes in your practice book . play something fun and easy at the end . play smarter . use technology to your advantage . focus on your problem areas . read through the music without your instrument . make tasks harder by physically challenging yourself . practice at productive times of day . practice only for as long as you can focus . | how to practice an instrument effectively | before you start practicing , make sure you have your sheet music , your music stand , your instrument , as well as a timer , a tuner , a metronome , and any other helpful tools you may need . also keep a pencil , a pencil sharpener , and a clean eraser nearby . by gathering these items before you start working , youll keep yourself from having to break concentration to find them in the middle of practicing . by designating a certain separate room or area as your practice space , you can eliminate distractions and also prepare yourself mentally for mindful work . try practicing in a room of your house that people spend less time in , such as the formal dining room . any area like this will keep you away from distractions such as a conversation between family members in the kitchen or a tv thats on in the living room . its better to have something to work towards than to just start playing music without intention . think about what youd really like to accomplish during each practice session and focus on that goal throughout it . for instance , you might be really close to mastering a piece but still have a couple problem spots . consider aiming to play the piece through perfectly one time during the practice session . if , for example , you want to improve the sound of your guitar , consider setting a goal to achieve a better sound by experimenting with different hand positionings . if you arent sure how to set your goals , ask you music teacher what you need to work on at the end of lessons andor class . write this down and refer back to it when you practice on your own . the amount you should practice depends on what your skill level is , how old you are , and how dedicated you are to progressing quickly . if you want to advance , you should play your instrument 6 days a week , whether thats for 15 minutes or 2 hours each day . pick consistent times and days that work best for you and always practice when youre scheduled to . if you want to practice for 6 hours a week , you might schedule practice time from 300pm to 400pm every sunday - friday . once you have everything set up and ready , spend about 5 - 10 minutes working on scales and doing other warm - up activities . you can also do some breathing and stretching exercises at this time . after youve warmed up , dive right into accomplishing your goal . take your time and stay focused . this is the most important part of the practice session and should take the most amount of time , whether that means 20 minutes or an hour . even if youve played a piece a lot , its better to read what youre playing and not rely on your memory . by always using your practice book , you can use the mental effort it takes to remember the notes on something else , such as tone quality or tempo . as you work through pieces , use your pencil to highlight problem areas and give yourself reminders . these little bits of information should help you to play the piece better and with more awareness . write down things that may help you remember best practices , such as take a short breath or add a crescendo . once youve reached your goal , spend the last 10 - 15 minutes or so playing something that you really enjoy playing andor have played a lot . this serves as a cool down , and allows you to finish the session on a positive note . when youre playing a challenging piece , dont just play it all the way through over and over and over again while continuously making errors . this is a waste of time . instead , take a step back and identify and analyze the problem . then , brainstorm solutions , experiment with them , and implement the best one . for example , if a note comes out flat each time you play it on your trumpet , first identify what you want it to sound like . then , try to think about the different possible causes of the sour note . slightly adjust your fingering and your mouth until you discover an adjustment that allows you to play the note properly . there are several free or inexpensive apps that act as timers , metronomes , tuners , and more . consider using these when youre on the go so that you dont have to tote around extra tools and materials . also , check out different lessons and tutorials on sites like youtube that can help you solve any specific issues youre having without paying for a lesson . its not always necessary to start at the beginning and play a piece through to the end over and over . if youre having a problem with a couple measures in the middle of the piece , focus more on that section . this will save you a lot of time and allow you to make more progress . when you arent practicing and you have a couple minutes of down time , take out your music or pull it up on your phone and just carefully read through it a few times to familiarize yourself with it more . you can read through your music while youre riding in the car to get to school or waiting in a long line at the post office . add a physical component to your practicing that you dont normally have to deal with . by making a challenging addition to practicing your instrument , youll make playing normally feel easier . for example , try to play your instrument while standing on one leg . everyone has more energy at certain times of the day than at others . pay attention to what time of day you seem to be the most awake , focused , energetic , and clear - headed . try to practice your instrument during these times . in order to make progress during a practice section , you have to be completely focused and mindful . this might mean practicing for just 10 minutes when youre younger and then working up to 45 minutes or an hour once youre older and have developed better concentration skills . if you can only keep your attention on something for 15 minutes at a time , then play for 15 minutes , put down your instrument and take a break for a couple minutes , and then play for another 15 minutes . |
buy , borrow an instrument that you enjoy playing or would like to play . there are several ways to learn how to play this music . if you are a vocalist , simply sing along by ear . if youre a guitaristbassist , search for tablature on sites like ultimateguitar . com , x - guitar . com , etc . find other people who like metal , and get to know them . if youre a drummer , play by ear . take breaks when practicing , for metal can be quite exhausting if youre not used to playing for long extensions of time . try to practice daily , for at least an hour . form a band if you know enough people who are into metal like you are . | how to play heavy metal | preferably drums , guitar , mic , or even a keyboard . , if it is a form of extreme metal , or isnt but includes some sort of growling , screaming , squealing , gargling , screeching , or inhaling , i will offer information on extreme vocals later in the guide . also , visit darklyrics . com to get the lyrics laid out quickly and clearly to get the rhythmical sequencing of your syllables right . dont be like the guy in obituary who sang the vocals and then wrote the lyrics . you can also play by ear as the great chuck schuldiner did . to play by ear , simply turn your music on a stereo or computer , ihome etc , and play along . make sure you know what tuning the group is in before following along . after enough repetition , you will learn patterns and techniques that many metal bands follow when composing songs . soon you will be writing your own skull crushing riffs with a little blend of yourself and your influences . theyre pretty cool , really if you hang around with a lot of like minded people who have a passion for music , you yourself will feel more motivated to continue routine practices in all kinds of music . it is a lot of fun , and can also be a good workout if youre not in shape . learn the different patterns and sequences that metal drummers use to fill the space in the guitar driven songs . a good way to find the beat in an unusual tempo , is by finding where the snare is played . if you can match this up right , you will have an easier time adding the other percussive elements to the drum pattern . dont be mechanical , hit that splash often , use the ride , and buy a china after a while , youre body will get used to the speed and effort and you will become much less fatigued during play . if youre passionate , youll practice longer sessions without thinking about it . if you have no passion , dont play music , because youll end up sounding mechanical and boring . if you get good enough , you could show them how to play and make them your student . teaching others will also teach you much about proper technique and understanding the genre |
if you are learning to play the piano , the chances are that you learn to read the right hand music treble clef quite quickly , but then struggle with the left hand music bass clef . the point is that the black lines are gbdf in both hands and the red ones ace . another problem that arises later on is reading notes on ledger lines - the short lines above the treble clef or below the bass clef . | how to read music easily by combining bass and treble clefs 1 | what if the music for the two hands were the same this can be arranged quite simply . what you do is doctor your pupils music with a red biro going over the bottom e line in the treble clef and on the top a line in the bass clef , and adding a red line for middle c , as shown in diagram one . ive found that most pupils soon learn to read both right hand and left hand . you have to be careful of course to play in the right octave the g line in the left hand is not for the g just below middle c , but the next one down . what of the spaces you may find your own way of learning these , but the easiest way is probably to read the note on the next line . the same trick can be used here the first three ace can be coloured red and then go back to black . so , for example the note on the 4th ledger line in the right hand is obviously g , and the not on the 3rd in the left hand is a . |
if someone takes up this idea to the extent of publishing music with red and black lines , it may occur to them that the logical conclusion is to dispense with clefs | how to read music easily by combining bass and treble clefs 2 | but we would still need some indication as to which octave we were in . if this happened wed be returning to the middle ages at one time they used a clef - less stave with coloured lines to pin - point important notes . |
they have to cope with treble and bass clefs . | how to read music easily by combining bass and treble clefs 3 | they may find my ideas given above for pianists helpful , especially if they do as tenors in my choir do - transfer their music onto a piano and record that . a nasty problem occurs if a piece switches between clefs . you must realise that the music in the treble clef is written an octave higher than it is sung , so the g on the first black line must be played and sung as the g below middle c . other notes must be lowered similarly . from experience tenors think they are actually singing in the treble clef , so may prefer to raise the notes in the bass clef by an octave . |
dont think . start looking at things and thinking what weird things you could do to it that would make it sound cool . go out and by a cheap violin bow and some rosin its the dried tree sap stuff string players smear all over the bow hair try bowing stuff . while you are at the music store , you can pick up some guitar , violin , cello , bass strings . enter the electronic world of music . now take all of your experimentation and combine it together to make sort of a super - junk - instrument of doom . add in real instruments if you like . play with other people for best results . have fun . | how to play experimental music | just grab some old drumsticks and head to your garage . dont have any drum sticks pencils , dowels , anything will work for now , but it is a good idea to pick up some cheap drumsticks at a local music store . in the garage , jam out . figure out how different things sound . just have fun , and change the beat around . play with friends , get an awesome rhythm going . note your sticks will break , so dont use anything nice . what if i attached snare drums to a piano im serious , i bet it would sound awesome . random stuff . cymbals and stretched out wire work nicely . by different sizes and pitches and the stretch them out on a frame of wood . you may need to make a resonator box in order to hear anything . also try adding hammers not the kind you build a house with , the piano kind . that strike the strings with a little work and improvisation , you can make some really , really awesome sounds . also , while looking through the music supplies , look for new ideas , and ask the attendant if you dont know about some things . music store employees always know what they are talking about . experiment with sounds on the computer , and getmake a midi controller so you can trigger the sounds remotely . get creative with computer music technology . you can by little acoustic drum triggers that they use for writing drum music , attach them to anything , and hook them up to a digital drum brain . hook that up to your computermidi sequencer , and you have yourself a cheap digital drum , that can play anything . get even more creative , devise a device that turns on and off radios that are set to different static frequencies . thats sure to sound cool . also , play with old guitarbass amplifiers and old synthesizers . research circuit bending on the internet and with a little electronics knowledge you can modify synthesizers and other circuits to sound funkier than they already are . do what ever floats your boat , just not on new , expensive stuff . our band calls ours the gehttolyn . use mic stands , drum stands , wood scraps , etc . to make a sweet console . here are some instrument ideas to start you off multiple balloons stretched tightly over a coffee can , cds make a good cowbell , speaker grilles , sheet metal , tile pieces , flower pots , soda bottles of all types , cans , pvc pipe is awesome , wood blocks can be really good sounding . but try playing them differently . look at a guitar like you never have seen one before . say to yourself what is that play it weirdly . , |
first , play the chord tones of a chord - say , c major seventh . now , extend this chord by dropping , or omitting , the root and instead playing the ninth , or major second . play it where it sounds best . try this with all the common chords . you dont want the chord to sound muddy . try to adopt muscle memory for these chords . | how to play left hand voicings in jazz piano | , this is often closest to middle c , as it doesnt sound muddy or indistinct . for example , dominant sevenths and minor sevenths . therefore , try many inversions of the chords , and try to stay as close to middle c as possible . play them so much that you respond instantaneously to any changes put in front of you |
place your first index finger on the 5th fret of the low e string . place your 3rd ring finger on the 7th fret of the a string . place your 4th pinky finger on 7th fret of the d string . | how to play blitzkrieg bop by the ramones on the guitar 1 | , this is a basic power chord shape . |
its the same basic power chord shape just moved down one string . so , place your first index finger on the 5th fret of the low a string . place your 3rd ring finger on the 7th fret of the d string . place your 4th pinky finger on 7th fret of the g string . | how to play blitzkrieg bop by the ramones on the guitar 2 | , |
place your first index finger on the 7th fret of the a string . place your 3rd ring finger on the 9th fret of the d string . place your 4th pinky finger on 9th fret of the g string . | how to play blitzkrieg bop by the ramones on the guitar 3 | , you should notice the same power chord shape throughout all of these chords . |
place your first index finger on the 7th fret of the low e string . place your 3rd ring finger on the 9th fret of the a string . place your 4th pinky finger on 9th fret of the d string . learn the sections . | how to play blitzkrieg bop by the ramones on the guitar 4 | , this song is very basic and uses down strums only . after learning all of the four basic power chords , you have to learn the sections . blitzkrieg bop only has two sections , a verse and a chorus . listen to the song to see how the music changes during these parts . the verse . the verse is played by down strumming the first power chord eight times , switching and playing the second power chord three times then sliding up to play the fourth power chord five times . repeat this pattern three times . on the fourth time , you play the pattern slightly differently . you down strum the first power chord four times , switch to the second power chord and hit it four times and then switch back to the first power chord and hit it eight times . you should start to hear the verse . make small adjustments to the timing if necessary . the chorus . the chorus is played by down strumming the fourth power chord sixteen times then sliding down to the first power chord two frets down and hitting it eight times . switch to the second power chord and hit it three times then switch back to the first power chord and hit it five times . on the second time round , hit the fourth power chord sixteen times , slide down to the first power chord and hit it eight times , switch to the second power chord and hit it three times then slide up the the third power chord two frets up and hit it five times . |
focus on learning the progression in one key to get used to the sound and movement . set a metronome to 44 time , at a speed you can comfortably play along with . play the i chord for four bars to kick off the progression . play the iv chord for two bars , then return to the i chord for two bars . play one bar of the v chord . play one bar of the iv , the i , and the v again to get back to the beginning . return to four bars of the i chord and repeat . use the shuffle or swing feel when strumming . play the root note of each chord at the beginning of the measure to keep the progression alive . start with two quick strums of the e power chord . place your ring finger two frets down , on the a , and strum two more quick strums . keep alternating the e and a for four full bars . drop down one string to the a - chord after four bars . again , place your ring finger two frets down and alternate every beat for two measures . return to the e power chord pattern for two bars . add your ring finger one string down and two frets over to go from the e to a b . use your pinky to stretch all the way to the sixth fret on the g string . use this alternating , two - note pattern through all three measures of the turnaround . add in some palm muting , the pentatonic scale , and mixed up rhythms for the second half of each bar for a unique riffing and solo style . | how to play twelve bar blues | the twelve bar blues are a chord progression - - a set structure of movement to build a blues song . thus learning the form in one place completely makes it easy to transpose to any key . for example , you could memorize the chords in the key of e , then worry about getting other keys later on . for this tutorial , stick to e . the standard blues progression has only three chords - - the i , the iv , and the v , where the starting cord the i is an e . the fourth chord iv is an a , and the five chord v is a b . if the roman numerals are confusing you can just ignore them . they correspond to the number of the note in the major scale - - the first , fourth , and fifth note . the fourth note of the e - major scale is an a , the fifth a b . make sure you know at least the major scale and the minor penatonic scale before continuing . the twelve bar blues is simply a set chord pattern played in 44 time , which is the most common time signature in music - - turn on any radio song and count 1 , 2 , 3 , 4 , 1 , 2 , 3 , 4 , 1 . if you need help getting a feel for it . one bar is this count from 1 - 4 , so the twelve bar blues is a progression of 12 of these counts . metronomes are essential practice tools , as they help you time up your transitions where they should be and get used to the twelve bars , exactly . bars are also called measures . a good practice speed for beginners is 60 bpm or so . for example , keeping the blues in e , you would start with four bars of an e . simply strum it , keeping count , for four bars . for a bigger , more bluesy sound you can play 7th chords , like an e7 . for now , however , just focus on the progression . slide off your e and head to the a , which is the fourth chord in the key of e . then return to the e for two more bars . you hit the v chord , here a b , once after the first eight bars are done . this is the beginning of the turnaround , or the end of the twelve bars . the ending a twelve bar blues is called the turnaround . you run quickly through every chord , hit the v one last time , and then start over . in the case of e major , you want to play one measure of b , a , e , and then a final b . once you get through all twelve bars youre back at the beginning . just keep repeating the same pattern to keep your song rolling . this is the twelve bar blues in e . as long as you can figure out the intervals between the i , iv , and v using the major scale remember , the 4th note of the scale is the iv chord , you can now play the blues in every key . for example , in the key of a you would play ai , div , ev . most songs in 44 are straight . this means that on every count 1 , 2 , 3 , 4 you strum the guitar once . but the blues has a shuffle rhythm , or a swing step , that uses a quickly alternated up - down strumming pattern . think of playing with the rhythm , 1 and , 2 and , 3 and , 4 and , 1 and . you strum down on the one with a long stroke , then a quick upstroke on the and . the final rhythm has a long - short , shuffling feel to it . listen to some old b . b . kind or muddy waters , to hear the shuffle - strum in action . not how it keeps the song moving forward , even on slower , sadder songs . if you want to play something a little more unique than straight chords you can pick up a riff that follows the chord progression . to keep the classic twelve - bar melody alive , you want to start each bar on the appropriate chord . if the chord is the i chord , here an e , you want the first note played in the measure to be an e . from here you can then improvise or play around to get new sounds on the 12 - bar blues . the following riff will continue in the key of e , and is a good example of how to add new notes and riffs to the basic blues . that said , feel free to take these licks and improvise on them to make them unique . youre going to kick things off exactly how you started the basic pattern . turn the metronome on , and use the shuffle rhythm to count out a 1 and , on the e chord . simply stretch your ring finger down two frets and do the exact same pattern for 2 and . you want to keep your index finger down , so that whenever you pick the a up youre right back to your original e power chord . putting it all together , you should end up with half a bar of alternating notes . youll play each note twice in each bar . if you were counting it out , it would sound like e and , a and , e and , a and . complete this for four bars . this is exactly the same amount of time youd play the i chord , or the e , in a normal twelve - bar chord progression . again , you want to change chords at the exact time as the original twelve - bar progression learned above . use your index finger to create the a power chord just like you created the e . land your ring finger two frets down to the d . play the quick up and down rhythm for 2 and , then release the ring finger back to the a on your index finger . play this for another four bars . again , this is just like the original progression , which went e - e - e - e - a - a - e - e - b - a - e - b . after your two bars of e , its time to hit the v chord again , here a b . to get to a basic b power chord , simply add your ring finger two frets down , one string over . like the rest of the measures , youll strum this for a quick 1 and before modifying it . use your second finger , when possible , to get to the 4th fret - - it will make the next step much easier . for e and a , you had to stretch two frets down with a second finger . but , since youre already using two fingers for the b , you need to stretch your pinky way down to the sixth fret to get the same alternating effect as the other two chords . instead of hitting the next a chord , hit the a - d alternating chord . then the pattern you started with for the e , followed by the a and a last run at the b . basically you are using this riff in the place of the actual chords , simply using the first note which always matches the twelve bar blues to imply the basic structure and melody . palm muting is placing the fatty part of your strumming hand lightly on the strings at the bottom of the guitar , making them sound dull and percussive . the minor pentatonic scale , often known as the blues scale , is a collection of notes perfect for any blues song , and you can add them in the last half of each bar for some blazing licks . and , while the shuffle rhythm is classic blues , the turnaround often features harder , more dramatic strumming , or even softer , lighter strums , depending on the mood . either way , it is a good place to change things up . |
select a melodic song . listen closely for patterns in the song . play the notes in the song one - by - one and observe how they sound . determine the melody of the song . play a tone a fifth above the tonic to determine the chord progression of the song . repeat this process for each chord change . sing a section of the melody . use call and response training . noodle around on your instrument to improve your ear . | how to play by ear | a strong melody will be easier to learn to play by ear . rock or folk songs usually have strong , easy to recognize melodies . avoid songs with inconsistent melodies , such as rap and hip hop tracks . in music , notes combine in a specific way to make a scale or chord , and chords come together to form chord progressions . chord progression patterns are especially common in popular music , so you should be able to recognize common patterns when you hear them . recognizing chord progression patterns will help you to anticipate chord changes as you listen to a piece of music . for example , popular songs like ‘la bamba and ‘twist and shout share one of the most common chord progressions of all time . if you can play the chords for one of these songs , you can easily play other songs with the same or similar chord progression . this will help you find the key of the song . to find the key of the song , you must first find the tonic or the root note , which is the first and last note in the scale of the song . for example , in the key of c major , the tonic is c . the notes in a scale or key are like a family , so they are related and center around the tonic of the key . the tonic or the root note of the song will be the tone that sounds the most ‘at home in the song . it will sound like it could fit just about anywhere in the song . now that youve found the key of the song , try to find the melody based on the notes in the key . for example , in the key of c , the notes are c , d , e , f , g , a , b , c , so the melody will fall within these notes . in general , the notes of scales and chords are assigned specific numbers . so , the fifth is a fifth note of the scale . if we use ‘la bamba as an example , it is in the key of c major . so , g is the fifth degree of c major , as you go five degrees up from c major , i . e . c , d , e , f , g , a , b , c . its best to play a fifth above the tonic as the fifth is always the second most stable tone in any key . this tone should also feel like it could belong in any part of the song , though not as strongly as the tonic . focus on finding the root note for each of the chords , and then determine the fifth . for example , the root of the next chord in ‘la bamba is f . to determine the fifth of the f chord , count five degrees up from f and this gives us c , i . e . c , d , e , f , g , a , b , c . continue the same process for the next chord . focus on playing each chord in sequence along with a recording of the song . this will help you determine if you are playing the right chords . if a chord sounds off , go back and try to adjust it based on your ear . though you may not have the most beautiful singing voice in the world , singing will help to improve your ear . your voice forms an important line between your instrument and the music you hear in your mind . if you can sing the intervals and chords of the song accurately , you will have an easier time identifying and playing them by ear . if you arent used to singing out loud , record yourself as you play a note on your instrument and then try to match your voice to it . slide up or down on the scale until you can locate the note with your singing voice . continue to do this with several other notes . try to match the pitch of the note in your mind before singing it out loud . dont worry about notes that are too low or too high for you to sing well . test your ear training by playing a note and then trying to sing it correctly . string several notes or sections of the song together and then try to play and sing it at the same time as one consistent melody . you can do this exercise alone or with a teacher or peer . your teacher or peer will play a section of the song . you can also record yourself playing a section of the song . you will then repeat the section of the song by listening to the person play or the recording of your playing . your teacher will listen to your response and give you feedback to improve your playing . keep doing call and response until you can play a section or sections of the song . playing around or noodling on your instrument allows you to find sounds and patterns you like , especially when youre just starting to learn how to play your instrument . this will allow you to build an alphabet of fingering sequences , which are the building blocks of musical phrases and melodies . after enough noodling , you may be able to link together several fingering sequences and locate a tone you want to play in a sequence . while most music teachers may disapprove of playing around on your instrument , it is a great way to become familiar with tones and chords by ear , which you can then also recognize in popular songs and try to learn based on what your ear recognizes . |
tune the 3 - string cigar box guitar to the key of d my fathers tuning - dad . for review it is every good boy does fine on the lines egbdf , and face on the spaces . the c major scale has no sharps or flats . however , to maintain this same step pattern when starting on the d note , the key of d has two sharps f and c . the key of g has only one sharp f . practice a progression in the key of g . g chord 5th fret c chord 10th fret g chord 5th fret d chord 12th fret though difficult to see , there is a glass slide on the ring finger . a classic chord progression place the slide directly above the metal fret at the 12th position , strum or finger pick 1 , 2 , 3 , 4 beats and move the slide to the next position . the progression is what the left hand would play on a piano . experiment to find other three or four chord progressions . many 3 chord progressions 1st , 4th , 5th many 4 chord progressions , with turn - around 8th , 6th , 4th , 5th . tablature there are probably few examples of cigar box guitar tablature , here is one blues scale riff . this progression came from a guitar booklet called basic blues by will schmid . | how to play a 3 string cigar box guitar | there are eight notes between the low d and high d strings an octave . on the bass clef it is good boys do fine again and ace g on the spaces . there is a whole step skip a fret between everything except bc and ef 12 step or next fret up . from c to c there is a pattern w , w , h , w , w , w , h , where wwhole step skip a fret and hhalf step next fret up . to play a d major scale from low d to high d follow this second pattern . practice this pattern with finger fretting and also with a slide . similar to the above pattern , except the c is a natural - fret above the b . start in the 5th fret on g , then play the notes up to high g . in western music many chords are made up of a triad the 1st , 3rd , and 5th notes of a scale . due to the limitations of this instrument only 3 strings , a chord is made of the 1st and 5th notes in the scale . for example , an a chord is composed of a and e and a . this means a barre placed across the 3 strings will make a chord . use a glass or steel slide to form the barre or lay one finger across all three strings . place the slide directly above the metal fret wire to make a crisp note . keep the slide parallel with the frets when you move it . pick a note , then slide a fret or two up or down the neck to the next note . , play g 5th fret , c 10th fret , g 5th fret , d 12th fret , g , c , d , c , g or variations thereof . frets 12th , 9th , 5th , 7th , 12th… repeat three more times follow - up with a turn - around . 12th , 14th , 12th , 7th , 9th , 11th , 12th . see if you can find the individual notes to a melody that may go to this familiar progression . , g , c , g , d . the fret numbers are given for the key of d , figure out the fret number for the same progression in the other two keys . play the 4 chord progression four times , then follow up with the turn - around . the lines represent the strings fat string at the bottom , the numbers represent the fret to put your finger or slide in . |
learn what black metal is . learn who performs it . get an instrument and learn some songs you like . compose original songs . record your songs . start a band . | how to play black metal | its not all about being a satanist even though some bands are . if you dont want to write about that kind of stuff , then dont . many bands choose to write about other subjects such as philosophy , religion , misanthropy , fantasy , mythology , occultism , magic , personal , mental subjects , the cosmos , stars , cosmology , astrology , and seasons . winter is usually used for season - themed songs . bands such as venom , satryicon , immortal , asmodeus , emperor , belphegor , behemoth , and mayhem are great for learning the basics of how to play black metal . if you dont like satanic bands , you can try listening to unblack metal , which is basically christian black metal , and includes bands like horde , frost like ashes , a hill to die upon , miseration , and ancestor . dont expect to be a wizard when you first pick the instrument up . the black metal guys werent gods when they started out either . you will need to know how to read music , but learning tabs or symphonic sheets wont matter as long as you can read it and play what you read . if you want to do vocals , learn how to do black metal vocals . if you want to play guitar , learn the guitar techniques of your favorite bands . bass isnt really heard in the black metal genre , so dont expect to be very loud or recognizable in here . if you want to play drums , learn to blast beat . this will probably require you to have a double - bass drumset . you might also be interested in playing keyboards if you know how to play piano . you can also learn other orchestral instruments if you like symphonic or atmospheric black metal . again , dont expect to be awesome when you start . chances are that your first riffs will sound like your favorite artists . this happens with all beginning musicians . dont give up . find a way to record your songs . you can do it in a professional studio , a homemade one , or even record it with an audio recording device . find other metalheads and try to start a band . be sure to have common influences . a great place to try to find band - mates is at heavy metal shows , so go there and try to meet other musicians and see if you can start a band with your original material . |
first join your school systems orchestra first chance you get , hopefully when you are fairly young . pick up your viola from the school if they order it for you , or buy one . get a shoulder rest . first learn the notes . learn your scales when you are young . see if you can learn easy songs like twinkle twinkle little star , hot cross buns , mary had a little lamb and other easy pieces like that . as your years progress practice at home , though maybe not as often as most teachers say , i . e 1 hour every day is too much for a beginner , as you progress to more difficult pieces or a variety , you can easily spend an hour working at it . throughout the years stick with it , if you are older you might compete with the orchestra against other schools or even audition to become part of a festival . enjoy the instrument by learning fun , cool sounding pieces like classic , fun songs , i . e . as you age , chances are , if you stick with a classical instrument , youll learn to love classical music . optional if you like , you could look up musical groups that are classical instruments . | how to play the viola in a school orchestra | then choose the viola . you should look to make sure theres no scratches if you get a secondhand one . make sure you have a nice clean bow and rosin . the viola should fit comfortably in your arms without having to curve your left arm down towards your stomach . one way to test is by holding your instrument on your shoulder and extending your left arm . your left hand should be at the neck or top of the instrument , not far below or far above . you also need to watch your elbow and make sure that it is slightly bend and slightly pointed towards the front of you body . this is crucial so you dont slouch trying to keep your instrument up . you might get a foam shoulder rest from your teacher to attach a pair of rubber bands . you also could go buy one from your local music store that have rubber feet that attach to your instrument . when you attach it to your instrument you want to make sure that the inward curve is right under your chin rest . a shoulder rest is also crucial so you can hold up your instrument just using your head and shoulder not your arm . when buying a shoulder rest you want to make sure that it fits your viola so that it isnt to big and fall off or to small and not fit . all of them . try to understand the theory behind them to the best of your ability . you will regret not knowing scales or music theory when you are older and auditioning . you should learn how to identify all the keys just by looking at the key signature of the piece . , some teachers will suck , but chances are you will make good friends with other orchestra players and meet people throughout it . youll have great opportunities and it looks great on college applications , even if its not a music school . also , most schools offer scholarship money to those in the music department . and its fun , the more you learn . make sure you know scales for an audition . thriller by michael jackson , viva la vida by coldplay , smooth criminal , and a bunch of other songs . also , musicals , les miserables has an amazing orchestral soundtrack . dont fight it , most of its pretty beautiful . and if not , well , movie soundtracks usually are mainly instrumental . 2cellos are two croatian cellists , stjepan hauser and luka sulic that play everything from u2 to acdc to michael jackson . the vitamin string quartet is well known for their covers of popular songs such as radioactive and its time by imagine dragons , my songs know what you did in the dark light em up by fall out boy , the entirety of green days american idiot album and many others . theres also the piano guys that combine classical pieces with popular ones , like titanium , pavane or code name vivaldi . see also cello wars which has star wars music and sound effects throughout . the group low strung does more classic rock songs like stairway to heaven and no sympathy for the devil odds are youll find a group you favor . |
make sure you have the proper experience . always pay attention to the conductor . listen to the other players , youre not the only one in there . if you sit in a chair , always sit at the edge of it . never cross your legs if you are sitting . stay silent at all times unless you have permission . play as one orchestra . dont make a big deal of a mistake . practice the music you receive . | how to perform in an orchestra | anybody can join an orchestra . however , its not the age , but the talent in which the musician possesses . make sure you are very familiar with the instrument that you play , as it is important to understand your part in the orchestra , the conductor is the most vital part of an orchestra . heshe controls when the orchestra should start a piece , how loud the orchestra should play , and the speed in which everyone plays it . if you are not paying attention , it may hold up time for everyone else , or even worse , missing out in a concert . it is important that you understand the hand movements of a conductor when heshe guides the orchestra . here are some vital movements to know in order to keep up with the group giant upward beginning movement get your positions ready this means to prepare yourself to start a piece . slight movements at the beginning this is the basic beat you will be playing . keep this beat in mind the whole time , but make sure you still have your eyes on the conductor . large downward movement start playing the piece as you are playing , upward movement this means the conductor is at the last beat of a measure . as you are playing , a downward movement this means the conductor has reached the first beat of a measure . if you get lost , this is the time to catch up when playing in an orchestra , make sure you position your music stand in a way so that you can see both the music and the conductor . you should also have the first and last measures memorized , as these are very important parts to look at the conductor , in an orchestra , it is extremely important that you are able to hear what the other players are doing . if you are in your own little world playing an entirely different melody , not only it would be extremely embarrassing , but you are letting all of the other orchestra members down . it is important that you keep your proper positionposture in an orchestra . slouching in a chair will only make you sound worse . if you have a habit of sitting in the wrong position , train yourself . always keep your legs in a formal , but relaxed position . not only is talking rude , but if it were to happen at a concert , you could miss something from the conductor . always look around . if somebody is playing something differently than you , try to match them . if you notice that the conductor is showing a different style than you , find a way to express with your instrument what the conductor portrays . although you should play each note perfectly , mistakes occasionally occur . if you do make a mistake , just do your best to get back with the ensemble as quickly as possible . always make sure your playing skills are he best you can do . relying on the other members to pull your weight will let everyone down . |
practice with a drummer , backing track , or metronome . make sure that you always hit a big note on the one . hit the one and the three in each bar to build a basic groove . fill in the gaps between the one and three to build out your lick . | how to play funk bass 1 | while a bass guitar does provide a melody line , it considered as part of the rhythm section . it holds the beat down , and it cannot waver . if you want to slap a funky bass , you must have perfect , dependable rhythm for your band , with no exceptions . always practice with a steady beat to play with . 99 of all funk is in 44 time , meaning you count out 1 , 2 , 3 , 4 , then repeat the bass line for the next set of four . set your metronome or practice partner to a comfortable speed on a 44 beat and get grooving . most modern music is in 44 - - it should be the most comfortable rhythm for you . funk is not about playing the most notes or the flashiest lines - - it is about building a danceable , hypnotic groove . precise timing is more important than wild , ever - changing melodies . the first beat is the most important in funk . you need to hit it perfectly , right on time , every time . if your timing is perfectly on the one , hitting that note with a satisfying , killer pop , youll find the beat starts to really move . look no further than recent funk single back to the future part 1 by dangelo and the vanguard . the bassline is almost only one note , played on every single beat . but , ever so subtly , he plays the first note twice in a row , giving it a subtle but powerful emphasis . the rest of the band is grounded on the one , as is the listener . funk is built out of 44 time , and the first and third notes are the most important . to put a funky spin on any bassline , strip it down to these two notes . focus on hitting them right on the beat , and dont play any other notes around it . the more precise you are , falling right in line with the drummer , the more funky the groove gets . to start , just find the one or two notes that you need here . remember - - funk melodies arent supposed to be so complex you cant dance to them . find the key of the song by finding the note that works perfectly on the one , and just stick to that for now . if you know several scales uses those to pick notes for the three beat . check out parliament funkadelics one nation under a groove . note how the bassline almost stops after the three - - letting the four go unsaid . this makes the one pop even more when it comes back , breaking the silence . all the rest of the notes are just filler to make the one and three really stand out . play with how long you let the notes ring out . try sharp , short notes that pop right on the one , then hold the three a little longer . reverse it . once you start learning to build a groove with just these two simple notes , youll be leagues ahead of most beginner bassists . the one and the three form the funky spine , and should always be emphasized over the rest . but the fun comes from the in between . start improvising a few notes on the two and the four , always coming sharply back to your backbone to keep the groove going . you can fill it out with a scale , you can walk up the fretboard towards the three , or you can play with silences and longer - held notes . just keep the one and three solid and the rest will fall into place . listen to sly and the family stones long , incredible instrumental break in sex machine for a master course from bassist larry graham . the one and the three are sharp notes , and he leaves space around them . they hold the groove down . but the two and four are filled with quicker , quieter notes that propel the song forward . |
ask yourself why you want it . learn the requirements . be kind to your section mates . practice . ask your parents if you can take private lessons . review the material and tryout process for first chair . hold a mini - concert for your family . visualize a good performance . be prepared the day of the testing . relax . be gracious no matter the outcome . act like a leader . keep practicing . ask for help if you need it . focus on the group . | how to be first chair in orchestra | being first chair or concertmaster is gratifying , because it means that your orchestra director trusts you to lead and occasionally perform solos . however , all that leadership comes with big responsibilities . if music is a priority for you and you feel dedicated to the ensemble you play in , then you just might make a wonderful first chair . ask yourself some of these questions so youll know how to approach your goal will you be able to attend all rehearsals do you have time to practice , so that you know your music well enough for others to follow you do you like helping others if theyre stuck how will you support the orchestra if you dont get first chair this is important , because there can only be one first chair . if you dont end up getting it , will you still be dedicated to the group some orchestras have tests for first chairs once every two weeks or so . others have a constant first chair throughout the semester or even the year . still others allow challengers to compete against the current first chair - - each musician plays the same piece , and your teacher or director picks the best performance . know how you have to try out so that you can prepare yourself . check if your orchestra has age limits on who can be first chair . if only eighth - graders are allowed to be first chair and youre a seventh - grader , spend the year practicing so youll perform incredibly next year . if your orchestras first - chair system relies on challenges , dont challenge the current first chair too often . challenges take up class time , so you dont want to do them frequently . also , you might get a reputation as being difficult . the best first chairs arent divas . instead , theyre aware that they set an example for the rest of the ensemble , in performance and in rehearsal . if you want to be a good leader , you have to focus on others needs as well as your own . be courteous to your fellow musicians . be early for rehearsals , dont hog sheet music or stands , and dont trash - talk anyone elses style . be available for help when others need it . if someone asks you for advice on their playing , it means that they trust you . theres just no getting around it . it takes a lot of effort and dedication to become first chair . you need to make sure that youre the best musician you can be , and the best way to get there is by practicing often and well . set aside time every day . if you go to school and have other extracurriculars , you probably feel really busy . promise yourself that youll practice a certain amount of time every day , and arrange your schedule so that you can make that happen . practice in a consistent space . if you can , set up an area - - maybe in your bedroom or living room - - with a chair , music stand , and mirror so you can check your posture . this will help you think of music practice as a normal part of your schedule . many of the most dedicated musicians in your orchestra probably already work one - on - one with a teacher . in private lessons , you can improve your technique even more than you can with practice , because your teacher can point out strengths and weaknesses in your performance that you wouldnt notice otherwise . this can be enough to give you an edge . what you say will depend on your history with your instrument and your relationship with your parents . pick a quiet time , like when youre driving or doing the dishes together , and say ive been thinking that id like to try private instruction so i can get better at violin . is that something i could do if your parents cant get you private lessons , do your best to accept it . you can still improve a lot by practicing and attending orchestra . will you be playing a movement , or just a few phrases will you be performing for just your teacher or conductor , or the whole class make sure youre prepared for the structure of the tryout , so you start with a confident , unruffled air about you . the night before the audition , gather your family together and play all your audition material exactly as you plan to the next day . this will help you know what its like to perform for an audience in a relatively low - pressure way . it will also check that you have all your material memorized if necessary . if you make a mistake , dont say so . keep going and do your best . if you have very snarky or giggly siblings , then you dont have to play for them . just your parents or guardians will do . imagining yourself playing amazingly doesnt replace practice , but it definitely helps . before you go to sleep at night , close your eyes and imagine yourself playing confidently and well at your tryout . the day of your performance , your brain will be used to picturing what you need to do , so it will go more smoothly . whether its a challenge or audition , you want to do everything you can to set yourself up for success . give yourself plenty of time the night before and the morning of your try - out , so you dont feel rushed . prep your instrument . before you leave your house in the morning , remember to take your instrument with you . make sure that its clean and that you have all the parts you need . pack extra reeds or rosin if you need them . get a good nights sleep . youll perform your best if youre alert . eat a good breakfast . some performers say that eating a banana helps them calm their nerves . really , the important thing is to eat food that makes you feel full and energetic . wear something lucky if you have it . youll be relying on your musicianship and preparation , of course , but your favorite t - shirt or necklace just might be the boost of confidence you need . before your try - out , make sure youre taking deep , slow breaths to calm your body . if youve worked hard and practiced to get to where you are , you deserve to feel proud of yourself . whatever the results of the tryout or challenge are , theyre second to your dedication to your instrument . you cant do a yoga pose to de - stress yourself in the middle of your audition , but you think some happy thoughts youre a musician , so you belong in an orchestra , and you deserve to take a shot to be a student leader . your teacher or conductor is rooting for you and wants you to play well . you have set a goal for yourself , and thats admirable . not to sound like a broken record , but an orchestra is a group of people who come together with the same goal to make beautiful music . every person there , including you , contributes to that . with that in mind , try to accept your directors decision as gracefully as you can . if you dont get first chair this time , its okay - - you worked really hard , and youre going to continue to improve . congratulate the first chair , and then concentrate on making yourself and the group sound good . if you get first chair , try to look ahead to your new responsibilities you have so much to do now that youre in the position of the concertmaster , its extra - important for you to model good practices for your fellow musicians . youve probably been on your best behavior for a while now , but its always good to refresh yourself . do you have habits that are getting in the way , like tapping your toes to keep tempo its time to address them . always be early to rehearsals , so youre fully prepared to start at the beginning . your director probably already says early is on time , on time is late , anyway . stay alert . if you start daydreaming and lose your place , you wont be able to lead your group as well as you could otherwise . if you notice anyone playing really beautifully , feel free to compliment them after rehearsal . youre all there to sound beautiful together . again , theres simply no way to avoid it . practicing will make your performances crisper and more artistic . once you have your basic fingerings down , you will play more confidently at rehearsal . practice so you can both play well and lead your section more effectively if youre first chair , you might even get a solo . practice extra hard so you sound your best . listen to recordings of your part when youre doing other things , like walking to school or falling asleep . if youre ever feeling stressed or stuck , the conductor of your ensemble is your best source of guidance . whether youre trying to get a particular phrase down perfectly or worried about conflict in the group , you dont have to solve all the orchestras problems by yourself . be direct when you ask for help . say something like im having trouble getting the first few bars of the second movement right . do you have any advice about how to make it sound more natural to avoid tattling , dont use anyones name . if there is a lot of internal conflict and rivalry in your orchestra , its not your job to solve it . at the end of the day , everything you do as first chair - - even your amazing solo - - is done with the goal of making the whole orchestra sound great . focus on lifting up your stand mate , your section , and your whole group , blend , and be a supportive presence , and youll make beautiful music with your fellow musicians . |
get physical with your strings . let repetition become your friend , to a point . dont be afraid of spaces and silences . learn funky bass lines that you love to expand your vocabulary . | how to play funk bass 2 | the big bad strings of a bass can take a lot of abuse , and you should feel free to really play with them . strum softly with your thumb , then pluck hard on a lower strings to get the crisp , satisfying pop . slap the string with your palm to get it ringing . play muted notes , where you arent pressing fully on the fret , to get a percussive note instead of a melody . varying these textures is a great way to build an essential sense of rhythm into your bass lines . funk gains power through repetition . you are the one keeping the band and melody on track , providing a sturdy base to dance on . you dont want to be switching up your licks or grooves every 2 - 3 bars , you want to be reliable . however , the occasional deviation is exciting , fresh , and funky . every 4 bars or so , mix it up - - hitting a higher version of your root note , sliding out of the lick , etc . by restraining yourself , you make your subtle deviations even more exciting . stevie wonders higher ground has a kicking , relatively regular bassline . but , when stevies voice kicks it up an octave , he switches up the final two beats with a nasty little slide that signals the shift in and out of the chord change . the notes you play are just as important as the ones you dont . syncopation , which is when you leave pauses and spaces where listeners expect a note , is crucial to good funk . in general , spaces are used to make the note immediately before or after feel more important , meaning the two and four beats are great places to put a little silence . rhythmic variety is created by having spaces . and variety , especially when synced up with your drummer , is where the funk starts to shine . check out kendrick lamars king kunta , paying attention to the just barely syncopated pause after the three beat . you expect the note to hold , like it does after the one , but the unexpected syncopation gives it a fresh , immediately danceable feel . once you have the rhythm down , getting the groove with a few simple notes , you can expand your funky chops but copying the masters . look up the tabs to every song that catches your ear . focus on getting them perfect , note for note . how do other masters fill in the gaps how do they emphasize the one and three how do they use silence to their advantage while you should listen to anything you love , some classic bassists to start with include larry graham with sly and the family stone , graham central station bootsy collins with parliament - funkadelic , james brown , his own band james jamerson with the james brown band victor wooten solo , with smv |
learn the minor pentatonic scale . learn the major pentatonic scale for a more upbeat feel . play a major scale for warm , happy tones . play the minor scale for a darker , sadder tone . | how to play funk bass 3 | this scale is a great way to throw some melodic variation into your lines , and fits neatly over funk , blues , rock , and pop chord progressions . it has a slightly moody , bluesy feel . as always , find the one and three and make them shine , often using the root note . the following is the a - minor pentatonic scale . the note in parenthesis is a grace note , used for a bluesy feel , that can be left out if you want g - - - - - - - - - - 5 - 7 - 8 - d - - - - - - - - - - - 5 - - - 7 - a - - - - - 5 - 6 - 7 - - - - - - - e - 5 - 8 - - - - - - - - - - - - - the major pentatonic offers the variation loved in pentatonic , but it has a happier feel . its not quite as bright as the major scale , but its still a good mood kind of scale and is used accordingly . the following is for the a - major pentatonic scale g - - - - - - - - - - - 4 - - - 6 - d - - - - - - - - - - - 4 - - - 7 - a - - - - - 4 - - - 7 - e - 5 - 7 - - - - - - - - - - - - - , start the scale on the root note and play from there , using the scale to help your find notes for your licks . the following scale is for a major , since it starts on the fifth fret an a g - - - - - - - - - - - - - - - - - d - - - - - - - - - - - 4 - 6 - 7 - a - - - - - 4 - 5 - 7 - - - - - - - e - 5 - 7 - - - - - - - - - - - - - , not used a tone in funk , but still easily modified for funk , this note will give you a bit of a darker , more intense feel for songs that call for it . when played straight , it may sound a little too sad , but that focus on rhythm will give it the pulsing feel that makes it funk . this is for a minor g - - - - - - - - - - - - - - - - - d - - - - - - - - - - - - - 5 - 7 - a - - - - - - - 5 - 7 - - - - - e - 5 - 7 - 8 - - - - - - - - - - - |
be very committed to your instrument and to music . all professional orchestras hold an audition process . make sure you are familiar with the audition process . get the necessary repertoire , scales , and excerpts you need to learn as soon as you can . get a good nights sleep the day before the audition . walk into the room confidently and play to your best ability . if there is an interview , answer all questions to the best of your knowledge . | how to get into a professional orchestra | you need to be able to commit the necessary amount of time to be at rehearsals and concerts . because you get paid to be in the orchestra , you need to earn your money . if you have sloppy attendance , you will not be familiar with the music and you could get fired . make sure that your schedule allows plenty of time for rehearsals , concerts , and most importantly , practice if you are already a very busy person , you will need to prioritize . each orchestra works differently . some orchestras hold auditions every year while others only hold auditions when someone leaves . find out when the orchestra youre interested in holds auditions and book your audition time as soon as you can so you get first dibs . some orchestras hold special auditions for principal players . in other words , when the principal of a section leaves , there will be a competition for those interested in replacing himher . if you are interested in becoming a principal of a section , make sure you find out the requirements for that . some orchestras might hold an interview beforeafter the audition . check to see if the orchestra requires you to hand in something i . e . resume if you need to prepare a resume , make sure you include any previous orchestral experience , previous work experience , awards you have won , etc . listen to recordings of the pieces that the excerpts come from and become familiar with the style , tempo , and musical interpretation . if you are still taking music lessons , go over the audition material with your teacher . practice frequently make sure you eat breakfast that morning . dress as if you were going to a job interview . warm up before leaving . warm up again when you get there . when you are done , leave the room confidently . take time to think before answering . |
on a c scale , a musical step is between c and d , d and e , f and g , g and a , and a and b . a musical half step is between e and f and b and c . a musical half step appears between a white key and an adjacent black key or between two white keys that have no intervening black key . | how to play chords in music 1 | , |
all musical scales have a basic pattern , something like this 1step - 1step - 12step - 1step - 1step - 1step - 12step . this particular pattern is called a major scale . | how to play chords in music 2 | others , slightly different patterns , are called minor scales . |
a musical third is the first note in the key and the third note which is two steps higher . a musical fifth is the first note and the fifth note in the key which is 3 12 steps higher . the fifth is 1 12 steps higher than the third . the musical third between the first and third note in the key is called a major third . | how to play chords in music 3 | , |
the major chord contains a major third and a fifth . the c chord has the notes c , e and g . c and g make a fifth 3 12 steps . by now the reader has noticed that the third and fifth notes do not make a major third . all major chords have a major third and fifth . | how to play chords in music 4 | c and e make a major third two steps . , the distance is 1 12 steps instead of two . the third and fifth notes in a scale are a minor third . |
every chord in each key has a name the roman numeral indicates its placement in the key i tonic ii supertonic iii mediant iv sub - dominant v dominant vi sub - mediant vii leading tone the tonic i , sub - dominant iv and dominant v are major chords in all major keys . | how to play chords in music 5 | null |
each chord in a key is either a major , minor or diminished . the leading tone chord diminished is rarely played . the chords types are as follows i tonic major ii supertonic minor iii mediant minor iv sub - dominant majorv dominant major vi sub - mediant minor vii leading tonediminished | how to play chords in music 6 | the term leading tone refers to the affinity of the seventh note for leading into other notes . |
the minor chords have a minor third and a fifth . a minor chord is denoted with a small m or min . | how to play chords in music 7 | the notes of a minor third are 1 12 steps above the first note instead of two steps . the supertonic , mediant and sub - mediant chords in the key of c would be written down as dm or dmin , em or emin and am or amin . |
simply make the note in the third half a step lower . | how to play chords in music 8 | to make a g chord major g - b - d a minor chord , lower the b one half step make it b flat . |
the diminished chord is a minor chord that also has a fifth reduced by 12 step . the diminished chord is signified with a a degree symbol . | how to play chords in music 9 | null |
suspended 3rds are usually played in church music . strictly speaking , the third should be considered a sharp . the suspended 3rd or 4th whichever name you prefer is usually simply referred to as sus . | how to play chords in music1 1 | the suspended 3rd is so - called because , opposite to the minor chord , it raises the third 12 step sharps . it is also called a suspended 4th mistakenly because it creates a chord with a 4th and a 5th instead of a 3rd and a fifth . with the c chord , making a sharp of the 3rd e makes it an f . the sus chord always resolves itself into another chord , usually the base chord . a c sus will resolve into the c chord . |
the augmented chord , signified with a superscribed after the chord name is usually introduced at a dramatic phase in the music . using the c chord as base c - e - g , a c augmented chord would sharpen the fifth , giving c - e - g . | how to play chords in music1 2 | the augmented chord is simply a sharpened fifth . the augmented chord is usually not held for long . it usually cuts against the natural grain of the music . |
understand what makes trance unique . get some inspiration . listen to several subgenres of trance . analyze the music . purchase a computer with appropriate specs . purchase or download music - making software . practice using the software . learn how a synthesizer works . get yourself some tools and instruments to make music . purchase a midi board . get yourself a studio monitor . make a mixtape showcasing your talents . publish your music . promote yourself and get connected . export , render , and upload your tracks . | how to make trance music | trance particularly has unique characteristics that make it differ from other electronic music . these include , but are not limited to the factors listed below emotion . one of trances main characteristics lies in the emotional factor that it places in the listener . much of modern trance music places emphasis on a build - up and breakdown measure associated with progressive trance , which is good in moderation . be aware that trance music did not start using progressive build - ups and breakdowns until about the late 90s . prior trance would typically keep the same beat for the length of the entire song . repetition . trance music is usually very repetitive . this is not to be associated with a negative connotation , as repetition is one of the factors that helps to instill the emotional aspects of the genre . you should be mindful of making any repetition flow naturally . repetition that does not flow properly will tend to mimic a broken record , per se , making it difficult for listeners to adapt to and connect with the sound . the quarter - note bass kick . the quarter - note kick helps to retain the emotional factor that is created by repetition . almost all trance music has a defining quarter - note bass kick that usually remains for the majority of the song . keep in mind that the quarter - note kick does not have to be an overpowering bass note you might choose a subdued sound . similarly , many artists will begin with a series of ambient sounds and gradually work the listener into the main melody . beats per minute . most trance lies within the range of 130 - 150 bpm . sometimes it may drop below 120 bpm—particularly in ambient trance—but it generally does not exceed 150 bpm , as this begins to border hardcore electronic music , which is another genre in itself . for a lot of edm genres , 128 bpm is good , and is very good for trance music , because it is somewhat midtempo , but has an easily danceable feel . it is also good for the style of dance used in trance music , which is jumping up and down repeatedly with hands in the air . while copying another artists music isnt the best idea , there is nothing wrong with listening to other artists for inspiration and ideas . listen to a lot of trance music to determine what you like , what inspires you , and what kinds of music you would like to make . remember that there are several different subgenres of trance . the sound of trance has changed considerably from what it sounded like a decade ago . be sure to get a feel for trance from the early 90s along with trance that is released today . many great recording artists keep music from their own genre close at hand . this reference work will ensure that you retain the fundamentals of the genre that you wish to write a song for . just as all great painters study their peers for inspiration , so should you . trance may have some universal characteristics , but its melody can vary tremendously across subgenres . recognize the characteristics of some of these subgenres classic trance . while this isnt a specifically defined subgenre , this refers to early trance that began in the late 80s . this subgenre has a tremendous focus on repetition , slowly changing over the course of the song . classic trance can be said to be ported from contemporary classical musics minimalism developed by contemporary composers such as steve reich , terry riley , la monte young , and philip glass . acid trance . acid trance is mostly similar to classic trance , except that it has a much more hypnotic and trippy feel to it . it has a unique sound that is often achieved by playing with filters , pans , and oscillators to create a science fiction - esque sound . see roland tb - 303 . progressive trance . this subgenre defined the popular build - up and breakdown themes that are often associated with trance . by slowly building up a progression of melodies and creating a pseudo tension , an outburst of emotional bliss results at the peak of the melody as it releases . these releases are often done by creating a brief lull in the melody before quickly returning to the main theme . other common techniques include pausing , using rests , rapidly speeding up the bpm , and using progressing kicks from quarter - to eighth - to sixteenth - , note kicks , and so on . the major artists in progressive trance are tiësto , darude , armin van buuren , and paul van dyk . goa trance . this subgenre shares many of the characteristics of acid trance , but has a unique organic sound to it . goa trance is such a complex and structured subgenre of trance that many other sub - subgenres originated from goa trance , itself . psychedelic trance . also known as psytrance , this subgenre is very similar to goa . in what goa trance creates for an organic feel , psytrance creates an electronic , futuristic feel . psytrance tends to use more sci - fi ambient sounds together with the techniques used in acid trance . ambient trance . this subgenre tends to use a much slower bpm and places less emphasis on the quarter - note kick . many ambient artists do away with the quarter - note measure altogether and drop to half - note measures or other measures . ambient trance generally uses softer sounds and maintains an easy listening feel , while still retaining the repetitive and emotional characteristics associated with trance . tech - trance . tech - trance is a fusion between techno and trance . it is very tough . it doesnt focus on a melody , at times a melody will be used in the breakdown . usually focuses around the talent to manipulate one note and edit it to make a very industrial sounding synth . some names to check out who specialize in tech - trance are sander van doorn , abel ramos , bryan kearney , randy katana , and marcel woods . how it is sectioned and divided what percussion was just added or removed how did the melody change what all is going on what sort of ambient noises can you hear in the background youll need a high end machine that can handle making and editing sounds if you are looking to produce quality music . here are some important specifications to consider . processor . dual core processors are particularly effective in streamlining functionality and improving performance while writing trance music . quad cores are also brutally effective , but are expensive . additionally , some machines still dont possess the capabilities to handle the power of a quad core processor . hard drive space . higher quality sounds mean larger sound files . keep in mind that you arent writing music using mp3 quality , which averages a bit rate of 128 to 320 . youll want the highest quality bit rates for sounds when working to develop your music . the size of your hard drive can vary significantly , depending on the sounds that you intend to use . 250gb of hard drive space is a very liberal amount . ram . two gigabytes of ram 2gb is a fair starting measure . 1gb of ram tends to push the limit , and anything under 1gb becomes particularly difficult to work with effectively . sound card . youll need a high quality sound card . an internal m audio audiophile sound card with rca will do fine , as well as an external fast track usb sound card with microphone inputrca . this is also good for recording mixes . music producingediting software . this will be further detailed below . ableton live , reason , andor fl studio are good programs that you can use to help you to make beats , breaks , and a bass line . or , if you own a mac , try garageband or easybeat , or logic pro for more advanced composing . on linux lmms would be just fine and also runs in windows time and dedication will show the best results . get a feel for the sounds you can make and for your style . try modding the pre - programmed sounds that you like . oscillators , waveforms , filters , lfos . synths presets are a good way of getting started , but programming the sounds yourself will be far more beneficial in the long run . while using predefined melodies and sounds is useful for beginners making trance , you are better off developing your own unique sound . there are plenty of free vsts virtual studio technology out there , all of which will improve the standard of your music . kvr audio is a great site for downloading vsts , and synth1 or superwavep8 are good and easy - to - program synths . if you are willing to spend a bit of money 90 , nexus is the vst you want for the best trance lead sounds . another mentionable vst is v - station , which is great for trance - specific production . vanguard is another great vsti that can be purchased . also sylenth , and spectrasonics omnisphere for pros . gladiator 2 and zebra synths are also very good . psytrance and goa trance bass sound can be difficult to program from scratch on a general purpose synth if youre a beginner alien303 is very a good start for this until you get the grasp on how to do the sounds yourself . the m audio midi board , oxygen o2 , keystudio , or m - audio axiom or novation are good for beginners . you may need drivers for the desired midi board of your choice . you can download necessary drivers for m audio straight from their website . krk , mackie , behringer , or fostex will do you good . make sure that they come with at least a 3 subwoofer—youll need it for the kicks and bass in trance . also , your speakers should have at least a 1 tweeter . dont waste your money on cheap gear brand names do pay off . dont worry if it doesnt sound great at first you will get better with practice . try to be critical of yourself , but also spotting ways you can improve . remember youre not at their level until you work your way up there . it takes practice . you dont need to go right to a producer and show your work , but you might create a facebook or soundcloud . com music page to get your name out there . find a way to promote yourself . remember if one person doesnt like you , thats just one persons opinion . once you feel that your productions are turning out positive , try to get one signed . it will be very difficult , but the end result will leave you truly accomplished . you may need to send out at least 100 demo submissions to labels all over the world before you get any notable recognition . there are several aspects to consider while doing this . export your track from your software . use the format of your choice usually in lossless . flac . many programs allow you to export to . mp3 as well , but be certain that you use the v0 variable bitrate preset . note that most media players will only play 16 - bit flac files , although you can download codecs to play 24 - bit . flac if you insist on using it . upload your file , using a file sharing site of your choice . there are countless sites , but yousendit is particularly notable . it is not free , but it allows you to send songs directly to anyones email address . generate a direct . mp3 url to your file and copy and paste it to all of your demo submissions . include any extra background information that you wish , such as your email , your myspace , and so on . create a myspace music page . you should upload only samples to your page , since there is a size limit of about 6mb . remember to keep your sound quality above 296kbps . this way , youll offer a good preview in good quality , which will attract more visitors . uploading a fraction of your song is also a safety precaution to avoid users ripping your full - length music . |
a common embellishment to any chord is the 7th . this chord will resolve itself into another chord , depending on if its base is the dominant , sub - dominant or tonic chord . sometimes maj7 is super - scripted . | how to play chords in music1 3 | the 7 super - scripted above the chord name means a minor seventh . the c7 means to play the c chord c - e - g with a b - flat . a tonic and sub - dominant 7th will usually resolve into the tonic or sub - dominant , respectively . the dominant 7th is the usual way the dominant chord is played and will usually progress into another chord . in that case , play the regular 7th note . the 7th will invariable lead into something else , hence the term leading tone . |
know what a 1 - 4 - 5 progression is . play a basic rhythm . jazz it up . add the sixth note and major seventh note . rock on . | how to play a 1 4 5 bass progression | the numbers in 1 - 4 - 5 refer to the corresponding noteschords in a musical scale . for example c d e f g a b c c major scale 12345678 c is designated as 1 because it is the first note of the scale . using this information , you can determine that in the c major scale a 1 - 4 - 5 progression would translate to c - f - g . so for a 1 - 4 - 5 in c major , the chords that youll be playing under will be c major , f major , and g major . the simplest way to play under a 1 - 4 - 5 is to play one note on the first beat of the measure that sustains for the entire measure c - - - f - - - g - - - c - - - this simple rhythm can be expanded upon in a few ways c c c c f f f f g g g g c c c c or c c - - f f - - g g - - c c - - , adding a few extra notes into the mix makes the beat more lively and establishes a groove . an easy way to do this is to play this c e g c f a c f g b d g c e g c all you are doing here is playing the first , third and fifth notes of the scale of the chord that you are playing under . if that sounds a little complicated , just play the notes and it will sound good regardless . this gives the progression a more bluesy feel . this will generally require you to play under each chord for two or more measures , so only do it if thats what the song requires . c e g abb a g ef a c d eb d c ag b d e f e d b c e g a bb a g e , play with other musicians to increase your proficiency with your new found skill . also , a jazzed up 1 - 4 - 5 sounds pretty cool if youre playing alone or if youre warming up while waiting for the guitarist to quit jacking around with his pedal boards . |
know the syllabus . practice , practice , practice , know which part of the syllabus you need to work on most , and what you can improve , and then work on it . do not be afraid of aural , on the day of your exam the most important thing is to be calm , relax , and try not to think about it . turn up early , and definitely warm up and run through pieces and scales beforehand . introduce yourself and your music calmly to the examiner waiting until he asks . stay calm and composed , do not show your nerves . check your sight - reading piece . practise with your accompaniment so they know your style of playing . | how to pass your music exam | you may be doing musical knowledge over scales , improvisation instead of aural . know the order you are playing the pieces in , and rehearse with the accompanist beforehand . it is crucial you know exactly what the examiner is marking you on . it cant get stressed enough the better you know the pieces , the better you will do in the exam . for example , as you get to the higher grades , playing fluently , and with expression is very important . one used to hate aural , until they realised , hey , its not worth many marks , and doesnt really matter if it goes horribly wrong . its a way to pick up extra marks know all the questions the examiner will ask , and the possible answers . listen to as many styles of music as you can and practise looking for style , dynamics , time signature etc . on those . it will always make you nervous , but relaxing can help you play your best . when its time to go in , smile and say hello to the examiner . dont be put off by himher they may look intimidating , but they are not allowed to be too horrible , look as calm as possible . stand straight and hold your instrument carefully or singing stand straight up and wait to hear the examiner tell you to playsing you normally have enough time to play it through once . |
select a daw . build or buy a computer . collect production equipment and accessories . educate yourself about your daw and equipment . plan the track . build the foundation with a bassline . come up with a melody . add in harmony . emphasize suitable parts of your track . finish your track . build your sound library . make use of plugins to save money when starting out . familiarize yourself with audio editors . | how to make music using a computer | daw stands for digital audio workstation . different daws have different system requirements , so knowing which daw youll use can help you determine the kind of computer youll need to build or buy . there are many daws available , so you should research the one best for you , but a few popular options includeimage - line fl studio , which is one of the more robust options in the fruity loops brand . as a bonus , this daw generally includes free updates . ableton live is a popular choice among composers and performers . it integrates well with supplemental hardware , like synthesizers and the push 2 controller . think of controllers as a physical interface for your daw . by pressing a button on a controller , you can create sound in your daw . steinberg cubase pro is a well - balanced daw with specialized digital tools , like the chromatic adjustment function in the sampler track interface . avid pro tools is perhaps the best known daw among lay - producers . pro tools is a dependable daw that youll find in many studios . apple logic pro is relatively easy to use , with clear labels and intuitive graphical user interface . however , this daw is only available for apple products . reaper is a daw you can download and use for a trial period of 60 days . following that , youll be asked to pay 60 or make a donation , but youll still have the option to decline payment and continue using the program . you can save money on computer costs with a low - end video card since you wont need sharp graphics to produce music . when using the daws pro tools , garageband , or logic , consider buying a mac , as these daws are either mac only releases or run optimally with mac specifications . additionally prioritize laptops for live performing . if you dont plan on performing , a desktop computer will likely save you money , function better , and last longer . choose a computer with a high processor speed . your computer should have a 3 . 0 dual core processor , minimum . outfit your music production computer with at least 8 gb of ram and 500 gb of hard drive space . this will ensure you have enough space for a sound library and that your computer runs smoothly . although daws can digitally reproduce many instruments , samples of live recordings often sound more authentic . for this reason , you may want or need equipment like keyboards , synthesizers , microphones , controllers , electric guitars , and more . this equipment can be very expensive . prioritize equipment from the most to least useful . save money over time and buy equipment one piece at a time to build your stockpile . when evaluating equipment usefulness , think about your personal skills and abilities . if you are a trained drummer , for example , a digital drum kit would likely be useful . production equipment can also reduce the processingemulation your computer must do , which can help your computer run smoother . controllers and synthesizers can make physically interacting with your daw much more intuitive and natural . watch youtube tutorials for the daw youve selected . familiarize yourself with its features . take notes from experienced users and tutorials on how to make your daw produce music most efficiently . each daw will be different and have different features . even if youre somewhat familiar with the general layout of daws , it may take time and training before skillful usage comes naturally . there may be free courses online teaching how to use your particular daw . professional daws oftentimes have tutorials for owners . search online to find and make use of these resources . although there are exceptions , generally you should keep the number of parts including vocals and instruments in your track to about 5 or 6 . too many parts can create a muddy or oversaturated sound . choose the tempo speed of the music by setting the metronome sometimes marked by bpm beats per minute . research the genre of the track youre trying to create . some genres have specific characteristics , like the typical 90 bpm range for pop songs or the 120 bpm range for house music . what do you , as a listener , want to hear in the genre of music you are making this can be a useful guide to the instruments you choose and the tone of your track . the bassline is comprised of low - tone pitches and percussion instruments , like drums . this should be fairly simple and repeatable without being tiresome . the trick of a strong bassline is to make it repetitive but catchy . low - tone notes on instruments besides drums can be a part of your bassline . try including low - tone chords and low - tone single notes on the guitar and piano . loop the main theme of your bassline so its steady and plays for most of the track . this main theme may pause during the bridge or change slightly at transitions , like where the verse changes to the chorus . the repetitive , twangy bass of pink floyds hit song money and the simple yet insistent low note pulse in my generation by the who are great examples of famous basslines . the melody is the main part of a track that you would hum along to . the melody is often reflected in the lead vocals . generally , one instrument , one voice , or the combination of an instrument and a voice creates the melody . the melody should sync with the pulse of the bassline . there are many instruments you can use to make the melody , but popular choices include the piano , guitar , trumpet , trombone , flute , violin , and more . try to design your melody so it has contour . the rise and fall of the volume and tone of the melody will be more engaging to audiences . if you intend to have vocals , its most common to have the vocals sing along with the melody . write lyrics for your vocals if you plan on including them in your track . popular melodies that you might look to for inspiration for your own include i want to hold your hand by the beatles and respect by aretha franklin . choose one or two new instruments to add harmony to your track . include these instruments at various points throughout the track . use a note , a run of notes , or a chord with these instruments to create tension , build , or emphasis at important parts of the song or to highlight lyrics . add supplemental instruments sparingly to your track . adding too many or having supporting instruments play too frequently can make your track heavy and the sound quality muddy . voices , too , can be added as a supplemental instrument . a secondbackup voice or chorus , especially during the chorus or emphatic parts , can be effective . listen to the operatic harmony in the internationally famous queen song bohemian rhapsody , or the equally impressive harmonies of the beach boys in i get around . during the middle build of the song youll likely want to increase volume and add instruments little by little for its duration . add an instrument to highlight your favorite lyrics . hit home the last chorus hard by using a backup chorus to add a sense of weight and depth . when it comes to emphasizing your track , its completely a matter of preference . explore different techniques to find what works best for you . unusual sounds , like air raid sirens , rain , and traffic , can sometimes have an unexpectedly positive effect on a track . the bitter chorus of mr . brightside by the killers is emphasized with additional instruments . don mclean adds and removes instruments throughout american pie to shift mood , heighten emotion , and more . mix your track . assemble the different parts of the track in your daw so they fit together seamlessly . master the track to ensure the volume is balanced between parts . check any fades and the overall frequency of the song . moderate extremes so the transition and quality between sounds are both smooth . keep the volume low when finishing your track . youll likely spend many hours making small adjustments until you achieve your desired sound . moderate and high volumes can damage your hearing over time . daws generally come with finishing tools , like those used for compression . with compression tools , as an example , you can more easily maintain consistent volume throughout a track . your phone can be a powerful tool for capturing unique sounds . snag samples of natural features , like rain or birds , snippets of catchy conversation , and music being played in the distance on a still day . download sound packs from the website of your daw producer . ask to sample local bands , musical friends , and others . organize your music library in an orderly system , much like youd organize physical files . use headings like brass , percussion , and acoustic guitars . because of the wide variety in some categories , you may want to add subcategories under master headings . for example , you might separate high - hats and ride cymbals under the master heading for percussion . plugins add new qualities to existing programs , like added on search engine features in your web browser . music production plugins can be used for sound many purposes , like in sound editing , as a daw , as a supplemental synthesizer , and more . audio editors help you remove static from recorded tracks , modify sound parameters frequency to reduce or adjust distortion , add effects , and more . some highly ranked free audio editors that are useful for gaining familiarity with them include audacity is a powerful sound editing program that , even though free , manages to exceed some pay - to - use editing programs . it comes with a comprehensive manual and is approachable for beginners . free audio editor has a clear user interface that makes this editor less intimidating . this program has an array of pre - made filters for things like breath and background noise reduction . free mp3 cutter and editor is an excellent choice for simple edits or light finishing . though somewhat less robust , this editor is great for things like splitting one long mp3 into multiple segments . |
get a band full of people who want to play the same or similar kinds of music . remember there are three main kinds of metal stuff you want to head - bang to quickly , stuff you want to slowly head - bang to , and stuff you want to go crazy to jumping around and swinging your arms . get one member of your band to come up with their part lyrics , rhythm or riff guitar is a good instrument to start with . try to be in sync with one another . decide on a structure . | how to make heavy metal music | for example , black metal and death metal work well together alternative metal and hard rock go great together . think about other combinations you and your band might like . if youre thinking more creatively , try to make some more unusual genre combinations . an american group called panopticon combined bluegrass and black metal , so really extend your abilities and ideas . spread your wings and soar into the world of metal sub - genres . so decide what kind of song you want to make , think of yourself as the listener , what do you feel like listening to right now make it so that its not just you who will enjoy it , but so that many will enjoy this particular song . think of the things that make you really dig a song the vocal melodies , the guitar solos , the riffs or the drum patterns . try to think of new ways these can be combined to form favourable songs . from there , you should all think of other parts for the band that would work well with the part that you started with . if you start with a riff , try getting the guitarist to loop it and then ask the drummer to figure out the percussion for it . this can lead to some interesting ideas , because once the two are stable , other members can jump in and add to the song . get the lead guitarist to sit back and consider throwing a high melody in , or a solo . bassists should try to write something that boosts the song . this could be anything from a simplistic riff that follows the guitars , to an advanced bass riff that is completely individual from the other music , while still fitting the song . playing a funk riff behind a blazing death metal riff will not always work . still give it a try though , you never know what could sound good together . for example , if the guitarists or bassists play a short note and stop then the drummer should also do something similar like choking the crashchina or whatever they decide . also , if you want to have screaminggrowling in your music , dont be afraid to let it all out . it all depends on what kind of metal youre trying to make . especially in metal genres , it is important to work on a coherent unit sound . you dont want the drums to be inconsistent or else it may throw out the rest of the band . however , if that is the intention for the song then by all means give it a shot , if you believe that the band can pull it off . experiment with different sounds to find what works for your band , and what sounds good . try to be creative . instead of using another versechorus , add a drum breakdown , or a guitar solo . make the song invite someone in who may not be into metal . a creative song will also make more people consider your band as a higher standard . do not write one professional song , then back out with two weaker songs . try to maintain a high standard in your writing ability . write consistently and aim high . when you write one song that people approve of , dont let the rest of your material be slackened . |
get help . determine your platform . get your name out there . | how to become orchestra vice president 1 | find a few 2 - 4 friends in orchestra who will help you with your campaign . you are going to need their help choose people who you trust , who are willing to help you , and who other people in the orchestra like . make sure to have at least 1 person of the opposite gender . you need to determine your platform . in any campaign there are issues which people will have differing opinions about . think about issues and things that you and your fellow orchestra members like and dislike about orchestra right now . get together with your friends from step 1 to discuss these things . you all have been in the orchestra , so you know what changes they need the most . answer the following questions what have past presidents , vice presidents or teachers done in past years that you and your fellow orchestra members have enjoyed and benefited from what have past presidents , vice presidents or teachers done in past years that you and your fellow orchestra members have not enjoyed if you were elected as vice - president , what specific things would you change that would benefit the orchestra as a whole especially , you want to have a couple key points that are unique from the rest of the people running . make them popular , fun and interesting . the answers to those three questions will become the issues that make up your running platform . keep in mind that school elections are more of a popularity contest than anything . the more friends you have and the more people who like you , the more likely you will get elected . if you are not the most popular candidate , have no fear , there are plenty of things you can do to make you become the one everybody likes the most . the poster alone is not going to get you elected . you and your helpers are going to have to talk to each person in orchestra and convince them to vote for you . heres 3 sure - fire strategies that are sure to help you win them overyou need to start doing these things as soon as possible , at least a week or two before the election . get together with your friends after school one day or on the weekend and do all these things . |
listen to good commercial mixes for 15 minutes or so to get your ears warmed up . solo one sound at a time . repeat for approximately 10 tracks . take a 15 - 30 minute break . continue this cycle until all channels are set . use a sweep mid band , and jack the q the narrowest bandwidth you can get for that band almost all the way up . take a 1 - 2 hour break . set up 10 group channels and assign the following to each . put a compressor on every channel . make sure all your group faders are dead center . set all the active channels to approx . listen to the whole mix at a low level , just loud enough that you can hear each sound . go through this procedure 2 - 3 times with a short break between each run . put your reference cd in again as close to the level you have been mixing at . select mono at your master faders . take a well deserved break . select stereo at your master faders . setup two delay sends . take a break and put that reference cd in again at the same level you have been mixing at . put your mix back up . try the same with the group 5 . now try a small amount on the lead vocal . do the same with delays but only use them on groups 1 , 6 , 8 , and 9 . set it and forget it . break for the day . in the morning , listen to your reference cd for a few minutes . put on your song at the same level and pay close attention to the level of the lead vocal , kick and bass . set your master faders so the song is peaking at approximately zero db . bring up the volume . export at 32 bit floating point and whatever sample rate you want . export several times with lead vocal up , lead vocal down , snare up , snare down , kick up , kick down , etc . | how to mixdown music with digital editing software | keep your volumes at a reasonable level . shut the bedroom door and turn the lights down low . killing your visual sense will enhance your hearing sense . solo a sound and use the high and low shelves on the eq to cut energy on each side of the spectrum . dial down the low shelf until you notice the sound quality changing . then raise the low shelf until you find the point where adding more bass becomes noticeable . the sweet spot is approx . halfway between those two points . set it and forget it . , sweep the frequency until you find the point at where the signal is the loudest . this is the characteristic frequency of the signal . back off on the q to zero , then notch the signal up at that point in the frequency spectrum just enough so you can hear and see a couple of decibels of peak gain . set it and forget it . dont go anywhere there is loud noise that could affect your hearing ability . group 1 - lead vocal group 2 - bass instruments bass guitar , keyboard bass group 3 - kick drum group 4 - snare drum and toms group 5 - background vocals group 6 - acoustic guitars , mandolins , etc . group 7 - percussion , cymbals , shakers , etc . group 8 - clean electric guitars group 9 - distorted guitars group 10 - piano , keyboards if you have good compressors this will make an enormous difference to your mix . hit groups 1 - 5 with a fairly serious squeeze . hit groups 6 - 7 with a very light amount of compression . hit groups 8 - 10 with a medium amount of compression . when you are doing this , tweak your attack and ratios accordingly not to alter the natural sound of the signal . if your compression is low quality , go with less on all 10 groups . if your compression is high quality , you can be more liberal . set it and forget it . using your individual channels now , place your bass instruments in dead center . place your lead vocals dead center . place your kick and snare in dead center . place all your guitars electric and acoustic hard left and right . place your percussion instruments hard left and right . place all your keyboards hard left and right . place your background vocals at 10 oclock and 2 oclock . place your toms at 10 oclock and 2 oclock in the natural sequence of a drummer . set it and forget it . - 20db . solo each channel one at a time and see that the master meters shows approx . - 20db . if a signal sticks out , lower its level in small steps until it fits in the mix . if a signal sounds buried , raise its level until it sticks out , then drop it slowly until it fits in the mix . if the overall mix sounds too bass or boomy , slowly pull down bass and low end sounds . if the overall mix sounds too treble or harsh bring down those sounds . do the same with mid range . if it sounds nasal , bring down some sounds that characteristically live in the mid range . set it and forget it . , make sure nothing sounds distorted . make sure some sounds have not disappeared from the mix . if they have , find those instruments and see if they can be altered with eq or muted altogether without making the song fall apart . make subtle eq and level adjustments to make sure some signals are not walking on each other . you will be able to tell because it will be muddy , murky and undefined . set it and forget it . , perform the same quick check as you did for mono . setup two reverb sends . one with a large room and one with a smaller room . take the time to tweak them to get a great reverb for your drums and percussion smaller room and a great reverb for your background vocals and your keyboards larger room . one shorter and one longer . make one of them the tempo of the song . listen very closely to how much reverb is used on the instruments . pay particular attention to the snare , lead vocal , back ground vocals , organs and keyboards . you may be surprised at how dry most of the sounds are . now very carefully add a reverb to group 4 . try long and short verbs . experiment until the snare sounds right but not taking over the mix in any way . you can be fairly liberal and use the long verb . do the same with group 10 . you may not want any at all , but a small amount might help . , use very low volume for this step and pay particular attention to the lead vocal , kick and bass levels . make sure the door is closed to the room , the lights are very dim and your ears are in the sweet spot between your near field speakers . the lead vocal should be most prominent . the snare next . the kick next . , listen with great concentration . only listen at this level for one pass of the song and take a break . pick out obvious level problems obvious reverb and delay problems obvious compression problems obvious eq problems . the key word here is obvious . dont start tweaking with a sound unless it really sounds bad and out of place . the higher the quality , the better . we are talking extremely subtle moves here . |
everybody loves candy . | how to become orchestra vice president 2 | you are going to give away candy to people in order to get their votes . it will give you an easy way to talk to them and tell them about how awesome you are . plus you are giving them candy , so you are already pretty awesome . now , when they think of you , they think of candy , and they think of awesomeness . go to the grocery store and buy some big bulk packs of individually - wrapped candy like they have at halloween . everyone likes chocolate . hersheys chocolate , milky way , 3 musketeers and twix are best bets . then go to office depot or walmart and pick up lots of printable mailing label stickers the cheaper the better , you are going to need hundreds of them , depending on the amount of people in your class . white ones are fine . go home and print out labels that say vote for orchestra vice - president and include a catchy slogantagline for yourself that you come up with like the peoples choice or something like that . attach those labels to each piece of candy . before class each day leading up to the election , you and your helpers from step 1 will start giving away candy to people in orchestra . before you give them the candy , get them to promise you their vote . give them a good reason to do so one of your keys from question 3 in step 1 |
show the love once they have promised you their vote , you need to give them a way to show everyone else that they are supporting you . | how to become orchestra vice president 3 | since its orchestra , a great idea to do this is by tying a colored ribbon on their instrument or , alternatively , tying them around their wrist or on the locker where they store their instrument . when your classmates see all the ribbons and all the people who are supporting you it will make you look awesome . you will become much more popular as a candidate . trust me , people are going to want a ribbon go to the craft store and buy some bright - colored ribbon . choose a single color that is bright , cool and that everyone , both boys and girls , will like . id suggest neon yellow , neon orange or neon blue . while you are there , pick up a posterboard in the same color as the ribbon . they should carry neon posterboard . also get some black sharpiespermanent markers if you need them . cut the ribbon into 9–12 inch 22 . 9–30 . 5 cm strips . youre going to need to have enough for all your supporters . write im voting for your name for vp on each one . take them with you to class and give them to the people who are voting for you . have them tie them to their instrument , their wrist , or their locker where they store their instrument or all three . |
the poster now , the poster . | how to become orchestra vice president 4 | hopefully you picked up a poster at the craft store with the ribbon . heres the keys to the posterbefore you start writing on the poster get some scratch paper out to sketch out some ideas of layouts . you need to figure out exactly what you are going to write and draw as well as where you want everything to go before you start putting it on the posterboard . figure out who you want to do the writing on the poster . they need to have neat , legible handwriting . if you have a friend who is an artist , ask them if they can draw a really cool picture of your face on the poster . what to put on the poster and how to do it vote and your name . vote will go at the very top , above your name . for your name make it really big and thick . write it neatly . put it on the top and have it stretch across the whole width of the poster . you will want to get a regular pencil not mechanical , the lead is too hard and sharp and a ruler and lightly mark two straight lines across where you are going to write it . these are guidelines to mark the top and bottom of your letters so that it is super - neat . you will probably want to lightly sketch out your letters with the pencil on the posterboard before you write them on there so you can figure out the right spacing and look . this may seem like overkill , but trust me , you dont want to mess up and have to start over again . dont rush it , take your time and youll get it right . now you can get your permanent marker and write your name . write for vice president below your name . your slogantagline . as i mentioned in strategy 1 , youll want a catchy slogan like the peoples choice . write that next . your image . i cant tell you how important a cool image of face is . just trust me . if you have a friend who is an artist , have them draw a portrait of you on the poster . if you dont , get a friend to take a picture of you a good looking headshot . take the picture into a decent photo editor and make it black and white . increase the contrast quite a bit to add some visual flare . then print it out pretty big it will be right in the middle of your poster . your platform . decide the best points from step 2 to put on the poster . id suggest writing them in bullets . put your most important points your key points from question 3 first , and write them bigger than the rest of your points questions 1 and 2 . this will fill up the middle section of the poster . make sure to leave some room at the bottom . at the bottom , write show your support for me by tying a ribbon around your instrument and on your locker . get a ribbon from me or the names of your helpers . |
consider how much you already know . decide if youre willing to pay for this . do a web search . find a good website . learn concepts one step at a time . retake some lessons if necessary . apply your newly found knowledge to your life . | how to learn music theory online | can you play an instrument already how long have you been playing can you even read music your prior experience will have an effect on how much you need to learn , where you need to learn it , and how simplified itll need to be . some websites offer free music theory lessons , but to get really in - depth , or be able to get a degree out of your learning experience , youll probably need to pay and provide a good bit of personal information . if youre just learning for fun , you may not want to shell out a couple hundred dollars or more to learn the names of the notes . there are also some links below , but if youre looking for information on a certain aspect of music theory or arent satisfied with the listed links , search engines like google can be a huge help . youll want to look over the search results , omit ones that cost money , look like a scam to you , or dont suit your learning tastes . a good website to learn music theory from will be geared towards your experience and age level , will be easy for you to read , and will allow you to take things at your own pace . many sites will offer self - check quizzes after every lesson or unit of lessons , and you can use these to see how well youre picking this up . you may also wish to practice in real life . you can try transposing a piece of music to a different key , you can take up an instrument like the piano which is set up in a way that makes it very easy to see the notes and relationships between them and learn along with your program , or you can even try your hand at composing . it wont always stick the first time , but thats the beauty of internet learning . you can revisit certain lessons again and again . choose an instrument to study , improve your skills at your current one , start composing music , or just enjoy being more musically knowledgeable and experienced . |
learn the major scale on the piano . understand how a chord gets its name count each note in the scale you just played . learn about chord inversions . learn the sevenths . learn about minor chords . learn about octave chords . learn power chords . a diminished chord . remember if you learn a new chord such as a dsus4 , said as d suspended fourth , that all you have to do is count to get a suspended fourth chord in another key . | how to learn music chords | this is a generic form of any major scale read in terms of half - steps or distance from one key to another . to play any major scale find a root note , or the key that the scale is based off of . then go two half - steps to the right . example start on c and go two half - steps to the right and you are now on d . a whole scale goes root , 2 , 2 , 1 , 2 , 2 , 2 , root . you can start this on any key . it goes up to 8 , which is an octave . a major chord of any key has a root the third of the major scale and the fifth of a major scale . so lets take the a major chord for example , you will play an a , a c sharp , and an e . a is the root , c sharp is the third in the a major scale , and e is the fifth in the a major scale . now you can find any major chord you want . with a little counting , that is . inversions of chords arent hard once you find the notes in a chord . so far if you play a major scale the root note is going to be where you started counting and the third and fifth of the scale is going to be to the right of the root note . sometimes you need the fifth to the left of the root note or both the third and the fifth to the left of the root note . all you have to do is find the same notes and move them around on the keyboard and you have an inversion of that chord . for example , you make a d chord using the method above . you will have d where you started counting , f sharp next , then a . you can then move a in front of d and have a chord that reads , from left to right , a , d , and f sharp . you can also move f sharp in front and get a chord that is still d major but has f sharp , a , then d . the sevenths is a type of chord that has the notes of a major chord and the seventh note in the major scale of that chord . lets stick with d major . the seventh of any scale is always one key directly to the left of the root so for d the seventh will be c sharp . in your chord you will now have d , f sharp , a , and c sharp . inversions work similar to above all you have to do is add the seventh note . normally when someone mentions a minor chord it affects the third of the chord . lets take the c major chord , it has the note c , e , and g . to make a minor chord you will take the third note of the c major scale , which is e , and move it one half step directly to the left . your chord now has c , d sharp can also be known as e flat , and g . you can do this to any other numbered note in the major scale except the forth and the first . if done to the forth it will become a major third and thus be redundant , if done to the first you will be changing the key of the chord or making it the major seventh of the scale . an octave chord has at least two of the same notes . so take a c major octave chord . it will have a c , an e , a g , and another c . it could also have an e , a g , a c , and another e , or a g , a c , an e , and another g . these being inversions of the same chord . power chords are normally played on a guitar , but you can play them on the piano too . it is basically the first of a major scalethe root and the fifth of that same major scale . its only two notes so its not that hard . it can also be thought of as a major chord only with the third of the chord gone . a diminished chord is the first of a major scale with a minor third and a minor fifth . lets take a c chord . it has the notes c , e , and g . to make it a diminished c you would make the third or the e a minor third so d sharp also known as e flat , and you would make the fifth of the chord a minor fifth so g would now be f sharp , which can also be called g flat . then you play it all together and you have c , d sharp , and f sharp . this chord doesnt sound the best all by itself . it is meant for what is called a build up and the relief is a chord that sounds nicer by itself that is played right after . try playing a diminished chord and then the major chord of the same key . you will be able to feel the relief of the major chord because of the tension of the diminished chord right before it . there are also other combinations of different chords that can be used to build up and relieve tension . |
listen to other great mixtapes as inspiration and to get an idea of what you can be accomplished . decide on a theme or overall style of music you want on your mixtape . collect the music you want on your mixtape . organize the music by bpm range beats per minute so you can visually see which songs are within beat match mixing range of each other . start off with a strong energetic vibe and a medium to fast pace and continuously build the energy throughout your mix . save slower songs for later on after you have established a rapport with your listener . make sure every mix is flawless and as perfect as you can make it . be creative with your mixing , take out and bring in songs in various ways , scratch out of certain songs , mix in acapella and instrumental blends , create your own remixes . pay attention to how certain songs react with other songs . do a quick 3 - 4 song practice run to get yourself warmed up and test out your first few songs and test out your volume and equalizer settings . once you get started dont stop mixing until you just cant anymore , even if you mess up , its good practice to keep going so you can at least listen to your first pass and then decide what you want to do different the next time . try creating it in parts . try it in several tracks . an alternative to multi track recording is to create your remixes before making your mixtape . listen . go back through your mix and add in a few scratches if you want , also add in your theming if need be . add in your tags every few songs . make sure your name tags are also mixed in properly . along those same lines make sure your final output volume is as loud as it can be without distortion or skipping . you can use a compression to bring up the lowest points in your music to a level that can be heard a little easier but dont overdo it with compression settings as this will take away the natural highs and lows experienced with quiet parts and loud parts of your music . save all your settings then produce one master disc , listen to it on several different audio systems , including your car , your home audio and a few friends audio as well as your home studio or music studios audio system to make sure the sound quality is where you want it to be . track and chop it . when all the tracks have been created you can put them back together in your audio disc burning software and burn them onto your new tracked out master disc . you will also want to create one version of your mixtape that is just one super long entire track that you can use to send as a download copy for i - pods and mp3 players as well as for use as an online promotional tool . for your master disc you will also want to set your burning software to its slowest most accurate setting . listen to your master copy if there are small skips or glitches that are consistently in one spot you will need to go back and re - export whatever track they are on and then burn a new master disc with the new version of the fixed tracks . duplicate . have a professional design having a professional designer design your mixtape is another ultra important step that will help you stand out from the non serious mixtape djs and make sure you project a professional image with every mixtape you sell or hand out . market your mixtape . get out there and hustle , hustle , hustle . | how to make great mix tapes | , you might already have all the music , but isolating the music in one folder or one place is essential to keeping yourself focused on only what you really want in your mix . , while it may be customary for djs to start off nightclub nights slower and gradually build up the energy as the night goes along , on mixtapes its essential to grab the attention of the listener early on , so start with medium high energy songs and build the energy and pace up to at least the halfway point on your mixtape before breaking it down to slower songs and rebuilding the energy again with the slower paced music . if you messed up a mix and it sounds like a train wreck , go back and redo your mixtape or redo the part you messed up . no matter how good the rest of your mixtape is if you have jacked up parts thats all anyone will remember . , make sure the last words from one song matched up perfectly with the first words of the other song to almost create sentences and phrases that makes sense with each other . i . e . on the badder than bad you may have michael jacksons blame it on the boogie going into dancing machine where blame it on the boogie ends with my babys always dancing which i sampled and looped to continue saying always dancing , always dancing , dancing , dancing leading right into the first words from dancing machine dancing , dancing , dancing , shes a dancing machine this way the songs dont just match beat wise but they match conceptually as well . these kind of creative mixes will help make your mixtape a great mixtape and help it stand out from other mixtapes out there . if you dont like how the mix sounds or how the songs work with each other change things around . also use this time to modify your eq settings and volume levels til they sound perfect . no matter how good your mixes are your mixtape will never be great if your sound quality is not as good as it can be . you may decide to just redo the same exact mix with maybe one or two songs changed out or simply decide to change the places where you start or stop a mix . creating a mixtape can be a long endeavor , and during the process you may want to change directions . its ok to create it in parts . create one half on one day listen to it decide on the direction you want to go with the second half then create the other half on another day . if a mix you want to create is too complex to do in one pass separate it out to several tracks and do it in two or more passes . i . e . record , then go back and rerecord over your original recording on a separate recording track . you will need multi track capabilities for this as offered in 4 track recorders or on audio production software like cubase , sony acid , pro tools etc . then all you have to do is mix your already made remixes . or create edits of songs that have an acapella trail out or an instrumental trail out instead of having them end the normal way . when you are finally finished recording your mixtape mix , its time to go back and listen to the entire mix and note what you might want to add at certain points in the mix . , adding your name into your mix is an important step that ensures that no other dj can claim your mixtape mix as their own . this step also ensures that people know who created the mixtape and if you also include your website in a few of your tags they will also know where they can get it from . this is especially important if people will be using your mixtape to play at parties , for outings in the car with friends or for social functions or during the early part of nightclub nights where others will also be listening . some djs overdo this and it becomes blatantly annoying . dont yell your name over songs , only put your name tags over instrumental beds and quiet parts or transitions , most importantly dont yell over the lyrics of a song dont have them way louder than the music , they should not detract from your mix but sound like they belong and are part of the overall mix . for cassette tapes this meant going above the 0db 0 decibel line by maybe a 1 to 2 red zone . for digital production onto cd however this is not the case . you must keep yourself below the 0 db or you will distort and have pops or skips on your cd . the optimal range is - 2db to - 3db for your overall sound and maybe peaking a few times at - 1 or - 2db on your loudest sounds . that means bringing up your music to consistently hit this range and occasionally letting a few things go just barely above that . you want your soft quiet parts to be heard but still be distinguishable as a quiet part of a song . if you bring up the quiet parts too much and reduce the loud parts too much it makes for a bland and dry mix that has no ups and downs in sound and emotion . if there are a few things that need to be tweaked like adding in a little more bass or a little more mid - range etc go back and add the settings to correct the sound and create another master disc , repeat this process until you have it sounding the way you want it . once you have your mixtape sounding the way you want its time to track it out and chop it up into separate tracks . since this is a continuous mix you will have to manually insert track markers and export each marked section into a separate track . this process will be different for each program . in cubase you manually have to write in the start and end times for every track and make sure that you use the same exact numbers from the end of one track as the number that begins the next track . make sure you write down the start and end times of each track in case you have to do anything more than once and also to ensure no mistakes are made during this crucial step . remember that this is supposed to be a continuous mix with no pauses or gaps , so make sure you have your cd burning software set to do a gapless album . tell the software not to insert any gaps between tracks . , copies can be made full speed but your master disc needs to be burned as slow as possible to reduce the chance of small errors that will the be copied to all your other discs . also make sure you burn more than one copy of your master disc direct from the program . , once the master is as good as it is ever going to be its time to start duplicating your cds . youre best bets are professional duplication or either owning or knowing someone that owns a professional 11cd duplication tower or automatic cd duplication machine . trust me , burning cds one at a time is way too time consuming and ineffective . , marketing your mixtape is the next logical step . if you believe you have created a great mixtape that is newsworthy , then it must be heard . send it to local and national magazines , websites , blogs and newspapers that are at least slightly related to your style of music , to djs , to the mixtape industry in general . |
open fl studio and start a new project . go up to channels - add one - 3x osc open the information for the file , and turn the knobs , so they look like the knobs in the picture . open the piano roll and place the notes as such in the next picture . put in the vintage bass drum and vintage snare drum , and place notes as following . put in the vintage closed hihat , and put it into piano roll , and place notes as following . open a new pattern as you should have done between the whistle and the drums , but if not , it shouldnt be that big of a deal and open the snare drum into the piano roll , and place the notes as following , and adjust the velocity as is in the picture or close to it , doesnt need to be exact . open the playlist editor , and i suggest putting the patterns together as the following picture suggests , but however you find fit works also . | how to make a crunk beat with fl studio 8 | , |
select a date , time and location for your recital . contact possible locations to set up a date to bring your students out to perform . find out who is interested . choose the music each student will perform . practice provide a map to the location about one week before the recital . confirm the location . prepare a written program for your recital . plan to arrive about 45 minutes before the recital begins to arrange the performance area and set up a punch and cookie table . introduce each student and the pieces they will perform . thank the parents for the privilege of teaching their children , after the recital . | how to plan for a successful music recital | excellent locations include senior centers , senior care facilities or students homes . make sure to provide approximately 6 - 8 weeks of time for your students to practice their music . ask students if they would be interested in performing for your upcoming recital . provide them with the date , time and location . two pieces for each student is ideal , as each student will have a good opportunity to perform , without making the recital too long . select music that will provide a good challenge for them over the next 6 - 8 weeks . recommended sites for finding recital pieces are provided below . , include the date and time of the recital . ask students to arrive 15 minutes before the recital begins . contact your location to confirm the date and time about one week before the recital . , you may like to have them announce their pieces and include some information about the composer . invite them to enjoy the punch and cookies that you have provided . visit with as many parents as you are able , providing supportive words of encouragement about their childs performance . |
use words and phrases your audience understands . be concise and talk about whats important to your audience . ask your audience what they want to hear from you . | how to know your audience | instead of using an acronym or technical jargon , use a relevant word or phrase that provides the same meaning . for example , business people like to use smes pronounced like smees to describe a person who is a subject matter expert . the time you save by saying smees is lost when it causes an unfamiliar listener to try to figure out what you mean . just say subject matter expert or expert or business owner or something to describe the same thing . if you cause your audience to have to think about your last words then they will stop listening until they figure out what you meant . if you have the opportunity to discuss a topic that you know a lot about , it is easy to talk at a level of detail that nobody can follow or care about except you . people typically only care that the overall process works , not how it works . in sales you talk about benefits with the assurance that the product works , not the features or how it works . eventually the question will come up where you can bring up the details but that should be based on knowing that your audience wants those details . the titles people give you in introducing themselves at the beginning of a meeting may be impressive , but not necessarily indicative of what they care about . dont rely on their role or title . instead ask how much detail your audience wants from you . this will not only help you earn their respect it also helps you stay on time and on track . |
write songs . choose your best songs . decide where your band is going to record . you can record at your home studio . or you can record at a professional recording studio . keep the tracks down to two or three , nobody will listen to your demo cd if you provide your epic 20 - track mega collection that has ten minute solos on each track . | how to make a demo cd | your demo needs at least two songs . you can add more if you like , but dont overdo it . no ones gonna listen to a demo with 20 songs . they can be original or cover songs but at least a couple of them should be original . best doesnt mean your most popular songs , its your best . - the best performed , best sung , best written , with the strongest chorus and the best structure and format . they should all be in the same style . to choose your best songs , dont ask your fans . they most likely dont know much about composition and arrangement . besides , theyre gonna say theyre all great , because theyre your fans , remember instead , you should ask someone more in the industry , such as your manager , a publisher , a band that has a record deal , a lawyer and if you cant find any of these try asking a local club owner , a dj , or a small record store manager . the general dilemma is cost . if you want to record for 500 to no money , you can record at your home studio . if youre ready to spend more , you should go to a recording studio , because it will be better quality . if youre going to record at your home studio , read step four . if youre going to record at a professional studio , read step five obtain some recording software . audacity is a great program which you can get for free at . if you can afford it , buy pro tools , cubase , or the software that comes with your sound interface . make sure you have the hardware mics , amps , an audio interface , a mixer if you can and lots of cables keep it as simple as possible . you can record guitars and bass directly or by miking the amp with one microphone . vocals can be recorded directly too . the several drum mics can be run through a mixer and then through the interface . for best recording quality and just if you already have one run instrumentsmics into a preamp , between the mixer and the interface . learn to record into an . mp3 or . wav file . record the drums first . the rest come easier with more precision . look for small studios . some of them will do anything for your business , with some of the studios charging as little as 100 dollars a song . since your demo will have about three songs , that equals to just 300 for the whole cd |
round up a small group of musicians . discuss the chord structure or key of the song . play through the melody of the song 1 - 2 times so that everyone feels comfortable . keep your head up as you play . feel the vibe of the song as it grows . improvise on the song when its your turn . share the spotlight . decide as a group when to end the song . | how to jam 1 | you only need one other musician to jam with , but it is usually best to have at least one rhythm player drums or percussion and 1 - 2 other melody instruments guitars , bass . while there is no law saying that you cant jam with 15 other people , jam groups generally stay smaller so that every musician can listen in and play off of every other musician . a small group of 3 - 4 similarly skilled musicians is a good place to start . that said , there are many long - standing groups , such as blues bands , drum groups , and bluegrass bands , that have enormous , open jams , inviting a wide variety of skills and styles . jamming is non - judgmental and free - form , so just have fun . if youre just starting to improvise , jumping into a large jam session is a great way to get your feet wet without a ton of pressure , as any mistakes you make are less likely to get noticed . think of this as the guiding principle of the song . while there will likely be some improvisation and exploration , everyone needs to understand the chords in order to stay together . in general , most jams stick to simple , 3 - 4 chord songs or melodies that everyone already knows . the point of a jam is not to show off complex , interlocked instrumentals , but to allow each musician the freedom to experiment . jams can either play established songs , such as the blues jam classic stormy monday , or quickly improvised chord groupings . if youre confused , let someone pick a song and the chords and go from there . if you dont know the chords , sit back and watch another instrument or ask someone playing for advice . if youre a percussionist you should ask about the tempo , or set the tempo yourself if you know the skill levels of your fellow musicians . in general , you play through the song as written briefly , sometimes with vocals , so that everyone gets used to the feel of the song . if youre improvising the song on the spot , this is a good way to get everyone on the same page . keep the first minute or two simple so that everyone can get used to the structure . once everyone is on the same page the fun can begin . more often than not , one or two people will emerge as the leaders of the jam , keeping everyone on time and noting when people should take solos . as you play , keep your head up and watch the other musicians keep the band together . eye contact , brief signaling , and even talking about upcoming chords or changes will help everyone stay on the same page . as you get more comfortable with your fellow musicians , you can often hear when there is space for a solo and when the rhythm is changing , but you should still be looking up for visual cues from time to time . watch any improvisational or jam band play live - - youll notice small moments when the musicians make eye contact through the show , usually before changes , solos , or the songs end . if everyone else starts playing fewer notes , calming the energy down , come down with them . if things start to pick up in volume and intensity , let your own volume grow slowly . in most jams , no one instrument is supposed to take over the entire song . each player needs to be aware of the rest of the band so that the song grows organically . while you play , listen to the entire sound of the band , not just your own instrument . if youre struggling to keep up with every musician , hone in on the drummer . follow his lead in energy , tempo , and sound . feel free to adjust your playing , tempo , or melody , as long as it fits in with the rest of the band . you can help push the song in new directions as long as you dont try and take over the song . musical improvisation takes a lifetime to master , so youre not expected to whip out a world - class solo on the fly . improvisation is your chance to see where your instrument takes you , so relax and start experimenting . as long as you remember to stay in key , there is no wrong way to improvise , so just let go and have some fun . if youre new to improv , find a 4 - 5 note line you like and play it once or twice . then start to adjust it , changing 1 - 2 notes each time you play it so you get variations on the same simple theme . if you can mimic the vocal line or a common melody , youll be sure to keep the song moving . dont feel the need to show off or be the best . just play what sounds good to you . a jam is supposed to be an egalitarian , communal environment where everyone can feel free to let loose . no one enjoys it , however , when one person takes all the solos , or decides to solo for 2 - 3 minutes straight . if youre unsure what the protocol is , just listen into the other plays as they take solos or features . when your turn comes up , play for the same amount of bars usually eight as everyone else . that said , some rock and roll groups , usually small , guitar driven bands , will jam on 4 - 5 minutes solos see the grateful dead , phish , etc . it is more about feeling the mood in your particular jam than adhering to a hard and fast rule . once everyones taken a solo , most musicians will start looking around for a cue when to end . in general , once all the musicians have made eye contact , someone will say or signal for one more round or to move to the outro , if the song has one . this helps everyone come to an end at the same moment . as the song ends , cut the number of notes or beats you play in half to ease out of the song . it also makes it easier to stop on a dime if you miss the ending cue . |
jam along to your favorite songs at home . learn the standards in your genre . know your instrument . learn a few common chord structures . learn music theory . | how to jam 2 | one of the best ways to learn to jam is to put on your favorite cds and just start playing . this helps you train your ear to quickly pick up chord changes , rhythm , and melody , even if you dont necessarily know the song well . improvisation is a skill that only comes through practice , but that doesnt mean you need a full band with you every time you want to play . remember to learn the rhythm and backing parts of the songs as well , not just the solos . to succeed in a jam , you need to be a part of the band as well as a willing improviser . if you play with several musicians regularly , ask them for 4 - 5 songs that they want you to learn , and offer them a few you like to play . the next time you meet your band will have a few more songs to jam on . if youre going to a gospelbluegrass jam , you need to know how to play ill fly away and a johnny cash song or two . if youre going to a rock or blues jam , you need to know the classic 12 - bar blues format stormy monday , everyday i get the blues , and a few beatles or rolling stones songs that everyone knows . if youre a jazz musician , you should have summertime , heart and soul , bye bye blackbird , round midnight and several other jazz classics down pat . dont feel like you need to memorize tons of songs before youre able to jam . as you start playing , note the songs that come up frequently and make a point to learn them back to front . in many cases , jamming on a song is actually the best , and fastest , way to learn a song . you should be able to find most notes on your instrument with ease . if you know where everything is youll be able to quickly learn from others while jamming , picking up new melodies and chords for songs you dont know so well . you need to spend plenty of time practicing on your own , not just showing up and trying to wing it . the better you know your instrument , the more you can stop thinking and start playing . you will never know every single chord or song that someone suggests , but having a good mental catalog of songs will help you quickly adapt to whatever song is being played . while it is by no means exhaustive , there are some common chord structures that any band could start with a - d - e frequently in 7ths for blues songs g - c - d c - f - g g - am - d c - am - dm - g , while studying theory may seem like the antithesis of good improvisers , quality musicians know that music theory is the secret weapon that helps them adapt in any jam . knowing song , chord , and scale structures allows you to figure out songs on the fly because you can quickly predict where the song is going . chords are not smashed together randomly - - there are certain principles and formulas that dictate what sounds good together and how each scale interacts with certain chords . if you want to be a quality jam - player , you need to do your homework . |
take a look at the instruments that you and your friends will be playing . decide on a chord progression . the percussion typically begins by just keeping time with a simple rhythm . the other instruments follow the same pattern from simple to complex . have fun . | how to have a successful jam session | jamming is meant to be fun , so you want to pick music that is fun for everyone to play and isnt too heavily focused on a single instrument . it is a good idea to start simple and as you get more comfortable with more complicated progressions . as the jam progresses the percussion will build up in complexity and intensity bringing the entire band with it . , there is no pressure involved . |
pat your thighs and clap your hands . crisscross your hands . make your hands into fists . give a thumbs - up sign . repeat all the steps . choose a song . jive to the beat of the song . try jiving at different speeds . learn variations to the hand jive . try moving your body while you jive . create your own steps . | how to do the hand jive | the first movement in the hand jive is to bend slightly at the waist and pat your hands on your thighs twice . after patting your thighs , stand up and clap your hands twice . instead of patting your thighs , you can also try patting your knees . choose the motion that is most comfortable for you . standing up straight , cross your right hand over your left hand . after you have crossed your hands , immediately open them again in a quick motion . both of your palms should be facing the ground . your hands should not touch each other , but instead , glide past each other in the air . complete this motion twice . then cross your left hand over your right in the exact same way . again , complete this motion twice . the next move is to make your hands into two vertical fists , as if you were grabbing a pole . place your right fist over your left fist and knock them together twice . then put your left fist over your right fist and knock them together twice . this motion is sometimes called the hammer because you are hamming your fists together . following the hammer motion , give a thumbs - up sign with both of your hands . then , beginning with your right hand , point your thumb backwards over your right shoulder twice . this should look almost like youre hitch - hiking . then complete the same movement with your left arm . once you have learned the basic movements , try practicing them in order . continue to practice until you have memorized the routine and find the movements easy to perform . this should take 5 to 10 minutes depending on your age and dance background . the great thing about the hand jive is that it is a relatively easy dance to learn use this video to help you learn and practice the dance httpswww . youtube . comwatchvn5fxpc1npr0 the hand jive becomes even more fun if you practice the movements to music . usually the hand jive is performed to the following songs willie and the hand jive , or born to hand jive . both of these songs have been recorded by multiple different artists over the years . for example , the song born to hand jive was popularized in the hit movie grease . although these songs are most commonly used for the hand jive , you can perform the dance moves to almost any song . try choosing an upbeat song that you enjoy and see how it looks . avoid slow ballads . the jive is supposed to be relatively quick and works best with songs that have a faster beat . once you are completely comfortable with the hand motions and you have memorized the entire routine , you are ready to try the dance to music . the hand jive lasts for 16 beats 2 sets of 8 counts . in order to perform the movements to music you should count out the 16 beats as your are going through the motions . for example , when you pat your thighs twice count in your head 1 . 2 to the beat of the music . then when you clap your hands count in your head 3 . 4 , when you cross your hands right over left count 5…6 , and then when you cross your hands left over right count 7 . 8 . once you get to 8 counts , you should start over at 1 again . this means when you pound your fists right over left you will count 1 . 2 , and then when you pound your fists again left over right you will count 3 . 4 , followed by thumbs up over the right shoulder and count 5…6 , and finally thumbs up over the left shoulder and count 7 . 8 . the hand jive can also be sped up or slowed down depending on your ability and comfort level . if you want to be challenged while jiving , you can perform the hand jive at double time . this means that the entire jive would only take 1 count of 8 instead of 2 . for example , when you pat your thighs twice it would only take up 1 count and you would say 1 . then when you clap your hands twice you would say 2 etc . the beat of the song will stay the same , but you will be performing the motions much faster i . e . double the speed . if you are already finding the jive difficult , you can also try slowing down the movement . instead of taking 16 beats 2 sets of 8 counts you can take 32 beats 4 sets of 8 counts . this means that you would double all of the movements . for example , instead of patting your legs twice , you would pat them 4 times . continue the dance by doubling all of the movements . over the years the hand jive has been modified for various different performances and shows . for example , in 2015 grease live starring julianne hough and carly rae jepson updated the dance for a modern viewing audience . in this version of the jive they have removed the hand crossing portion of the dance and replaced it with two flicks of the hands to the right followed be two flicks to the left . similarly , there are other versions that include a hand roll instead of the hand crossing section . if you feel at ease performing the hand jive in a stationary position , you can also try moving the rest of your body to the music . for example , you could try bopping to the beat of the music , and moving around while performing the hand jive . if you are feeling really creative , you could add in some footwork steps to make the dance even more dynamic and difficult . remember to always choreograph the moves to counts of 8 in order to stay in time with the music . the hand jive is essentially a series of steps that involve moving your arms , and clapping and patting different parts of your body . in many ways , you can think of it as a more advanced form of patty - cake . you can try making your own version of the dance by adding in a series of claps and movements to make it more unique . dancing is a form of artistic expression so there is always room to show your own personality through the movement of your body . remember to be creative and have fun |
start slow . clap your hands twice . pat your lap three times . clap your hands once . pat your lap twice . clap once . pat your lap once with your left hand . clap your hands once . pat your lap once with your left hand . clap your hands once . pat your left thigh with your right hand . pat your right thigh with your left hand . repeat as you get better and memorize the movements , you can increase your speed . | how to do the cup song without a cup 1 | youre not going to nail it the first time around . if you already know how to do the cup song , just imagine that instead of tapping or moving the cup , you are patting your hands on your lap or on a table . , first pat your right thigh with your right hand . then pat your left thigh with your left hand . pat your right thigh with your right hand again . , use your left hand only . , leave it there . your arms should be crossed . , |
purchase an electronic metronome . before you do anything else , read the instruction manual that comes with the metronome . choose a piece of music to play . first , set the beat subdivision . now , set the beats per measure . next , choose a tempo the beats per minute . finally , select a voice . | how to choose settings for an electronic metronome | they are usually sold between 15 and , for the really fancy ones with many voices , around 180 . it is best to buy a well - working but fairly cheap one with a few voices for about 25 . you should keep the manual handy for easy reference . examine the notes are they mostly whole , half , quarter , eighth , etc . the time signature 44 , 24 , 68 . and the tempo . most metronomes offer quarter notes , eighth notes , and sixteenth notes , as well as some other strange combinations . unless you are playing a very complicated song that is mostly eighth or sixteenth notes , you should choose the quarter note setting , as it will help you count half and whole notes , too . most metronomes offer 1 - 9 . this is simple , just see the top number in your time signature . usually , somewhere between 80 and 125 bpm works well . figure out how fast the music is before setting the bpm . to experiment , set the tempo around 100 bpm and see if the song sounds right . if not , fix it . if the music is loud forte or louder , choose a loud voice , like clapping , although ticking is most common . |
clap your hands twice . pat your lap three times . clap your hands once . pat your lap twice . clap once . pat your lap once with your right hand . clap your hands once . pat your lap once with your right hand . clap your hands once . pat your right thigh with your left hand . pat your left thigh with your right hand . repeat practice at a slow pace and gradually build up speed . | how to do the cup song without a cup 2 | first pat your left thigh with your left hand . then pat your right thigh with your right hand . pat your left thigh with your left hand again . , use your right hand only . , leave it there . your arms should be crossed . , |
start in a standing position with your legs spread slightly . clap your hands twice . pat your lap three times . clap your hands . pat your left thigh with your left hand . stomp your left foot . clap your hands . hit your right foot with your left hand . stomp your right foot as you put it down . hit your left foot with your right hand . stomp your left foot down . clap your hands . pat your left thigh with your right hand . pat your right thigh with your left hand . repeat | how to do the cup song without a cup 3 | , first pat your right thigh with your right hand . then pat your left thigh with your left hand . pat your right thigh with your right hand again . , bend your knee and lift your right foot up behind you so , crossing your left hand back so you can hit the side of your foot . , make the same movement of lifting your left foot behind you and slap it with your hand . , |
start in a standing position with your legs spread slightly . clap your hands twice . pat your lap three times . clap your hands . pat your right thigh with your right hand . stomp your right foot . clap your hands . hit your left foot with your right hand . stomp your left foot as you put it down . hit your right foot with your left hand . stomp your right foot down . clap your hands . pat your right thigh with your left hand . pat your left thigh with your right hand . repeat | how to do the cup song without a cup 4 | , first pat your left thigh with your left hand . then pat your right thigh with your right hand . pat your left thigh with your left hand again . , bend your knee and lift your left foot up behind you so , crossing your right hand back so you can hit the side of your foot . , make the same movement of lifting your right foot behind you and slap it with your left hand . , |
test your cup . clear your surface . place your cup for play . listen to or sing the song when im gone as you play . clap your hands twice . tap the cup three times . clap once more . tap your cup to the table . clap your hands and pick up the cup again . clap the mouth of the cup and knock its bottom to the table . clap the bottom of the cup and switch hands . slap the table and return the cup to the table . repeat the pattern and pass off your cup for group play . | how to do the cup game | youll want a fairly sturdy cup to play the cup game with . plastic cups make a great sound when hit and clapped on the table , but be sure if youre using a plastic cup that its strong enough to withstand the game . otherwise you might break the cup over the course of your game . if playing with a plastic cup , take it in your hand and squeeze it gently . if it feels like it is brittle or might break , you may want to get a different cup . glass or ceramic cups can break while playing the cup game . this can lead to cuts , so if you plan on using a glass or ceramic cup , it should be very sturdy . some glass and ceramic cup can make a bright , pleasing sound when clapped to the table . when playing the cup game youll be tapping on the surface in front of you , clapping the cup to the surface , and sliding your cup back and forth . youll want to make sure that objects that might get in your way , like your lunch or a beverage , are safely out of the way before playing . table cloths can make it difficult for you to slide your glass while playing the cup game . depending on the cup you are using and the heaviness of the tablecloth , you may want to remove the cloth before play . be sure your flat surface is stable a card table or a poorly supported table might not be able to withstand the claps , taps , and slaps of the cup game . the starting position for your cup will be directly in front of you . your hands should be at the to either side of the cup , ready to both clap and move the cup while playing the cup game . this is optional , but a song can help you stay in sync with other people when you are playing with your friends . when im gone is the song performed by anna kendrick while playing the cup game , but you might find the rhythms of other songs work just as well . you might sing the song that is credited as the origin of the cup song , screen door by rich mullens . your hands should be to either side of your cup , and your cup should be directly in front of you on a flat , stable surface . take your hands and clap twice over the cup . once you have clapped , youre going to do a three - beat drum roll on the top of your cup with your fingers . this will make a hollow , rhythmic sound from your cup that will break up your clapping . tap the top of the cup three times right hand , left hand , right hand . left - handers should tap the bottom of the cup similarly , using the tapping pattern left - right - left . tap the cup rapidly with your fingers to add variety between the slower rhythms of your claps and your faster , lighter taps . after you have finished your drum roll taps on the top of the cup , you should clap once more above the cup to the beat of the music . if there is no music , simply clap in a steady , rhythmic fashion . after your clap , youll need to swiftly pick up your cup with your right hand . staying in rhythm with the beat of your claps and taps , firmly clap the cup back down onto the table about 6 inches 15 cm to the right of its starting position . left - handers should perform this motion similarly , picking up the cup with the left hand and then placing it back down onto the table about 6 inches 15 cm to the left of its starting position . you shouldnt need to raise your cup any more than 2 inches 5 cm from the table . your cup should remain upside down while tapping it to the table . clap once , loudly , and then reach with your right hand to retrieve the cup from the table . when grabbing the cup , your hand should be on the inside of the cup , and your thumb pointed toward the table . left - handers should pick up the cup with their left hand . with your right hand clap the mouth of the cup against your left palm . then , knock the bottom of the cup quickly and lightly against the table . this should create a staccato bounce of the cup between your left palm to the table . left - handers should clap the cup to their right palm , and then knock the bottom of the cup against the table in the same fashion employed by right - handers . you should not let go of the cup at this point . use your right hand to lift the cup and clap its bottom against the palm of your left hand . after you clap , youll want to hold onto the cup with your left hand and release with your right . left - handers should clap the bottom of the cup with their right hand and then transfer the cup from their left to right hand . with your now free right hand , slap the table a little to the left of directly in front of you . after that , use your left hand to clap the cup against the table a little to the right of directly in front of you . left - handers will mirror these ending motions so that their left hand slaps the table a little to the right of directly in front of them , the right hand claps the cup to the table a little to the left of directly in front of them , both arms crossing in front . after returning the cup to the table , your arms should be crossed in front of you , your right hand to the left , your left hand to the right and still holding the cup . return your hands to either side of the cup to prepare to repeat the game from the beginning . you can continue playing the cup game for as long as the music plays , or for as long as you wish . the traditional version of this game has each cupper pass their cup to the cupper on their right . as you play , you should increase the speed at which you play the cup game . any players who fumble or drop the cup should step out of the group until only one winner remains . |
check your computer to make sure it can run notation software . install your usb audio - midi interface . a usb audio - midi interface lets you connect audio input feeds and midi feeds to your computer . install your notation software . plug your synthesizers midi - out to the midi - in on your audio - midi interface , and the synthesizers midi - in to the midi - out on your audio - midi interface . direct your notation software to recognize the midi coming from your synthesizer through the audio - midi interface device . test your hardware installation . start a new file . begin recording on your notation software as you play the part you wish to record . check the track for any errors and use the notation softwares editing tools to clean up timing , clarify notation markings and fix any errors you might have made while playing the synthesizer . repeat until you have recorded and cleaned up parts for all of the instruments that you wanted to include in your musical composition . print your sheet music . | how to create sheet music from a synthesizer | most take at least 512 mb of ram to run . however , at the minimum requirements , your notation software will run slowly and may experience errors . if you are planning to buy a new computer to use for composing sheet music , look for a computer with around 2 gb of ram and 2 ghz processing speed . finale and sibelius are available for both the mac and windows xp . in order for your notation software to communicate with your synthesizer , your midi interface needs to be installed first . your usb audio - midi interface will come with software and information from the manufacturer to help with the installation . tascam makes a low - cost usb audio - midi interface called the us - 122 that will help you get started in some notation software . however , sibelius is only compatible with a few external midi devices . check with your software manufacturer to make sure that your midi interface is compatible with your notation software . , this setup will allow your computer to sync with your synthesizer to record midi tracks on your notation software . to do this , open the hardware setup function of your notation software and select the interface device as your active midi device . on most notation software , the hardware settings are under edit or tools in a section called setup , preferences or options . add a track into your notation software and record some midi keystrokes from your synthesizer . then , create a track and enable it for recording . when you are done with the track , press stop . , double - check the parts by listening to them using your notation softwares playback function . you can choose to print the music in various sizes , as a conductors score , in sections or individually by instrument . |
gather two kick drum samples and one closed hi - hat sample . place the kick drum samples and the hi - hat sample in your digital audio workstation daw all on different tracks . add a filter vst effect to both tracks with the kick drums . on the track with the low - end kick , open the filter and create a high - shelf cutoff at around 1500 hz . on the track containing the high - end kick , open its filter and create a low shelf cutoff at around 2000hz . mute the hi - hat track and listen to the two kick sounds being played together . now unmute the hi - hat track and slowly increase the volume while playing back all the tracks . now in your daws mixer or global effects section , open an envelope filter vst effect also known as an envelope shaper and change the attack value to 8 . 0 , and the release value to - 10 . 0 . now in the mixer , create a filter effect . on the same filter effect , create a parametric dip at around 200 hz . finally , create another parametric dip at around 13500 hz , which will prevent the kick from overtaking other sounds like cymbals and higher - end claps . either lower or raise the mixers output volume to make a compromise between the stereo output being clipped , and the sound falling too short of being as loud as possible . now export the kick sound as a higher - quality . wav file . | how to create a punchy kick drum sound using samples | make sure one kick has more bass or low - end coverage and that the other has slightly ore high - end or treble coverage . , , the hi - hat should not be obvious , but more of a complement to the kick sounds to make them sharper . open it and make a low shelf cutoff at around 40 hz . this will remove any sub bass that might detract from the overall audibility of your kick . this will remove any muddiness from your kick . |
hold the viola under the peg box . position your viola . keep your head up . the end pin should be pointing towards the center of your neck . rest your chin on the chin rest . keep the instrument at an angle . do not grip the instrument . | how to hold a viola 1 | this is the place near the top where the strings connect to the pegs . it should be between your shoulder and chin . your viola should touch your left collarbone . ensure that the viola does not fall too far forward or too far back . practice moving your viola next to your collarbone . gently push the viola into the space between your shoulder and head . repeat these movements . the chin rest is a round shaped pad that will be found either on the right side or the middle of your viola . lean the left side of your jaw onto it . ensure that the viola is comfortably between your chin and left shouldercollar bone . you should keep your viola at 45 degree angle . do this so that the instruments strings are accessible at all times . for a good measure , figure out if the slope of your viola is parallel with the ground . if the instrument is too low , you will have to move your hands further to reach it . your body should be supporting it . the neck of your viola should rest in the gap between your left thumb and index finger . this position will allow your fingers to move easily and hover over the strings comfortably . the string closest to your fingers should be your a string highest pitched string . the one closest to your thumb should be the c string lowest pitched string . |
hold the bow with your right hand . lay your fingers on the bow . curve your pinky . twist your hand left . | how to hold a viola 2 | make a c - shape with the middle and ring fingers of your right hand . gently rest your thumb on the inner part of the bow frog , allow your other fingers to fall on the bows other edge . loosen up your fingers but keep them together . your fingers should wrap around the bow in a smooth , yet secure hold . your pinky should rest on the head of the stick . curve your hand around the bow , so you can move it swiftly . |
stand correctly . sit appropriately . use a chair . move your arms away from your body . | how to hold a viola 3 | maintain balance by standing with your feet shoulder - width apart . make sure your stance is firm , straight , and upright . try swaying forwards and backwards to keep your weight centered . keep your back straight . your sitting viola hold should be similar to your standing hold . relax your knees . be firm , but not stiff . if it will make you more comfortable , dont be afraid to use a chair with a firm surface . stay close to the chairs edge . do not sit on a couch , you may end up slumping back in it . your arms should not stay too close to the rest of your body . if they stay too close , they will hinder your amount of movement . |
understand how a chorale works . look at accidentals . start by harmonizing the final cadence . look through the rest of the part you have to harmonize , work out possible chords , and lightly pencil them in , starting with the cadences , and then move on to the remaining chords . fill in the rest of the chords . go through and try to put in any suspensions the most common are 4 - 3 in the alto at a cadence and a 7 - 6 in the tenor in the middle and dissonances such as 7ths . go through and check all pairs of voices making sure that the two parts never move up or down in perfect fifths , octaves , or in unison . play it or get someone to play it for you on a piano and listen carefully . | how to harmonise a chorale in the style of bach | chorale melodies were sung by a congregation in lutheran churches in parts of germany . the melodies are recognisable , and are divided into phrases , which are identified by pause marks . these marks indicate where you should put your cadences . find the key of the piece and other parts to distinguish possible points of modulation you will want to modulate at least 2 - 3 in your chorale this will normally be a perfect authentic cadence v - i with both chords in root position , though one shouldnt rule out the possibility of plagal iv - i cadences though this is extremely rare . each chord must contain the root which is often doubled , the third and the fifth . they should fit into the chorale melody , and have logical chord progressions . most chorales have similar cadential progressions . the best progressions could include a cycle of fifths vi - ii7b - v7 - i , or a cadential 6 - 4 ii7b - ic - v7 - i . remember that these must all be prepared and resolved . although a 7th does not have to be prepared it it falls on the second quaver of a beat . also add in any passing notes , anticipation notes and echappe notes that you can . these add more style and sophistication to the chorale . bach occasionally used parallel 5ths or octaves , but they are rare and hidden with the skill of an expert . also , check that the alto part does not go higher than the soprano part in any chords , and same with tenor and alto and bass and tenor . if there are any chords that sound dissonant or wrong then rework them . this may affect other chords near it so double check for fifths or octaves again . |
search for free mixing software . download and install the software of your choice . open the software on your computer . consider the type of mix you are creating . listen to the songs individually . play both songs at the same time . switch between the two songs . choose an mp3 file of a song as your starting point . set the tempo of the song . import the second song . match the tempo of each song . harmonize or match the pitches of the two songs . line up the drum beats on the two songs . adjust the volume levels of the two songs with the software . save your project . | how to blend two songs together | perform a web search for free song mixing software . review the functionality of each program to make sure it can blend the songs the way you want . there are many platforms that make mixing songs user friendly mixx - free dj mixing software acoustica mixcraft - free 14 day trial available to download acid pro - sony professional music software with free trial available mix pad multitrack mixer - allows users to record their own music or import track after selecting from the many available options , download and install the program you would like to use . follow the installation instructions for the program . after installation is complete , you can start mixing songs right away . some free demo versions of software are only accessible for a limited time after downloading . get started mixing songs right away to take advantage of the free trial period . songs can be blended for many purposes . you will want to think about why you are making the mix when you are selecting songs to blend . choose music with distinct beats for dance mixes . find songs that have similar instrumentation for back to back blends where one song fades into another . try blending an instrumental song with a song containing lyrics to create unique sounds . familiarize yourself with the tempo and musicality of the songs you are trying to blend . make a note of any specific parts of the song that you want to stand out when you mix the songs . listen to the sound of the songs together to make sure the songs mesh well together . make a note of the tempo of each song to determine if one should be sped up or slowed down . consider the key of each song to make sure they are harmonized . listen for complimentary parts where both songs can be played together . in a good musical blend the sound flows from one song to the next . try to alternate starting and stopping the two songs to hear how they sound one after the other . you can save time once you begin to blend by listening for the natural transitions in the songs between verses , chorus , and bridge . make a note of when these transitions occur . import the song into the mixing program . depending on the program you choose you will need to start a new project or file to begin mixing . follow the software prompts to import the original track . you can adjust the speed of songs by changing the bpm beats per minute setting on most programs . speed up or slow down the song if you are mixing with another song that has a different tempo . look for options in the software to beatmap or set project tempo use the programs metronome setting to determine the bpm for your song by setting the metronome to be in time with the song . add another audio track to your project and import the song you would like to blend with the first . add instrumental tracks to combine with a vocal original . combine multiple songs to create unique remixes . create your own mash ups by combining two songs . use the bpm adjustment tools to change the tempo of the second song to match the first . listen carefully to each song and adjust the pitch up or down depending on the sound of the song . make sure that the pitches match or the two songs will not sound good together . look for software options to for key change or adjust pitch make sure that your songs are playing the same rhythms by listening for the heavy drum beats and adjusting the songs so they are in the same place . you can fade between one song and the other , or let both songs play simultaneously . make the mix your own by bringing each song in and out of the mix . some programs will allow you to export your finished song as a new mp3 . check the software you are using for available options to save . |
choose an instrument that suits your interests . consider starting on piano . learn about the classical instruments . consider pop or rock instruments . consider playing percussion . play an electronic instrument . practice constantly . find a good teacher . consider learning to read music . listen to everything . start writing your own compositions . find your own voice on your instrument . consider joining an established band . play in front of people when youre ready . try starting your own group . record your music . commit to the long haul . | how to become a musician | if your goal is to become an on - stage rocker in a scruffy punk band , its true that you could learn a lot about music playing the oboe , but it probably isnt the best way to form the band you want to form . if you want to play classical music and become a virtuoso , theres little room for synthesizer , unfortunately . pick a category of instrument that fits your ambitions for being a musician . if you just want to learn to play something , start on piano , violin , or guitar . these instruments generally have the most teachers in a given area , making it easy to find lessons and learn the basics of the instrument . if youd like to eventually play classical , art music , or jazz , its important to pick up an instrument in the classical string category , a woodwind , brass , or percussion instrument . these players generally dedicate lots of time and scholarship to learning their instrument . if you want to write your own songs and play pop music , its usually best to pick up a guitar , bass guitar , piano , or learn to play the drum kit . while its great to take lessons , lots of pop and folk musicians are self - taught , using diy books , youtube videos , and good old - fashioned trial and error . even if you dont envision yourself being a concert pianist doing recitals in a tux , one of the best ways to build a good foundation as a musician is to learn piano . because all the notes are laid out in front of you , piano makes an excellent first instrument , popular with young children and beginners . its also one of the most versatile instruments , played in classical , pop , and many other styles of music . real upright or concert pianos can be expensive , but electric keyboards come at a variety of prices , from affordable to very professional and expensive . the great thing about piano is that you can learn the necessary fingerings and fundamentals regardless of the quality of the piano youre playing . used in concert music , jazz , pep bands , swing bands , and other types of sheet - music played by instrumentalists , classical instruments refer to the many different varieties of instruments played in organized professional bands that play something other than pop music . if you love complicated , artistic , and sophisticated music and history , learning one of these instruments would be appropriate for you . while theyre not actually made of brass anymore , brass instruments are made of winding metal tubes that you blow through to create a tone . woodwinds are made of composite materials and are played by vibrating a reed thats held in a mouthpiece . producing a distinctive warm and woody sound , woodwinds are used in classical music and jazz , and saxophones are used often in pop music . pick up a classical string . used in orchestras , string quartets , and other types of professional ensembles , violins , violas , double - basses , and cellos form the foundation of the classical strings . guitars could also be considered a classical string , depending on the style of music . while all these instruments can be used to play a variety of styles and sounds , when we think of playing pop music or starting a band of our own , we usually think of guitar , bass guitar , drums , and keyboards or piano . if youre less interested in being the kind of musician who plays in a tuxedo at a concert hall and more interested in being in a garage band that tours around in a van , these might be the right instruments for you . guitar bass guitar drums percussion is so much more than background . good percussionists drive the music forward in every variety of music , from folk to classical , from jazz to rock and roll . theres nothing more versatile and essential to a group of musicians than a talented percussionist keeping time . one of the best things about percussion is that you can start building the skills without any kind of instrument at all . if you have an internal sense of time and the ability to keep a steady beat with your hands , consider learning percussion . from digital djs to synth wizards , the traditional definition of what it means to be a musician is much larger than it used to be . just as much complex and artistic music can be made by pushing buttons on a laptop just as it can by operating the valves on the trumpet , and just as legitimately . even if you have a natural talent for a certain instrument , theres a difference between playing an instrument and being a musician . that difference involves practice . musicians are dedicated to improve their skills and learn new techniques and more complicated music on the instrument theyve chosen . the only way to do that is regular and serious practice . develop good practice habits and routines for yourself . always practice using good posture , warm up beforehand , and try practicing for at least 20 - 40 minutes each day . practice a mixture of techniques , skills , and fun activities . for every scale you learn , take the time to mess around learning the star wars theme or some other fun song . like when you exercise your body , consistency is very important . try to practice every day , so you can maintain the good habits that youre building and develop them . its very difficult to learn music from a book alone . while written tutorials can be helpful , theres no substitute for in - person , one - on - one instructions that come from lessons with a good teacher . a teacher can help to correct your technique and build the fundamentals necessary to be a great player , whatever instrument you play . if you want to become a musician , its very important that you be teachable . hard - headed people who cant take criticism dont have much of a future as musicians . listen closely to what good players say , follow directions , and learn everything you can . make it your goal to get better . if you dont have the time or money to have a formal teacher - student relationship , find musicians who are better than you to play with . evening jam sessions on the porch with a couple of guitars can be a great way to improve your skills . watch and learn . while you can play by ear , it can be good if you can learn how to read sheet music , and is absolutely essential for certain instruments and styles . if you want to play classical music , its almost impossible to learn by ear and rote memorization . also , learn musical history and some theory if you hope to compose your own music one day . learning why certain notes sound good together , how to make a chord , and how music actually works is the best way to improve as an instrumentalist and as a composer , whatever instrument you play . developing your own taste in music is critical for musicians . just like a novelist has to read a wide variety of novels and learn about the history of literature to write something worth reading , a musician needs to listen to a wide variety of music and learn to appreciate different styles of music , if you ever want to write something worth hearing , or play music that deserves to be heard . listen to classical music , starting with old court - based consort music and moving your way up through the romantic composers like mozart and beethoven . try listening to the 20th century avant - garde composers like penderecki and cage to challenge your conceptions of what music is . listen to rock music , of all strains , even if its not your cup of tea . check out early punk , rockabilly , and psychedelic nuggets . listen to whats popular and whats not . try to find something worth listening to and ignore the rest . when you find something you like , look back to the influences . if you like katy perry , you might find out that cher and madonna are huge influences on her style and sound . when you listen to cher , you might work your way back to etta james , and eventually work your way back to bessie smith , one of the greatest early blues singers of all time . find the roots of your favorite artists . to grow as a musician and to take your skills to the next level , its a great idea to give composition a shot . whether you play classically or play pop music , writing your own songs can help you see the difference between playing notes and making music much more quickly than almost anything else . take the responsibility to write the notes you play . miles davis could never nail the horn technique of vibrato while learning to play his horn , so he built a whole career around a singular , sonorous , clean tone that never wavered . when asked why his band played so chuggingly , like a freight train , johnny cash responded , wed play faster if we could . recast your supposed weaknesses as individual quirks and strengths and use them to become an individual player . playing with other instrumentalists and musicians can give you the skills you need to improve , learning their specific tricks of the trade , as well as giving you the opportunity to respond to play as a unit , making music as one . if you want to play classical music or organized concert music , its important to join a community band , a school band , or some other organized music group . playing with others is also a good way to keep your ego in check . david hood , part of the muscle shoals recording studio and one of the greatest session bass players of all time , was once asked how he got such a great reputation as as reliable player and he said , my gear always worked and i was always on time . humility serves musicians well . if youve been practicing your instrument on a regular basis and want to take it to the next level , it might be time to take your show public . start by playing your best material in front of a few close and forgiving friends , or your parents , and start playing for other people . if you want to be a performer , you require an audience . coffee shop open - mics are a great way to find a forgiving audience wholl be warm and accepting . most open - mics are full of hobbyists who want to get started and most crowds are friendly and easy - going . its a great way to crack in . alternatively , just play for yourself . theres nowhere it says you have to ever play in front of anyone . learn to play and enjoy the sounds you make for yourself . having trouble finding an established group or band to play with start your own . dont wait around for other musicians to come to you , go out and find them . put an add up on craigslist with your biggest influences and your desire to play with a group that plays a particular kind of music and vet the other players who get in touch . hang around the local music shops and put up ads for players . go to open - mics and make contacts with other local musicians who can play . getting a recording of yourself playing can be one of the most rewarding and fun things for a young musician . being able to actually hear yourself playing over the speakers nothing cooler . and these days , its easier than ever to record yourself quickly and easily at home , and to have it sound great . invest in a few cheap microphones to get started and record yourself directly to your computer using garageband or audacity . set the levels like you like them and burn cds for your friends , or put them on your ipod . if youre feeling really ambitious , you can share you recordings with the world . record your best stuff and start a bandcamp page or a soundcloud account to give out quick links to your tunes . even if youre talented , even if youre a hard worker , even if youre the best banjo picker in your town , its possible that youll struggle to be heard . being a musician can be a slog for a lot of people , and it can take a long time before the fruits of your labor start to pay off , both in terms of skill building and getting any kind of recognition , much less money . the more dedicated you are , however , the bigger chance you give yourself for success . consider going to music school if you want to make contacts and receive individualized training on your instrument . even if you dont want to play classical , learning the skills of music production and history can give you an edge in the music business . |
fall in love with hip - hop . listen to a wide array of music . learn music theory and history . buy beat - making equipment . choose audio production software . experiment with sounds and equipment . | how to become a hip hop music producer 1 | know before you begin that the music industry is notoriously difficult to break into , so you need to be pursuing hip - hop because you love it , not to make a quick buck . listen to as many rappers and producers as you can , discovering what sounds you love and what style of music you want to make . the more you know about hip - hop , the better equipped you will be to make it . hip - hop is one of the easiest genres to get into , thanks to the wide variety of free music available at mixtape websites like datpiff , livemixtapes , and hotnewhiphop . hip - hop producers are famous for pulling diverse musical influences and trends together to create something new , so look for good music wherever you can find it . rza and got famous digging through old soul albums , russell simmons and rick rubin made waves bringing rock roll into rap , and kanye uses a full classical orchestra behind many of his beats . there is no genre that you cannot find inspiration in as a hip - hop producer . listen to music for its quality , not because of its genre or reputation . keep notes of music you like so you can find it , and potentially use it , later . production is the process of creating an instrumental track , but in the case of hip - hop you will usually be playing all of the instruments . to have full control over your sound you need to know how music works , including time signatures , chord progression , music theory , and instrumentation . learn how to play an instrument . since many beats are made with a keyboard , try starting with a piano . hip - hop has a low barrier to entry because you can theoretically make beats with nothing more than a reasonably powerful computer . these days , extra tools can plug right into your computer to give you even greater control over your music , however , and are nearly invaluable . keyboards perhaps the second most important tool next to a computer , keyboards allow you to create your own melodies and physically play your beat , which is usually much faster than inputting the notes into the computer . drum machines incredibly versatile rhythm instruments , drum machines let you assign any sound you want to a small pad then play that sound as if it was a drum . you can program it with drums , cymbals , percussion instruments , notes , or even random sounds . microphone essential if you want to record vocal tracks , microphones also let you record other instruments and sounds to incorporate into your beats . midi controllers complex but powerful , midi controllers give you the ability to adjust tone , rhythm , loops , drums , and beats with the touch of a button . many high - end keyboards and drum machines come with attached midi controllers . speakers be sure to invest in good speakers so you can hear your music at the highest possible quality , that way you can be sure your listeners are hearing what you want them to hear . , known as a digital audio workstation daw , there are hundreds options out there . while there is a lot of variability in features , usability , and reliability , most of them are pretty similar in execution . different instrument parts are dragged into a timeline where they can be layered , edited , and repeated to form your song . choose the program you are most comfortable with and learn everything you can about it . some free programs to begin practicing on are audacity , garageband mac , cecilia , and mixx . for more committed beatmakers , check out paid programs like pro tools , logic , mutools , mixcraft , or cubase . every software has tons of tutorials , tips , and tricks available online , and you should learn as much about your daw as you possibly can . this is the only way to get familiar with your equipment and to learn what kind of music youd like to make . make as many beats as you can , even if they are only 30 seconds long , and dig into all of the instruments you have access to . try recreating some of your favorite beats . you can download packs of sounds that famous producers use online and play with them to see how theyre used . |
design the drum beat first . build in a bass line . add in orchestration and melody instruments . learn how to loop . learn how to sample . add the vocals . finish the songs with accents , beat drops , and surprise . refine your beats . break all the rules . | how to become a hip hop music producer 2 | the drums are the most important part of your beat and form the structure to the entire song . especially in hip - hop , where singers need a steady rhythm to rap over , you need to create a solid foundation for melody , vocals , and orchestration . start with the classic trio of drum beats - - kick drum , snare , and hi - hat . play with these three drums to produce the bouncy , up - tempo feel of classic rap and hip - hop songs . ex . dj premiers famous beats on the album step in the arena . download free drum packs online to find unique percussion and sounds the incorporate into your songs . experiment with other sounds for percussion . producers such as j dilla ex . waves became famous for using voices , sirens , pops , and other noises in place of drums . ex . 50 cents heat uses gun noises for percussion hip - hop has its roots in jazz , funk , and soul , and just like the genres that spawned it , all hip - hop tracks require two basic instruments drums and bass . a bass line gives your song a basic template for the melody bass lines can be a simple , like nas memory lane sittin in the park , or complex , like commons be intro . practice meshing the bass line with your kick drum , as they both emit low frequency notes . layer them so you can hear both , like in the songs above . , once youve established the groove of the song with bass and drums , its time to make it really shine . this is where you get to design the feel of a song . if you want an rnb inspired song , for example , youll want piano , some horns , and maybe some jazzy guitar ex . blues scholars the ave . if you want an epic , cinematic song youll be adding strings , tubas , gongs , etc ex . big bois general patton . play around with sounds constantly - - the only way to find out what sounds best is to try out as many different orchestrations as possible . , looping is when you take several bars of music and repeat throughout a song so it sounds like someone is playing the part the entire time . it allows you to create a consistent beat for the mc to rap over and keeps you from tediously writing out the same part over and over again . the best loops are seamless . that is , it is impossible to tell that the part was essentially copy and pasted together . sampling is when you splice bit of other songs into your song , using the old part to create something entirely new . sampling is one of the building blocks of hip - hop producing , but you should always do it with caution - - sampling without permission can be illegal . use sample sparingly , finding 2 - 3 notes that you like and distorting them , repeating them , or chopping them up into something new . , whether you do them yourself or have someone else rapping , record the vocals to your song and tinker with the length , chorus placement , and any intros or outros you want . use your producing skills to mesh the lyrics with the beat . for example , at a moment when the lyrics reference the police , it is common to put a siren sound in the song . when you hear particularly powerful lines or rhythms , considering muting the beat so that listeners can hear the rapper clearly , then jumping back in as a surprise . build up the beat - - start the song with just drums and bass , and add an instrument each verse , then break it down in the outro ex . outkasts slump add subtle accents - - even noises that are hard to hear can give the song depth . , read your software manual and learn about eq , effects and quantization , and use them where necessary . eq also known as equalization , this is where you adjust the volume , frequency , and sounds of the entire song so that all the parts fit smoothly together . effects there are endless effects , all of which adjust or alter the sound of an instrument to make it fit the mood of the song . they can create echos , change tones , subtly adjust notes , and much more . they are never permanent , so test them out on every instrument . quantization the art of taking hand - made notes or beats and electronically lining them up with the beat . quantization is crucial to make a song sound clean and professional , but overdoing it may make a song seem robotic and bland . , the best hip - hop producers forged their own path , learning from the masters while trying things no one else has . make a song without drums , sample from a polka tune , or use a live band to make your tracks . follow your creative instincts and keep your ears open to stand out as a producer . |
share your beats with people . promote yourself . collaborate with other rappers and producers . produce a mixtape . keep making beats . | how to become a hip hop music producer 3 | if you want to become a professional , you have to start sharing your songs with friends , family , and strangers . this can be scary , but just remember that music is meant to be shared , and is more fun with other people . start with close friends and family members so you feel comfortable with feedback . never let anyone tell you that you cant make music . if this is your dream , keep practicing and trying . put your music online for instant feedback and listeners . youtube , soundcloud , reddit , reverbnation - - the opportunities to share your talent are endless once youve got other people nodding their heads to your music , start promoting yourself . sites such as rocbattle . com , soundclick . com , givemebeats . net , and cdbaby . com are made to promote young producers . become active on social media to tap into the largest market you possibly can . attend hip - hop shows and network with local musicians and producers . , part of the beauty of hip - hop is how collaborative it is . producers and rappers mix and match regularly , finding new inspiration from other musicians and helping each other gain notoriety . ask rappers you know if you can produce a song for them . offer your beats online , hip - hop forums from reddit to datpiff are full of rappers looking for a beat to rap over . , mixtapes are free albums posted online that act as resumes for the hip - hop community . even if you cannot get a rapper to give you vocals , put together a collection of songs that people can download and share . kanye west famously proclaimed that he produced five beats a day for three summers , but that is what it took to break into the industry . only those that practice every day , make beats for anyone who asks , and constantly learn new tricks will become successful hip - hop producers . even if you only want to produce for fun , youll find the only way to real become a hip - hop producer is to produce some hip - hop . |
review the pentatonic scale and the 12 - bar blues to inform your soloing . add the blue notes into the minor pentatonic to transform it into the blues scale . find the all of the root notes within your blues scale . know where the iv and v chord land on your scale . find the i , iv , and v chords elsewhere on the neck to take your playing to the next level . | how to choose notes in the blues scale 1 | a great solo fits into the fabric of the song . luckily , most blues songs fit directly into a familiar chord progression , the 12 - bar blues . furthermore , the blues scale a variation on the minor pentatonic scale is one of the easiest and most versatile forms in guitar , but you need to know it forwards and backwards before beginning a more complex style . review the 12 - bar blues . review the minor pentatonic scale . within the minor pentatonic scale , not matter where you are on the fretboard , there is one note you can add in two places , known as a flat fifth , blues note , or even devils note to get a blues scale . they occur one fret after the 3rd note in your scale , and one fret after the 8th note in your scale . seen , for example , in the a - minor scale , they are the bolded notes e - - - - - - - - - - - - - - - - - - - - - - 5 - 8 - - - - - - - - - - - - - b - - - - - - - - - - - - - - - - - - 5 - 8 - - - - - - - - - - - - - - - - - g - - - - - - - - - - - - - - 5 - 7 - 8 - - - - - - - - - - - - - - - - - - d - - - - - - - - - - 5 - 7 - - - - - - - - - - - - - - - - - - - - - - - - - a - - - - - 5 - 6 - 7 - - - - - - - - - - - - - - - - - - - - - - - - - - - e - 5 - 8 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - , the root note is the key of the song and the first note of the scale . if you started on the 6th string , 5th fret an a , youd be playing the a - minor blues scale , in the key of a . this also means that the song , and backing chords , return often to a , meaning you need to be able to find the a anywhere in the scale to sync back with the backing chords . e - - - - - - - - - - - - - - - - - - - - - 5 - 8 - - - - - - - - - - - - - b - - - - - - - - - - - - - - - - - 5 - 8 - - - - - - - - - - - - - - - - - g - - - - - - - - - - - - - 5 - 7 - - - - - - - - - - - - - - - - - - - - - d - - - - - - - - - 5 - 7 - - - - - - - - - - - - - - - - - - - - - - - - - a - - - - - 5 - 7 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - e - 5 - 8 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - , remembering back to the 12 - bar progression , the blues move in a simple , easy structure that repeats every twelve bars . good note selection mimics this progression , using licks that originate from the iv chord while the iv chord is being played , for example . in an a - minor blues , the iv chord is a d , and the v chord is an e . the best part is , once you know where the iv and v notes are in the pentatonic , they will be in the same place no matter what key youre playing in . for a - minor , they can be found note the iv chord is italicized , the v chord is bolded . e - - - - - - - - - - - - - - - - - - - - - 5 - 8 - - - - - - - - - - - - - b - - - - - - - - - - - - - - - - - 5 - 8 - - - - - - - - - - - - - - - - - g - - - - - - - - - - - - - 5 - 7 - - - - - - - - - - - - - - - - - - - - - d - - - - - - - - - 5 - 7 - - - - - - - - - - - - - - - - - - - - - - - - - a - - - - - 5 - 7 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - e - 5 - 8 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - , while this article mostly focuses on the basics of navigating the blues scale , adventurous players should dive off the deep end once they feel comfortable . you know your three root notes - - so go find them further down the fret board . look for patterns and expand your playing to the deeper and higher notes for more melodic variety . |
start your solo around the root note , emphasizing it however possible . base your early licks around the root note of the song . shift your riffs to feature the root of the iv chord when the chord changes . find and use the v chord as you shift into the turnaround . bring your turnaround , the end of the whole , back towards your i chord note . bend , slide , and hammer - on to root notes and chord changes to provided emotive , bluesy emphasis . | how to choose notes in the blues scale 2 | there are a lot of ways to emphasize notes , but the easiest way is to just begin the riff with the same note as the root chord . as you first start developing , practice hitting the root note right when the rhythm section changes chords - - as soon as they shift to an a7 chord , for example , you should hit an a note . get used to this kind of synchronization - - while you should definitely not do this every time , practice it now to learn how and when to find the root notes on the spot . you dont have to start a riff with the right note in order to feature it in the riff . the more you can circle back towards the i chord , here an e , for example , the tighter your scales will sound . the video above provides a few practice riffs for the first few measures of an e - minor blues song . other than the root note , the rest of the notes are just your normal blues scale . simply use the root notes as starting places to explore the rest of the scale . the 12 - bar blues starts with four bars of the root chord , then two bars of the iv . once youve memorized the root notes of the iv chord , use them to anchor your soloing during these chords . in an e - minor blues , like the one in the video , the iv chord is an a . in an e - minor blues song , the v chord is a d . the v chord is played only for one bar at a time , making it much faster to get to and get out of . a quick riff based around the v chord , however , then sliding it quickly back to the i , is the hallmark of good note selection . check the video for a couple of good v chord licks . as the blues wrap around , you have 4 measures of to turn around the song and bring it back to the i chord . the progression is v - iv - i - v , or b - a - e - b when playing in e - minor . this is a good place to let loose a bit , showing off some faster playing or some different note choices . if , on each chord change , you can land on the root note , all the better . but the only one you must hit is the i chord at the beginning of the next 12 bars . as the turnaround ends , get ready to return to the root . bends , hammer - ons , pull - offs , slides , and vibrato are all fantastic ways to mix up your tone and draw attention to important notes , giving you room to dazzle during your solo . while it requires some practice and a bit of forethought , you can start on a blues note like 2md string , 3nd fret of the e - minor scale shown in video , then bend it up a full - step into the e on the 5th fret . |
make sure youre in a clear , open space with no chance of bumping into people or things . maintain good posture . if someone is with you , be wary of them . make sure youre standing correctly . make sure there is someone with you to help turn your sheet music if there is more than one page . relax , dont panic if your hand is hurting or aching a little . if you have long hair , tie it up . make sure your hand is positioned correctly . be slow when bringing your violin up to your chin . allow calluses on your fingers to avoid cuts from the strings . | how to avoid injury as a violinist | do a full stroke of your bow and see where your elbow naturally rests . if your elbow is slightly close to something like a wall , take a step away and reposition yourself accordingly . having a bad posture wont cause injury but it may be uncomfortable and put a strain on your neck and shoulders . stand upright , straight - backed , and make sure you hold your violin up imagine there is a ball balanced on the strings of your violin and you have to make sure it stays there rather than sliding off the edge and falling on the floor . by having good posture , you wont hurt your muscles and will feel a lot more comfortable it isnt fun having an achy shoulder during a 3 - hour concert and not being able to rest . this could be a teacher or just someone who is watching you play , but make sure they are standing back to minimize the risk of accidentally hitting them with the bow when you do a retake . stand with your feet slightly apart , flat and firmly on the ground , and never place one foot on top of the other . this could cause you to lose balance and you wouldnt want to topple over and break your violin or hurt yourself . if you are quite new to the violin , then this will be helpful as its hard to turn a piece of paper when both hands are occupied . you dont want to try to flip a page too quickly and end up knocking over a huge score and hurting yourself . dont be tense just relax and play the piece as fluidly as you can . this will help you be more aware of the things around you and will automatically improve your posture . this is just due to playing and shouldnt bother you too much . if your hand is really hurting , then take a break and try to stop your fingers from growing stiff . its unlikely that this will cause a problem , but if youre leaning forwards while playing , your hair might dangle onto the strings of the violin and could get caught under the bow . the main reason you may have an aching hand is the fact that it isnt placed correctly . when playing , make sure your left hand the hand thats pressing on the strings , is slightly arched , and that the palm and heel of your hand isnt squashed or pressed against the neck of the violin . not only will this relieve any pain , but it will help you move into third position more fluidly . it may be a minor problem , but try not to make a huge passionate swing when placing your violin on your collarbone , as it usually ends up hitting you in the jaw . this may be more embarrassing than painful , but its still something to keep in mind . |
select on - ear headphones for a high - quality , natural sound . purchase over - ear headphones to block out all sound . choose in - ear headphones for portability . think twice before buying wireless headphones . read the specs , but know which ones matter . | how to buy high quality headphones 1 | on - ear headphones are small pads or coverings that rest on top of the ears . some people find these the most comfortable option , as they do not completely cover or go inside the ears . outside noise enters in with on - ear headphones , making them a good option for people who still need to hear whats going on around them like joggers . on - ear headphones offer a more open sound , which may sound more natural than closed , or over - ear headphones . on - ear headphones are typically made from lighter but still durable materials , for increased portability compared to over - ear headphones . also known as full size headphones , this option completely surrounds your outer ear and fits snugly on the head . they may not sound as natural as on - ear headphones - - but you also wont have any pesky interferences drifting into your music . some people find the fit of over - ear headphones to be uncomfortable . find the measurements of the ear cups to determine whether theyll be good for you or not . over - ear headphones are made of sturdy material and are not as portable as other options . also known as ear buds , in - ear headphones are more portable and less noticeable than other options . be prepared to pay a higher price for quality sound . given their size , the average pair of in - ear headphones are unlikely to provide high - quality sound . beats x and bose quiet control 30 are two exceptions . because they are inserted directly into the ear , in - ear headphones have natural sound - rejection . that means you can listen at safer volumes , without interference . headphone technology is advancing rapidly , and wireless headphones operated through bluetooth are gaining popularity . wireless headphones are convenient for on - the - go use , but they do not yet deliver the best sound . , headphones may advertise a lot of terms you dont really know what they mean , which can leave you paying extra for a feature you dont really need . manufacturers are often inconsistent with how they measure sensitivity , or how loud the sound sounds at a given volume . in general , anything that is between 80 to 125 db splmw will deliver high - quality sound . dont go for anything that has a snr signal - to - noise ration of less than 201 , otherwise you run the risk of crackly , unclear audio . headphone impedance isnt something to worry about unless you want a pair for professional audio work , or only plan to use them at home . for on - the - go use and for most consumers , low impedance 50 ohm and below will deliver rich , quality sound . |
choose noise - cancellation to block all outside sound . purchase surround - sound headphones for tv and gaming . select volume - limiting headphones for children . | how to buy high quality headphones 2 | these over - ear headphones are a great option for people who study or work in noisy environments , especially . noise - canceling headphones are typically the most expensive type . due to their larger size , noise - canceling headphones are not as portable as in - ear headphones , for example . noise - cancelation is not advised for people who need to stay alert to what is happening around them , like drivers or people who exercise outside . if you are more likely to use your headphones for entertainment than music , surround - sound headphones deliver the richest sound . surround - sound headphones eliminate the detached quality that can come from watching tv or movies with regular headphones since the sound originates near the ear rather than the television . , if you are looking to make a worthwhile investment in your childs headphones to protect his or her health , consider choosing a set that wont go above a certain volume . puro bt2200 is a good option of high - quality headphones for little listeners . |
read the reviews . dont be guided by brand . try them on . watch out for knockoffs . keep your receipt . | how to buy high quality headphones 3 | these days , its easier than ever to learn about a product by reading its online reviews . interested in a particular model see what current or former users have to say about it by doing your research . websites like amazon . comand consumer reportsare typically good places to find reliable consumer reviews . dont let two or three negative reviews affect your choice - - consider the average review , instead . many review sites use a star rating system , which can be helpful for gauging customer satisfaction . look especially for reviews related to your intended use . are there many people who use the headphones for studying if thats what youre looking for , thats great news . headphones come in and out of fashion , and some brands that are really well known do not actually provide the best sound quality . as much as possible , try to avoid letting the brand name guide your decision . the popular beats by dre are good for dub and hip hop , but may drown out other genres of music . optoma , sennheiser , and bang and olufsen may not have the same sticker appeal , but they provide great sound for a variety of musical tastes . a high - quality pair of headphones should be almost unnoticeable after you put them on . if the headphones feel uncomfortable after half a minute , if they fall out of your ears , or if theyre too tight , it might be an idea to look at another pair . while youre trying the headphones on , play something to see what you think of the sound quality . listening to several genres can give you a good idea of what theyll sound like for a variety of tunes . check to make sure the cord seems sturdy enough to withstand daily use , and that is unlikely to fray . even if youre buying your headphones online , you can go into best buy or your local electronics store to try them on first . its a small investment in time that can help you make the best decision . if youre buying headphones over the internet , remember that if the deal seems too good to be true , it likely is . the headphone industry is especially full of knockoffs - - so know that youre probably not going to get that top - of - the - line brand for 2 . 99 . buy only from authorized dealers and resellers . check the products serial number with the manufacturer to determine whether its real or not . trust your intuition . if you see a lot of typos on the box , if the product seems different from what you expected , or if the color doesnt match the description , you probably have a fake . most electronics purchased from a reputable retailer are returnable within a certain amount of time . hold onto your receipt just in case your headphones end up not working out |
research recommended speaker combinations . choose a passive speaker and amplifier combo . choose a powered speaker . arrange your equipment . find the module output jack on your drum set . connect your drum module to your speakers . test the sound . adjust the settings on your drum module . use a sound mixing board . adjust the bass and treble knobs on your amplifier . | how to amplify electric drums | most electronic drum kit manufacturers also make speakers and amplifiers . if possible , purchase specialized drum amplification equipment that is made by the same manufacturer . the amplification equipment will be optimized for your drum set . however , many people also use equipment from several different manufacturers with success . check the specification requirements of the sound equipment to make sure your drum kit is compatible . bass and guitar equipment may work , but drum amplification equipment is best . specialized amps and speakers will be able to amplify low drum tones better than other equipment . passive speakers are speakers that require an amplifier to create sound . amplifiers are small boxes with sound settings that feed the sound signal to the speakers . if youre going to use your drum kit professionally , it may be best to purchase a passive speaker and amplifier combination so you have better control over the sound . check the specifications of your amplifier and speaker before buying them to make sure theyre compatible with one another . if possible , buy your amplifier and speaker from the same manufacturer . this will eliminate incompatibility problems . powered speakers are great options for amateur musicians because the amplifier is built - in . there will there be less equipment to set up and carry and fewer cords to keep track of . furthermore , you wont have to worry about tweaking the amplifier settings to create a good sound . these speakers are sometimes called active speakers . however , this term actually refers to the inner wiring and does not mean the same thing . set up your equipment on stage or in your practice space before plugging anything in . move your speakers to the left and right of the stage to avoid sound interference with any microphones . dont plug anything into a power source until all of the equipment is connected via cables . locate the drum module . this is the brain of the drum kit that allows you to alter the sounds , change the settings , and turn the kit on and off . look around the module for the word output . this is where youll connect the drum kit to the speaker . sometimes the output jack says outputheadphones . most output jacks take ¼ inch cables . however , if your output jack takes a different size , purchase a converter that will allow you to use ¼ inch cables . use long , ¼ inch cables . first , plug one end of the cable into the output jack of your drum set and the other end into the input jack of your amplifier . next , use another cable to connect the amplifiers output and the speakers input . if youre using an active speaker , use a ¼ inch cable to connect the drum modules output jack and the speakers input jack . make sure you have plenty of slack on the cable . if the cable is taut , you or another bandmate could trip over it and damage your equipment . turn all of the volumes to zero . next , plug the system components into a power source and turn everything on . slowly raise the sound as you test your drums to find the perfect sound level . the sound can be adjusted from the drum module , the speakers , or the amplifier . most drum modules allow you to control the different tones that your drum set creates . you can alter the volume of the low and high notes or change the timbre of the notes by changing drum sets . cycle through the different drum types to imitate a variety of popular higher - end acoustic drums . if you purchased an inexpensive drum kit , these features may not be available . if you still dont like the sound of your drum set , consider upgrading the module . purchase a higher - quality version from the same brand to replace your old module . most bands have a mixing board to help them adjust the quality of their music . however , some traditional mixing boards cant handle the low bass tones of an electric drum set . if you notice that your lower drumming notes sound dull , or if your bands mixer runs out of input space , consider using your own specialized sound mixer . if you dont use a lot of cymbal sounds when you play , a line - level mixer will work well . otherwise , choose a quality mike - and - line mixer . these mixers can be bought at specialty music stores , online , or at secondhand music shops . if you notice that your lower drumming notes are flat and lifeless , try adjusting the bass and treble knobs on your amplifier . turn them up to amplify the lower notes and turn them down to make the lower notes quieter . this feature is not available on every amplifier . if you dont see any sound knobs on the front of your amplifier , you probably cant adjust the bass or treble tones . |
keep practicing until you get up to concert speed the speed written above the notes , or the speed that you want to be able to play it . | how to approach reading piano notes to get the right sound 1 | so get started by listening to the song or practice playing the following to achieve the tempo and rhythm |
learn the tune before you attempt to read and play the song . prepare by scanning and visualising the notes first to find parts you might get in trouble with reading while playing . make sure to stay in tempo , try these steps to reading notes . remember , these skill wont come by themselves . study up , ask and read about different methods of scoring music to know whether its for vocal or instrumental , duet , trio , 4 part harmony , or easy piano , or is sheet music with a lead - sheet with a melody line and numbered chords for a studio musician , or geared for a jazz ensemble . | how to approach reading piano notes to get the right sound 2 | its better to listen to a piano version , but other instruments will also help . your mind will pick up the melody and rhythm , and then knowing the tune makes it easier to know whether you are producing the intended sound for what you read . it is very important to realise whether you cant - - by either technical skill or physical technique - - play the song so , you dont start and have to quit because of things you dont know . it is very annoying to practice the song with a metronome , and one might not help . but , maybe it is syncopated a kind of off - beat rhythm , varied from a standard rhythmic accentthrow a pair of tennis shoes or jeans in the clothes dryer . chances are the rhythm you hear will be syncopated , like an ad - lib , varied from standard , but in a general pattern , such as jazz . this follows the level of how good you are at reading notes . read and play only one hand at a time . practice the treble and the base clef separately . read and put both hands together when you can . read both hands and characterise the tune of the song properly working up to the desired speed . learning to read notes takes many hours practice , but saves you from fumbling later . as a student you can read loads of notes , not only music supplied by the teacher , but also found other places by yourself . |
try to calculate the beats per minute and use a metronome to set that pace , but you do not really need one . alternatively , try playing extra slowly . make sure that you play the notes right | how to approach reading piano notes to get the right sound 3 | make sure that you understand the timing and play the proper note lengths . imagine a snails pace . the slower , the more time you have to read , find the notes and finger them for the sound as desired . practicing them wrongly will make you build a habit of using the wrong notes as if theyre the right ones the same goes for fingering the melody and chords correctly . if you have a teacher , let him or her play it for you . clapping the notes is also a good way to get a feel for the time and rhythm of the song |
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