John Belushi struck up a relationship with Fear after becoming a quick fan seeing them on another TV show and commissioned them to write a song for the movie Neighbors. The band, however, wrote the song for Belushi himself to sing, which he recorded reluctantly. The movie’s producers refused to use it, but Belushi still wanted to do right by Fear, so he booked them on Saturday Night Live as the musical guest for the Halloween Special in 1981.
Ludwig van Beethoven’s “Für Elise” provides us with the first example of a minor second, and it can be found in the first “seconds” of the piece — in other words, the first two notes are a descending minor second apart.
But there’s more to it than just nostalgia. While audiophile cork-sniffers shout out the virtues of vinyl or lossless FLAC from their rooftops, the humble 128 kbps MP3 is the true MVP of music mediums, the black sheep diamond in the rough with more than swagger and noise floor to go around. Here’s why.
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So, as you can see from these experiments of mine, I believe that this line of inquiry can help retrieve powerful and beautiful ideas from a venerable worldview that is strange to us, having gotten the short end of Enlightenment thinking. I think this perspective can ground us in deep cultural roots, offering us immense creative potential for our current moment, and I’m curious to see what others working in this capacity will bring to the table in the future! Perhaps it’ll be you.
In this case, the B♭ is the 9th, even though it looks like it should be called the 2nd. Tensions get bumped up an octave (2nd becomes 9th, 4th becomes 11th, and 6 becomes 13th).
In this edition of “Talking Points,” we take a look at a panel held at this year’s Ableton Loop Conference on the uses of technology in music education.
We must realize that Ligeti was working in the Hungary, in (almost) total isolation from the rest of the continent, where Schoenberg, Berg, Webern, and later Boulez and Stockhausen were using serial techniques to find a way to detach modern music from the “tyranny” of the Western tonal system. Ligeti approached the same problem from an apparently antithetical standpoint (using one note instead of a fixed series of twelve pitches), yet focusing on the other parameters of music in order to create direction and growth.
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Sometimes the solution is obvious. Maybe the student has a clear goal in mind, and they just don’t know how to get there. Maybe they wanted to make a bumping club track, and the beats are weak — beginner producers usually don’t know how to layer or mix drums. A lot of the time, there are some good ideas but they’re strung together without any particular structure. That’s understandable; structure is hard! Or maybe there was a misguided attempt at “realism.” Every semester, someone takes a piece they composed or arranged and outputs audio straight from their notation software. The result consistently sounds like garbage. I want them to think of the sound coming out of the speakers as the “real” music, not a placeholder for an eventual performance by humans — nothing against live performance, but my class is about making music in the box. Rather than settling for terrible fake strings or brass, we try to figure out what software instruments might sound unapologetically cool.
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If you learned how to tune your guitar to itself when you first started learning the guitar, you’ll remember that the note in Fret 5 corresponds to the note of the open string on the next string down. The only exception is the 3rd string, where in order to get the same note as the 2nd string open, we need to play Fret 4. This is due to how the guitar is mostly tuned in intervals of a perfect fourth, except for the 2nd string, which is tuned a major third above the 3rd string (G to B is a major third).
Take your time. Pick out the sound you think will create the best base layer for your music. But keep in mind that you can always go back and track other instruments and sounds once everything is laid down. Now you’re ready to record your keyboard to the click.
For many of us, creating works of art takes a certain level of inspiration and solitude — time to reflect and a surrounding environment that suits our mental well-being. Whether we’re composing, songwriting, or producing music and sound, the act of creation is often at its best when it’s organic.