#and I used a piano chord chart to find the chords that contained the note I was singing

[tj-crochets]

I wrote my mom a song because my mom loves cheesy homemade things and especially music, and who better than her to write my first song for?  She loves it and wants me to share it with y’all, so here is the very simple song I wrote for her that made me cry the whole time writing it and made her cry listening to it

[eastertag]

@tracybirds gift for @overlordraax

Dissonance

Happy Easter @overlordraax! Thank you for your wonderful prompts and I hope you enjoy the read!! Thank you as well to @ak47stylegirl for your organisation of this fun event!! Be well!

—————————————————————————————–

Just sitting on the piano stool was enough to calm Virgil’s racing mind and fidgeting fingers after a long, hard day of rescues. A day when he was too caught up in heartache to concentrate on anything arduous, when all he could do was form the familiar chords with his hands and lean into them. He allowed them to ring, I … IV … V … I, first in C major, then in A minor, G major, F major – the same chord progression he had been acquainted with since he was a child, played over and over again.

Eventually, the music restored his soul enough to move on to scales and arpeggios, still friendly and familiar to his ear. A juxtaposition to the way he felt inside.

He needed more, the repetition that had been a soothing balm becoming tedious and filling him with anxiety. It matched the way his mind replayed the events of the day and he knew he needed to break free from the pattern.

Virgil began to perform.

An outpouring of grief, slow and soft, the sustained notes holding his soul aloft as he reflected on the mission. As tears gave way to anger, the music shifted, the tempo increasing as his breathing quickened, to rising crescendos and structured dissonance that he could pour his heart into.  The pitch rose as hysteria bubbled in his throat, his mind whirling as the musical phrase repeated again and again and again.

An electronic trill caught on the notes, discordant friction in the soundscape and changing the musical form he was sculpting out of melody and rhythm.

Virgil opened his eyes and glared at the holoprojector, the interruption ensuring he still felt jumbled up inside. There was no John hovering above the conversation pit however, just a ring of lights slowly orbiting in the air.

“I must request you stop this.”

Virgil’s sour mood took a turn for the worse as he stared at EOS. She didn’t know what she was asking, but his self-control was frayed and he couldn’t help the snapping response that fell from his lips.

“You can’t make me.”

The lights that marked EOS’s presence flashed and the holoprojector died. Virgil turned back to his music and if he banged on the keys a little harder than necessary, well, no-one was around to call him out on it.

“You must stop.”

He yelped and jolted backwards as EOS leapt into view in front of him over the piano itself.

“I can’t.”

“You must.”

Virgil frowned. EOS was rarely so insistent on her perspective when it came to things she didn’t understand. Her primary function was to play, and although John tried to keep her contained, her drive to seek out novelty and experiment with new ideas meant the family was used to narrating their daily lives as she peppered them with questions.

This was not the kind of request EOS usually made.

Virgil closed his eyes, knowing he would need to put aside his own emotions for the time being.

“Can you explain further, EOS?”

Instead of replying, her image was replaced by a projection of Virgil’s own biometrics.

“Your blood pressure and breathing rate have both increased. I am detecting a loss of stability in your extremities and your hormone production indicate the inducement of severe stress in your body.” She paused, allowing Virgil to digest her words. “The only stimulus in the last hour has been your piano. You must stop.”

The emotion swelled inside Virgil, bitter on his tongue and his heart constricted. He looked past EOS’s display and returned to the familiarity of pounding scales. A placeholder only – and no way to allow the pain that rested deep in his gut to leech from his core, through his skin and out into the air. As long as EOS was there, it couldn’t be released. He didn’t have the words to explain to her what was truly wrong, couldn’t bear to battle over the precise meanings of grief and anger and pain.

“Virgil, please,” she said, her voice ticking up a by a perfect fourth as she spoke. Her tone was exact and unwavering most of the time, and Virgil knew the sudden change was an appeal of pathos – as much as EOS’s programming could allow.

His vision blurred as he continued to move his hands across the keys, plucking the various forms from memories of long ago. He ignored the watery, laboured breathing that accompanied his music, ignored the fingers that slipped off the black keys and soured the notes even more. Anything to ignore that creeping guilt that told him to explain to EOS what was wrong.

 “Virgil.”

He opened his eyes in shock, staring at the brother EOS had gone to fetch.

“Are you okay? EOS said you were in distress.”

John looked confused, assessing Virgil quickly as he looked him up and down.

“I’m fine.”

“No,” said John, now frowning. “No, you’re not. Your stress hormones are off the charts.”

“I said ‘I’m fine’,” said Virgil. His voice reverberated around the room, mixing with the piano. There was no more energy for scales running up and down the keyboard. Instead harsh, angry notes grouped themselves together under his direction. He didn’t care about chord progressions or musical theory, he only cared about his emotions trapped inside being lanced from his soul.

“Virgil, calm down,” said John.

Clashing discordance rang through the room as Virgil slammed his hands down.

“Leave me alone, John,” he shouted. He could hear footsteps running towards the living room, and turned away. His eyes were burning from both exhaustion and the effort to keep back his tears. “Take your damn computer virus and leave me be.”

He stood abruptly, the stool falling backwards with a bang.

“That was Mom’s.”

“And now it’s mine,” snapped Virgil, the hot rush of anger painting over the hurt on John’s face.

He pushed past Gordon, who had skidded into the room with wide eyes.

“Get out of the way,” he muttered, trudging past him.

The silence followed him all the way to his suite.

“Virgil.”

He should have known she wouldn’t let it lie.

“EOS, not now, I’m…”

He couldn’t find the words. They stuck in his throat. He could hear the sound they made, the sharp staccato of rash anger, the modulation between grief and guilt. Without his music holding him together, he crumpled onto the soft sofa and let himself cry.

“Virgil.”

EOS could sweeten her voice when she chose, could shape it so that its melody became soft and smooth.

“I wish to make reparations for my actions.”

Before Virgil could reply, a jaunty rag played from his speakers. Bright syncopation and cheery colour exploded around him.

“Mute,” he snapped.

The music sat unresolved, weighing down his heart all the more.

“You can’t make me feel better just by playing a happy tune, EOS. People died today. You can’t just forget that.”

“You could not have done more.”

“I know.” Virgil sat up slowly, making eye contact with the holo. “But I wish I could have. And I know what their families are feeling.”

He shuddered, the old memory still recalling fresh pain. The seeping wound that he couldn’t heal no matter how desperately he painted over it, no matter how loudly he played to drown out the sorrow. And now a new family would learn to live with that.

Because they hadn’t been enough.

“You are upset again. I sought to change that. Music does not help.”

“It’s not about changing my feelings, EOS,” said Virgil quietly. “It’s about expressing them.”

“But people use music to influence emotion constantly.”

Virgil shook his head. “We convey emotion with music. People are just naturally empathetic.”

“Then why do you not empathise with this performance?” asked EOS. “If you empathised with it, you would no longer be sad.”

Virgil ran his hand down his face.

“Because I’m not in a neutral emotional state to begin with. It’s difficult to empathise with happiness when you’re already feeling upset.”

EOS was quiet.

“What about this one?” she asked.

Virgil closed his eyes as one of Chopin’s Nocturnes filled his room.

“Closer EOS,” he breathed. “That’s closer.”

He lay back and allowed the music to flow over him. As the notes died away, he could feel his emotional equilibrium begin to realign.

“Thanks EOS.” His eyes fell on the old upright piano that stood in the corner of the room. It wasn’t as nice as the grand in the family room, the paint chipping away and the white keys yellowed with age. But it had been his first piano, the one his mother had dragged into the house before they were all born.

“Was it enough?”

“No,” he said quietly, sitting on the piano stool. His fingers ran across the piano lid before he lifted it and he sighed as he picked out the familiar melody of another Chopin.

“It’s not your fault EOS,” he said, leaning into the music. “Listening has never been enough for me. You did help.”

The ring of lights shone green for a second.

“How can I tell the difference?”

“The difference between what?”

“Between the happy and the sad pieces?”

Virgil paused for a second, thinking it over.

“Why did you pick the first one?”

“I cross referenced the metadata that was attached to copies of the music on the holonet. They all recognised the piece as happy, or of synonyms of the word. The specific combination of rhythm and pitch hold no more significance than any other, and I have no experience to compare them with.”

A soft round of simple intervals filled the air.

“Can you hear the difference?”

“Of course. One pitch remains the same and the other changes.”

“No, no,” said Virgil. “Listen to how they interact, can you hear the difference.”

A major chord. A minor chord. Only one semitone between them, a half-step that painted the world in simplistic feeling.

The notes faded away. EOS remained silent. Virgil played the chords again, waiting for her response.

“They combine differently. The ratio of their wave frequencies are different.”

“How so?”

“One produces a more complex sound. It has a higher frequency ratio.”

Virgil smiled.

“The more complex, the more dissonant. Usually.”

The notes repeated a few more times as EOS tried it out for herself using her own databanks. Virgil sat back, listening to her experiment. It reminded him of himself as a young child, banging enthusiastically on the piano. He wanted to make the same pretty sounds as his Mom, but at the same time, he just wanted to play.

 “I don’t like that one.”

“Which one?”

The sharp, sour notes of the tritone interval filled the room.

“Ah, yes,” said Virgil wincing. “Used to be called the devil’s chord.”

The implications of what she had just said caught suddenly on his mind.

“What do you mean you don’t like it?”

“It has a 45:32 frequency ratio. It doesn’t superimpose well. The sound is… dissonant.”

Virgil’s face split into a grin. “That’s what we hear too. Except we can’t describe it as accurately, so we assign emotion to it instead. How does it make you feel?”

“I feel…” EOS paused and the clashing notes silenced. “I feel unstable. I know the sounds that are easier to comprehend and I want to return to them.”

A number of artificially sped-up pieces flew through the speakers.

“Not all music follows this pattern.”

“Well, no,” said Virgil. “A lot of music is about expectation. What you think should happen next and whether or not that is fulfilled is an important part of the experience. Different cultures, different time periods, even different styles use different patterns in music.”

His hands sought out the modal scales he had been taught in high school, the first example that leapt to mind. Smiling, he launched into one of his favourite jazz pieces.

“Some styles will rely on dissonant intervals so much, they become normal to the ear. The more you listen, the more you’ll be able to identify the different types of patterns.”

The music ended with a flourish.

“But we’re talking about emotion, aren’t we EOS?” A new melody spilled out of him, the memory of its last performance itching at the back of his mind. “Without dissonance, the music is dull, it’s monotony and boredom and drudgery. Like a life where everything is perfect and you always get your way. Dissonance breaks the pattern, it create interest in the music.”

“The change affirms your turbulent experience in the world.”

“Exactly,” said Virgil. “It can reflect so much, the way we explore new ideas, how we take risks or grow from failure. Without dissonance, music would be nothing more than a predictable pattern and have no creativity or drive behind it.”

“No life. No emotion.”

“And if we cut it off, if we never bring the music home?”

The final notes hovered in the air and Virgil could almost see the way they floated next to EOS.

“I feel incomplete. Like I’ve lost something but I don’t know what.”

Soft arpeggios brought the music back to life. Virgil watched as EOS processed and catalogued the newly made connections.

“The pitch of the sound can’t be the only contributing factor. The amplitude of your playing has changed in a manner consistent with your stress levels. If there are direct connections to be made, is this another one?”

Virgil continued to play, soft and light as he analysed his own emotions. He’d forgotten where all this had begun.

“Not always,” he said. “But often. You can’t just look at one part. You have to take them in relationship to each other. The choice of instruments, the articulation, the rhythm, the harmony. It all combines to make something greater than it would be if only one form of expression was used.”

“Music mimics its makers.”

Virgil blinked.

“I’m sorry?”

“You are only one part. And you combine to make something greater than you would be alone.”

“I–”

A sharp buzzer jolted Virgil from his thoughts and he stared dumbly at the door.

“Virgil?”

The worry was evident in his brother’s voice as it crackled through the intercom. He spoke softly, cautious of interrupting Virgil but convinced of its necessity.

For a moment, he considered retreating into the bedroom, where he knew Scott would leave him be.

He didn’t want to leave his piano though. Not yet.

“Thank you EOS. You should go.”

He turned towards the door, raising his voice slightly.

“Come in.”

Scott slipped inside and shut the door firmly behind them. Virgil could smell the soap as he walked closer, the collar of his shirt wet from the hair he hadn’t quite finished drying.

“John called me when he couldn’t get a hold of you,” he said simply, making himself comfortable on the sofa. “And Gordon nearly dragged me out of the shower to come talk to you.”

“You could have spared an extra minute to dry off.”

“Whatever.” He picked at the pilled fabric of his trousers. “Was more worried about you.”

“I’m fine.”

“That’s not what I heard.”

Virgil didn’t know what to say. He had been angry, hurting, grieving. The ache was still present in his chest, but he wasn’t sure how to explain to Scott how already the solace he found in music was beginning to take effect. Scott wasn’t dismissive of his love of art but his experiences were firmly rooted in a more concrete reality.

“I was talking to EOS.”

The expression on Scott’s face was unreadable.

“I see.”

“She asked for more information about my… outburst.” Virgil turned to face the piano so he wouldn’t have to look his brother in the eye. “We talked about music. I explained how I was feeling.”

“Did it help?”

Virgil closed his eyes and listened. There was melancholy there, a rough bittersweetness that underpinned the soft, sad acceptance of the events of the day.

But there was a restful peace there too, a flowing movement of sound that had begun to grow louder with the reminder that he wasn’t isolated in his emotions.

The framework for a new composition.

“Yeah, Scott, it did. She did.”

Virgil rested his hands on the piano.

“Stay a while. I want to play something for you.”

————————————————————————

“Music expresses that which cannot be said and on which it is impossible to be silent.”

~ Victor Hugo (Essay on William Shakespeare)

STS.034

[ualite718]

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[remember-wim-faros]

Episode 7 – An Automatic Spark

When a tree falls in a forest and no one’s around to hear it

- It makes a sound!

Rod: [plays flute]

Deirdre: Wim Faros reaches out his hand from the past and invites us to let the world hear his sound again. Hello. I’m Deirdre Gardner in Rosemary Hills, and this is a very special episode of “It Makes a Sound”. Today… Rod? Rod? Hey Rod, Rod! Can you stop that?

Rod: Oh I’m so sorry, I just..

Deirdre: It’s, it’s distracting.

Rod: I found it over, I-I shouldn’t have picked it up.

Deirdre: That’s OK, that’s OK. Wim Faros reaches out like sinewy roots of a tree climbing up, bursting forth, gasping towards the surface. We break the earth to receive him. His spirit cannot be contained, it stretches out beyond the decades! We stretch too. Our fingers pulse towards him, anticipating his gifts. He hands us – a box full of treasures. Among them, a laminated sleeve containing a cardboard coaster marked with the date 6 21 92, scribbled upon it like hieroglyphs. The music of the Attic Tape!

Mom: She’s sort of funny.

Deirdre: And Mom, my Mom, remembers the songs. Somewhere they are perfectly archived in her brain. She’s our North Star. And it’s up to us to jog her memory. Right Mom?

[maraca, flute]

Deirdre: Welcome to today’s episode. Delicately placed on the table before us is that coaster, bearing the insignia of Rosemary Hills clubhouse: sprigs of rosemary hovering over hill on a golf course. Now it is covered with notations. His cheat sheet for the songs he played at Tricia Elwood’s 8th grade graduation party. Are they straightforward? For the non-genius, no.

Mom: Oh o!

Deirdre: Sometimes there are, are strings of lyrics knotted up around each other. Sometimes the letters are backwards or whole words are swapped. At times the chords seem to be sprinkled haphazardly next to the lyrics and tiny tiny letters. Luckily, listeners, I have created a system of organization, which will make it easier to see and untangle the information on the coaster. And cross-referenced it with other lyrics we have verified from the purple velveteen diary. Or the memory of Mom. Or the memory of of Deirdre Gardner. Borrowing techniques of historians before me I have here, on a large chalkboard on wheels, all the information we have so far charted onto a graph. And I have also been using my piano to test out some of these chords. Now now I admit that’s a somewhat limited test but I-I’ve been trying to figure them out by sound.

Rod: You did a lot of work!

Deirdre: Yes. Thankfully with me today to aide us in our quest is another special guest: Rod Reeder. Mom’s part-time nurse and an actual amateur musician.

Rod: It’s very detailed, it’s like a hospital chart, but different. You have good handwriting.

Deirdre: Oh thank you. Listeners, as Rod can see, I have attempted to separate out lyrics one line at a time. And these arrows see Rod? In a separate colored chalk point to the chords that most likely go with each lyrical line.

Rod: And what’s this square mean down here with the big question mark?

Deirdre: Ooh that’s, well that’s for the big unknowns. For instance um, track number 6, “Star 69”. We don’t seem to have lyrics to that at all. Also um, you know, things like the Deirdre Gardner connection, the the DGC as I’ve written here. Um, why was a newspaper clipping containing my picture in the time capsule? How does this affect the music? Things like that, big unknowns.

Mom: Who knows!

Deirdre: So today, our goal is to take the information, decipher it from the coaster, to restore the songs on the cassette tape recording of Wim Faros’ first concert, played here on the golf course in 1992. The cassette tape lost, found and, well currently inaccessible due to an unforeseen technical malfunction. Rod and I are ready. We are caffeinated, right? Right Rod, are we?

Rod: Yes, yes.

Deirdre: We have our coffee.

Rod: Mm hm.

Deirdre: Grab your coffee, listeners. Let’s go.

Rod: OK, you cozy, Mrs G?

Mom: Yes, thank you.

Deirdre: So Rod, looking at the chalk board..

Rod: You want a pillow?

Mom: Maybe just a pillow.

Rod: Yeah, sure.

Deirdre: Rod, oh sorry, when you’re done over there.

Rod: No we’re, were fine.

Deirdre: Rod, looking up here. Now is there anything that jumps out to you as an easily identifiable melodic sequence?

Rod: You sure you’re cozy? OK. Oh uh uh, well maybe, no I mean we have the chords and that’s super but it’s hard to know what, you know, the rhythm and the style of the line is.

Deirdre: Well that’s OK. Um, as someone once said, “begin anywhere”.

Rod: OK. Um, how about right here? [plays chord]

Deirdre: Mmm uh actually, let’s begin here. See on the coaster, these notes that run along the top edge? Here they are written out on the board. Do you see? So now, let’s cross-reference that with what is, is written here on the left hand edge. I think they might match, I’ve been working on it. Am I right that the first chord is kind of like uh uuh this? [plays chord]

Rod: Yeah, sure.

Deirdre: Yeah.

Rod: Uh huh.

Deirdre: So it’s like, [plays and reads] “Round in a cul-de-sac, one way out turn back. Either way my life is stun..ted by this one-way dead end track. Track.” This lyric is from his song titled “Cul-de-Sac”, now that’s track number 7 on the Attic Tape.

Rod: Yeah. Um here let me just, look at that..

Deirdre: Oh, OK.

Rod: Excuse me.

Deirdre: Yeah.

Rod: [plays chords fast]

Deirdre: Wow, Rod OK. Um, that’s very good, how do I do that? Well wait slower slower slower, it’s slower than that.

Rod: Oh sorry. [plays chords slower]

Deirdre: Oh, oh yes! That’s right, that’s right! Now wait, show me how to do that.

Rod: Yeah just here, um..

Deirdre: [plays chords] OK.. and, I’m doing! OK, so it was like… [sings] “Round in a cul-de-sac, one way out”, is that the tune?

Rod: Yeah, sure sounds great.

Deirdre: Yeah?

Rod: Yeah. Um, it sounds like the, there’s a, you have to go back to this chord here.

Deirdre: [plays chord] OK.

Rod: Yeah. But..

Deirdre: OK, so I do this?

Rod: Uh huh. So you’re singing that…

Mom: Ooh yes!

Rod: [sings] “Round in a cul-de-sac”…

Deirdre: [plays and sings] “Round in a cul-de-sac, one way out turn back. Either way, my life is stunted by this one-way dead end track.”

Mom: Ooh yes, yes! So that is the best (--) [0: 09:29].

Rod: You like it, Mrs G?

Deirdre: Listeners, listeners! Mom lights up as we play this part of the song. Mom, can you help me sing? What comes after that part?

Rod: OK, let’s start again.

Deirdre: OK. [chuckles]

Rod and Deirdre: [sing the same bit again]

Mom: [sings in different rhythm] That is (nicey icy man), he has a fork.

Deirdre: She remembered all of his other songs, she had it exactly. It was like she was present with Wim Faros in 1992.

Rod: Yeah well, sure music is amazing. For a patient like Mrs G singing and rhythm playing, these things don’t need a lot of mental processing but the rhythmic cues she hears get the brain’s motor going anyway. So tunes and rhythms and rhymes she knew a long time ago can remain intact in the brain, no matter what. An automatic spark.

Mom: Spark!

Deirdre: Listener, an automatic spark! Well that’s why she can recite some poems and speeches from her acting days, huh? OK so, so we have to accurately find, like the exact rhythm and tune to trigger her memory. We just need to get it right and then she’ll be with us.

Rod: Well, you know sometimes, no matter what music is like, it’s good. Helps her with her mood, can stimulate or sedate. It’s great for agitation management.

Deirdre: Well Mom knew that music though. She was there at the clubhouse. Plus that cassette was like all I played for a year. Let’s try it again, I think we could…

Rod and Deirdre: [play and sing]

Mom: [sings in a different rhythm]

[thumping on the roof]

Mom: The damn birds are after us, from inside the house. There, squawwwk!

Cody: Hi, what’s up?

Deirdre: Oh Cody, how did you..?

Cody: Well I rang the doorbell but nobody came and then I-I tried the door and the door was open so I just came in. I was supposed to go Tommy (Niehart’s) house after school, but I told Tommy that we should come here and, and Tommy said that he would never come here after what you did to his property, and I said that and he he said that I should be careful too, and that I I should watch out in case you got mad and I told him to shut up. I said actually I wanna play here instead of with him, so that’s why I came here and I texted my Mom that I am coming here and um that that you will watch me, and she said fine and thanks because she has to work for a few more hours and she always says that, I’m not stimulated enough and I told her that, I told her that you guys are really super s-stimulating and I wanna help find Wim Faros and I don’t care what you did to Tommy (Niehart).

Deirdre: Oh. Well I appreciate that Cody, um… You know, I’m glad you came over. We’re working on the songs.

Cody: [gasps] Mom: What did you do?

Rod: Yeah Deirdre, what did you do to Tommy (Niehart)?

Deirdre: Oh I uh, it’s nothing, I-I broke his iPhone.

Cody: She threw it out the window she was, she was our substitute teacher and Tommy was playing with his iPhone during class and she tossed it out the window, we heard it go cra-a-ack!

Deirdre: Yeah but it’s, it’s all fine. I mean it’s all been taken care of. Um Cody, you know it’s good that you’re here, it’s good that you’re here we’ll we’ll need someone to document our work today.

Cody: I could do that, yeah!

Deirdre: Um yes, and what lyrics and chords go together for each song. What worked and what didn’t.

Cody: OK.

Deirdre: Ladies and gentlemen, another special guest, a surprise special guest on today’s show: Cody Elwood!

Cody: …-Nowakowsky.

Deirdre: Research assistant. He will take notes.

Cody: Uh, on my iPhone?

Deirdre: No. We’re noting all of our findings on the blackboard, with the colored chalk. Here you go.

Cody: I never used chalk.

Rod: Well that’s sad.

Mom: You love chocolate pancakes.

Deirdre: That’s right Mom. Listeners, we will come back to track number 7, “Cul-de-Sac”, but for now, let’s move on to a different song to see if Mom has a more specific response. She’s kind of like a Ouija board.

Cody: I wanna look! Ahem. Oh listeners, I’m researching. I like this one with the exclamation points. It says “Help! I’ve fallen and I can’t get uuuuup!”

Mom: (-) [0:14:30] the (clapper).

Rod: Classic. [chuckles]

Deirdre: Yes Mom that’s right [chuckles], that was the commercial. But then there was Wim Faros’ song, which was a piercing critique of capitalism.

Cody: What’s capitalism?

Rod: Uh, take your iPhone for example.

Deirdre: Uh we’ll explain later Cody, OK?

Cody: [whispers] OK.

Rod: Here are the chords that you’ve written next to it. Is this (-) [0: 14:54]?

Deirdre: Let’s hear.

Rod: [plays fast country style music]

Deirdre: Um no, no no no. That sounds so folksy, it’s way edgier, it’s more intense. Um, I wonder could you maybe try it on the keyboard?

Rod: Sure.

Deirdre: I mean it was a controversial song, you see. Um, it was really powerful. It was a stunning choice to play at Tricia’s 8th grade graduation party, really. It sent a message. I can almost feel the social tension of that moment. So it was more dissonant, it was more like [hums] rah nah, bah nah, raah, na na any, rawr…

Rod: [plays the chords differently]

Deirdre: Yeah. Are those the same chords? That sounds so different, good! Yes, it was like [hums], yeah. Like “Help! I can’t get up, I’ve fallen!” and then like “frozen dinners, Grim Reaper… beepers” and help. “Help!”

Mom: (--) [0:16:03]..

Deirdre: “Help I can’t get up! I’ve fallen!”

Mom: (I fall)…

Deirdre: “Grim Reaper, beepers… peepers”.

Mom: [sings indistinctly]

Deirdre: Help! I can’t get up, I’ve fallen, help! Call the Reaper with your beeper.

Mom, Cody, Rod: [singing backing vocals]

Deirdre: (Creepy) he-e-elp, (and then it’s like) frozen dinners..

Mom, Cody: The clapper! Clap on, clap on!

Rod: Clap on, clap on! (--)!

Cody: Clap on…

Deirdre: Reaper, beepers…

Cody: Capitalism!

Mom, Rod, Cody: Clap on, clap on..

Mom: Clap on, the clapper!

Deirdre: Yes Mom, that was the commercial, that’s the commercial guys. Mom, what about Wim Faros’ protest song? Do you remember? You used to like thump your mop on the floor when I’d sing it?

Cody: Thump!

Deirdre: Remember, in rhythm, it was like… Help, boom boom! Frozen dinners…

Rod: Yeah!

Deirdre: Grim Reaper, beepers, beepers…

Cody: Oh, oops! Sorry!

Mom: (--) [0:17:09 overlapping speech]

Deirdre: Oh, oh no, save the coaster!

Cody: Sorry! Sorry! [whispers] Sorry.

Deirdre: Is the coaster OK?

Cody: I’m sorry.

Deirdre: It’s OK, it’s OK look it’s fine.

Rod: I got it, I got it. Hmm. I’ll grab some paper towels.

Deirdre: OK.

Mom: Oh no, (-)!

Deirdre: It’s OK Mom, it’s just a little coffee. Easy.

Mom: What a mess!

Cody: I can clean it, it was an accident.

Deirdre: The coaster’s fine, Cody, so it’s OK. Uh, right Mom? Just a litte spil, an accident.

Mom: I’m on it!

Deirdre: Hold on Mom, we’ll clean it up in a second, OK? Yeah don’t, don’t worry yourself. I OK, I think this is all too confusing though. Um Mom, look up look up here with me. Let’s pick another song to work on.

Rod: Yeah, here we go.

Mom: Windex!

Rod: I brought Pinesol.

Deirdre: Oh, we don’t need that, it’s just coffee.

Rod: I know but you know, she’s a pro. She likes to spray. Here Mrs. G, I’ll get the floor, you get the table, what do you say?

Mom: Aye aye, put a cap on it, my captain. [spraying noises]

Deirdre: Thank you everybody. OK, that’s very good. [spraying noises] OK, that’s very clean now Mom, thank you. You wanna keep wiping the table? That’s OK.

Mom: [hums]

Deirdre: OK, yeah but sit down here, get comfy while you wipe, there you go. OK Rod and Cody, let’s go back to the chalkboard. Rosemary Hills, I’d like to draw your attention to what was number 9 on the cassette tape, “Youth Grows Old”. Cody, see those lyrics in pink up there?

Cody: Yes.

Deirdre: “You-you-youth”?

Cody: Yes, here. “You”… ha, there’s a lot of You’s. “You you you you you you you-th grows old in Rosemary Hills. Green grass will grow and grow with chemicals”.

Deirdre: Good, that’s right. OK. Now Rod, look to those chords in pink there OK, could you play them for us?

Rod: [plays chord]

Deirdre: Fabulous. And I will add piano now, if you can just show me where to put my fingers.

Rod: (That’s right).

Deirdre: Is that right? OK that’s right, so.. [plays chords] And then (-) [0:19:02] again. Ok so it goes like this. [plays and sings] You-you-you-you-you-you-you-youth grows old in Rosemary Hills.

Rod: [joins in]

Cody: [joins in]

Deirdre: Oh yes, that sounds great! Yeah that’s how it went, it was like a cascade, repetitive, experimental. Moody. You-you-you-you-you-you-youth grows old in Rosemary Hills. That’s right Mom, that’s right!

Mom: You-you-you-you-you-you-youth grows old in Rosemary Hills.

Rod: Yes, see that sounds good.

Mom: You’re so aloooooone, so alone in Rosemary Hills.

Deirdre: Good Mom, but different lyrics, OK? So, now it goes like this: Green grass will grow and grow and grow and grow. [others join in] Green grass will grow and grow and grow and grow.

Mom: You-you-you-you-you-you-you-you, yeah. You’re se alooooone, [Cody joins in] so alone in Rosemary Hills.

Rod: Green grass will grow and grow and grow and grow…

Cody: Rosemary Hills..

Mom: You-you-you-you-you-you-you in Rosemary Hills. I’m so alooooone…

Rod: Green will grow and grow and grow and grow…

Mom: So alone in Rosemary Hills.

Rod: Green will grow and grow and grow and grow.

Mom: The party is over! We have to go home. Don’t cry Deirdre! All clean.

Deirdre: That was so pretty, Mom.

Rod: Beautiful, Mrs. Gardner.

Deirdre: It was sad. Cody: I like your voice.

Deirdre: That isn’t the way the song went, Mom. But is that the way you feel right now?

Mom: I feel pretty and sad.

Deirdre: You’re so pretty, Mom. I’m sorry you’re sad. I understand.

Rod: The music, it-it sometimes brings out the emotion from its earliest associations.

Cody: Was your Mom at my Mom’s party too?

Deirdre: Yeah she was there, but not as a guest. Mom was the cleaning lady at the clubhouse, she was working that night.

Cody: I don’t like cleaning.

Mom: Amen, honeybunny!

Deirdre: Mom. Tricia Elwood’s party. Wim Faros in concert. What was it like that night?

Mom: Fahrenheit…

Deirdre: Wim Faros.

Cody: Wim Faaros, ahh!

Mom: You like to go to the pie in the sky with, with Fahrenheit.

Deirdre: That’s a good way of putting actually. It was the first time I felt like that.

Mom: [sings gleefully] Loving that’s awful, it’s awful. You are awful. How awful, oh no!

Deirdre: I think she means unrequited admiration can be difficult.

Mom: Deirdre and Wim sitting in a tree, K-I-S-S-I-N-G! Deirdre and Wim sitting in a tree, K-I-S-S-I-N-G M-I-S-S-I-S-S-I-P-P-1.

Rod: It’s OK, Mrs. G.

Deirdre: Wait, she’s remembering the end of the party. I-I was alone in the conference room, listening to Wim Faros. And everybody else had gone outside, but Wim played on, and I was sitting in the back of the room with my cassette recorder. Kaylene Becker came in to get a sl bracelet that she left on the chair. She started yelling that, over the music. Deirdre and Wim sitting in a tree, K-I-S-S-I-N-G!

Mom and Cody: Deirdre and Wim sitting in a tree, K-I-S-S-I-N-G! [repeated several times]

Deirdre: Oh god, I was mortified! And then Wim stopped playing suddenly, like a spell was broken. Kaylene’s voice was the only one in the room. Wim Faros looked at me, and and the look on his face was, was so vulnerable like, like he had just emerged from a cocoon. He held my gaze for what seemed to be like an hour and then, and then he, he turned away. And walked to the table behind him and opened up a Crystal Pepsi. And I ran out of the room to find my Mom.

Mom: Pepsi-daisy.

Deirdre: You could hear all of that on the tape. I never erased that part. I could never erase any of it.

Mom: Kaylene Becker is a spoiled fucker duck!

Deirdre: Truer words were never spoken, listeners.

Cody: She said the F word!

Rod: She does sometimes. She’s allowed.

Cody: Cool!

Deirdre: Rod, don’t you think that [scoffs] this is sense memory? The Pinesol, the cleaning, the melody, that made her remember Kaylene Becker, and then I remembered Kaylene Becker, and she almost remembered the song. But she felt the emotion, it brought her back in some ways to that time. But if, if she was there, in that familiar place. Mom, we have to go back to the clubhouse! People of Rosemary Hills, I know how we can get all of the songs back. If we go to the location, if we do this, where it happened, we can recreate the environment of Tricia’s party! We’ll set the stage. Um, the place, the air, the smells, and then we’ll get the sounds. We’ll summon them, so that Mom and I can remember.

Rod: But the clubhouse, how can you get in, isn’t it private property?

Deirdre: Well I mean we could literally just walk in. Nobody’s paying any attention to Rosemary Hills golf course community, if you haven’t noticed. I assure you guys, nobody in a million years would notice us.

Cody: But it’s haunted.

Deirdre: Oh Cody, no! It’s just old and abandoned, and places like that can always seem scary, but it’s not scary. It’s just, well old and abandoned.

Cody: But when Ralphie ran away, I had to go over there and find him and I heard things.

Deirdre: I’m sure, I’m sure. The wind on those shattered windows is probably really loud. There’s nothing to be afraid of. It’s really, it’s just a big old fancy house, Cody. You’ll see.

Mom: Fancy birds!

Cody: But they’re gonna tear it down.

Deirdre: What do you mean?

Cody: They’re tearing it down, they’re gonna build a cemetery and then it’s gonna be even scarier.

Deirdre: Who’s they?

Cody: I dunno, my Mom said.

Rod: The local government, I guess?

Deirdre: They can’t tear it down, it’s a historical landmark!

Rod: Really?

Deirdre: Well, it should be.

Mom: Uh oh!

Rod: Where are you going, Mrs. G?

Mom: Uh oh, toast!

Rod: You hungry?

Mom: You are toast!

Rod: [chuckles] Wait for me, I’m coming. You know I like making toast. I’ll just, I’ll just go with her.

Deirdre: Ladies and gentlemen, we have a call to action. And I have a plan. Together, we have been getting closer and closer to fully restoring the music of Wim Faros. I mean, from the outset of our journey, we have been working so hard on remembering how to remember, haven’t we?

Cody: Yes.

Deirdre: Yes. Yes! And figuring out how to unpack the Attic…

Cody: Yes. Yes.

Deirdre: Yes. Wim Faros, through his time capsule, gave us a bridge from the past to the present.

Cody: Bridge!

Deirdre: He is telling us to walk that bridge, he is showing us how. Don’t you see? He is telling us, he is telling us to go to the clubhouse! I know that will work. I am certain that if we enter into the hallowed grounds where the concert was on June 21, 1992, into that convertible conference room where Wim Faros himself took the stage for the Elwood commencement. We will be able to complete the songs. I feel it.

Cody: I feel it too.

Deirdre: I feel it!

Cody: I feel it too, Deirdre!

Deirdre: OK! So on the next episode of “It Makes a Sound”, join us and these hills will come alive with the sound of music once more!

Cody: It’s aliiiiiive! Huh! Can I do the chime?

Deirdre: Yes you can!

Cody: [plays chime]

“It Makes a Sound” is created and written by Jacquelyn Landgraf. Co-directed by Jacquelyn Landgraf and Anya Saffir. Original music composed by Nate Weida, with lyrics by Nate Weida and Jacquelyn Landgraf. Sound designed and mixed by me, Vincent Cacchione. With Jacquelyn Landgraf as Deirdre Gardner, Annie Golden as Deirdre’s Mom, Nate Weida as Rod Reeder and Melissa Mahoney as Cody Elwood.

“It Makes a Sound” is a Night Vale presents production. For more information on this show, to buy merch and to learn about our other Night Vale podcasts, go to nightvalepresents.com. You can follow “It Makes a Sound” on Twitter, Facebook, Instagram, and Tumblr. And you can support the show by writing a review on iTunes. We’d really appreciate it.

Thank you for listening. Right now, a bottle of Crystal Pepsi is listed at 1,000 dollars on eBay, but slap bracelets are around 5 bucks. We’ll meet again in January. All of us at “It Makes a Sound” wish you a memorable end to 2017. And we hope you’ll remember to give a little toast to Wim Faros.

[brucearnold]

Pitch Class Set Jazz Standards

Pitch Class Set Jazz Standards

Pitch Class Set Jazz Standards

Pitch Class Set Jazz Standards is an intriguing idea that I'd like to discuss in this blog post.  There are many ways to apply pitch class sets to jazz and I'd like to start with looking at the Jazz standard "Stella By Starlight" and explore some possible uses. If we look at the melody to "Stella By Starlight" and analysis the interval content we find a preponderance of the pitch class set "013." (013's contain a 1/2 step and a minor 3rd)  This is not unique to just this jazz standard it happens in many jazz standards because many of the Tin Pan Alley composers where studying with Classical teachers and of course they all wanted to be Stravinsky :)  In any case it is not surprising that many jazz standards have a lot of internal structure.  Most great music does.

Using Pitch Class Set Jazz Standards Information To Play More Compositional

Using pitch class set jazz standards information To Play More Compositional when improvising both chords and melodies is an obvious way to make your playing more connected to the music. Since "Stella By Starlight" melody contains mostly 013 pitch class sets why not use 013 chords and melodies for the tune. Think of it like playing off the melody on steroids. This of course isn't something you can do overnight but if you start to study the use of 013 over various chord types over time you will get enough technique that you can tackle putting this information over an entire jazz standard.

How to Master Pitch Class Set Jazz Standards Information

There are many ways to master pitch class set jazz standards information and I've written quite of few books that show the relationships of how pitch class sets interface with the chords and scales found in jazz standards. Some are reference books and some are methods books directly applying pitch class sets to typical jazz standard chord progressions or actual standards. The important thing is to organize this so that you don't get overwhelmed because believe me it is easy to become overwhelmed when you see all the possibilities.

One Step at a Time

I usually don't start students interested in pitch class set jazz standards on the 013 pitch class set. This is mostly because the learning curve and the amount of time it takes to make this pitch class set sound good is a bit long. I commonly use 027 pitch class set as an introduction because you can start improvising with this within a few weeks. 027 works great on many jazz standards too but certainly not as many as 013 which in the 1st Real Book there are over forty jazz standards that have a preponderance of 013. The next most common pitch class set would be 025 which again weighs in at about 40 jazz standards in the Real Book 1 that mostly use this pitch class set.

Step One Pitch Class Set Jazz Standards

A common way I start students working on 013 is take a hexatonic scale and make that into to trichords. (non-tertial triads) The octatonic scale I call Symmetrical Diminished 1, b2, b3, 3, #4, 5, 6, b7 also contains a preponderance of 013 and is a widely used scale in jazz and heavy metal for that matter. So if we take a C Symmetrical Diminished and only use 1, b2, b3, #4, 5 and 6 we have two 013's. 1, b2, b3 and #4, 5, 6. If you play a chordal instrument like guitar or piano learn the chord voicings of 013. I've written a series of books to help you do this: Applying 013 Chord Voicings-Application of Pitch Class Set Theory to Traditional Harmony Applying Pitch Class Set Chord Voicings to Traditional Harmony Modal Pitch Class Set Chord Voicings Modal Chromatic Pitch Class Set Chord Voicings Some of these books above also cover other pitch class sets so see the examples and audio files to make your choices.

Technical Exercises for 013 Pitch Class Set

Play the two trichords ascending and descending in the following way: 1, b2, b3 b2, b3, (1 up an octave) b3, (1 and b2 up an octave) #4, 5, 6. #4, 5, 6. 5, 6, (#4 up an octave 6, (#4 and 5 up an octave) If you want a more detailed way of doing this. Atomic Scales shows you how to do this for 027 027 which you can use as a template for all pitch class sets. This is particularly good if you play guitar. I should also mention that if you want to find out all the information about the 013 013 pitch class sets I just mentioned I would highly recommend the Sonic Resource Guide.  Think of that book as a reference guide to all possible scales i.e. pitch class sets.  It also shows you what chords fit over every possible scale as well as hextaonic/trichord splits for all six and seven note scales.  It includes a primer on understanding pitch class sets.

Composing with Pitch Class Sets

Don't overlook the idea of composing with pitch class sets. I've written over 30 compositions using 013. Check out the Bruce Arnold Composition Compilation to see scores and recordings. You could also check out the two books below which give you detailed analysis of how I composed many of my compositions and organized my improvisations. MY MUSIC: Application of 12 Tone Techniques to Jazz Composition and Improvisation Tools for Modern Improvisation

Other Pitch Class Sets Books

I've also written some method books to help you see further uses of pitch class sets. Many of them deal specifically with 013 Trichord Sweep Pairs Guitar Instrumentalist Sweep Arpeggios Symmetrical Trichord Pairs 720 Sweep Arpeggio Patterns for Instrumentalists Guitar Arpeggio Lexicon Ultimate Arpeggio 3 Note Combinations Ultimate 3 Note Chord Lexicon 013 Hexatonic Études: Pitch Class Set Exercises for Dominant 7th Key Center Many ChopBusters Courses Set Theory for Improvisation Ensemble Method: Hexatonic 027 016 Set Theory for Improvisation Ensemble Method: Hexatonic 027 027 Intervallic Series Tertial Octatonics Time Transformation Improvising over Classical Music Masterpieces

Conclusion

You can see that the idea of pitch class set jazz standards opens up a big subject. I recommend you contact me for recommendations on how to get started based on the amount of time you have available. Please send me an email and I'll give you some advice.

Bruce Arnold Music Education Genealogy Chart

You might enjoy checking out the “Music Education Genealogy Chart” located on my artist’s site. You will clearly see the historic progression of pedagogy that is the basis for Muse Eek Publishing Products. Great musicians throughout history have been studying the ideas presented by Muse-eek.com which derives its content from a a lineage that stretches back to Scarlatti!

Read the full article

[pogueman]

Yamaha's new piano teaches you to play along with your favorite bands

Yamaha’s Clavinova CSP-150 is a wildly ambitious, crazy fun digital piano. It’s a handsome-looking upright with a realistic keyboard feel, great sound, and many talents.

But its most eye-popping feature is new to humankind: It can analyze any song in an iPad’s iTunes library and automatically generate a written piano part or chord chart for it. At that point, that you can play along with the song, as though you’re sitting in with the band.

The iPad connects to the piano to display the sheet music for any song.

As a bonus, a column of tiny LED lights “falls down” toward each key, Guitar-Hero style, giving you advance warning of which keys to strike and when. That’s for people who aren’t great at reading sheet music.

The company’s goal was to make practicing more fun—and boy howdy, does this piano succeed at that.

On the other hand, there are flaws. And when it comes to the automatic piano-part sheet-music thing, serious flaws. That feature breaks down frustratingly if the song you’ve chosen has key changes, time-signature changes, a cappella sections (singing without instruments), percussive breaks, or any other musical event that’s even mildly unusual.

In other words, you can jam away with flawless sheet music as you accompany your MP3 files of “Hey Jude,” “Rocket Man,” and “Mr. Blue Sky.” But the sheet music produced by the piano is a dissonant, clashing mess with, for example, “Here Comes the Sun” or “Take Me To the Church.”

“Bohemian Rhapsody?” Don’t even think about it.

What you get without an iPad

If you don’t connect an iPad, the Clavinova CSP is an excellent but limited home piano. It comes with a bench, music stand, keyboard lid, three pedals, and even a little hook for headphones.

The Yamaha Clavinova CSP looks and sounds like a nice upright piano.

Along its edge and back, you’ll find two headphone jacks, a line/mic input (for a guitar or microphone, for example), an audio input for a music source like your phone (to use the piano as a speaker), an audio output jack (for external speakers), MIDI connectors (for controlling the keyboard from a computer), and an Aux Pedal jack (for connecting foot controllers).

This input box is under the left edge of the keyboard.

Yamaha’s list price for this thing is as high as $6,000, but piano list prices are a total fiction. Actual piano stores—which won’t have the piano in stock for a few more weeks—are offering it at around $3,500. Models with nicer cabinet wood and bigger speakers jack up the street price as high as $5,300.

Here’s what you can do without the iPad:

Play. Without the iPad, you have a choice of 10 keyboard sounds: pianos, harpsichord, organ, vibraphone.

Have a backup band. A truly great-sounding backup band—in your choice of 10 styles (country, blues, jazz, etc.)—analyzes the notes you’re playing and auto-generates an accompaniment. For example, if your fingers are on the notes for a C minor 7 chord, the virtual bass and guitar players play a C minor 7. It sounds fantastic.

Play along. Without the iPad, you can get a whiff of the cool self-teaching features, thanks to the 10 built-in songs: “Let It Go” (from “Frozen”), “Twinkle, Twinkle, Little Star,” “Für Elise,” and so on. Those Guitar Hero lights come on to assist.

Metronome. You can speed the clicking up or slow it down, or set it by tapping the tempo you want it to mimic.

Reverb. You can dial up three reverb (echo) effects, and adjust their intensity.

Transpose and tune. As with any digital piano, you can shift the entire keyboard into a different key. Or tune this piano as you might a violin, to fit in with other instruments.

Microphone. There’s a mike input, for your singalong pleasure.

Headphones. The piano sounds amazing with headphones on—much more realistic and gorgeous than through its built-in speakers, although without as much volume. Note: These are quarter-inch phono plugs. So if your headphones or earbuds have a standard miniplug, you’ll have to buy an adapter.

Unfortunately, the piano has only a single button, called Function. Controlling all of the features listed above requires holding down Function while you press one of the piano’s 88 unlabeled keys. So if you do intend to use these features, expect to run back and forth a lot to the manual.

Even so, this is all pretty cool stuff. But paying $3,500 for this piano and then not connecting an iPad is like buying a Maserati to use only for its air conditioning.

What you get with an iPad

The real magic begins when you connect an iPad, using its normal charging cable, to the piano’s USB jack. (In the spring of 2018, Yahama says, you’ll be able to connect an Android tablet.)

Once you download the Yamaha Smart Pianist app, all kinds of new possibilities emerge.

Split the keyboard so that that, for example, the upper keys play piano, and the lower ones play bass. Or layer the keyboard, so that the upper keys play piano and strings.

Record yourself. There’s a 16-track recorder, 700 instrument sounds, and 29 drum kits. You can save the resulting masterpiece as an audio file to flash drive or your iPad.

Piano exercises. The built-in songbook includes 300 play-along exercises from classical piano-lesson books like Czerny and Hanon.

Nothing like some classical exercises for dexterity!

Auto backup singers. In addition to that slick backup-band feature (the app unlocks many more styles, tempos, and features), the Clavinova can also multiply your voice, adding three “backup singers.” They all sound like you, but they sing the other notes of the chord you’re playing.

Change the key or tempo of anything. This kind of blew me away: You can slow down any song—even pop songs in your iPad library—for ease of analysis and learning. This may be the best learning tool ever in the history of humanity. Learn it slow, gradually pick up speed. Or change its key, for ease in singing along.

Auto sheet music

OK, now the big-ticket item: Instant sheet music for anything in your song library.

Once you’ve called up the written piano part, you can dive into the software and adjust the part’s difficulty. A handy graphic shows you the kind of rhythm patterns you can expect at each level:

For each song, you can specify how complex the piano part should be.

As you now know, this feature works very well on simple songs, and pretty badly when there’s musical complexity.

But let’s give this thing some credit: Having software analyze a recording of a band—multiple instruments mixed together—to deduce what notes are being played is an unbelievably difficult task. It’s like asking a computer to write out all the different conversations it’s hearing at a cocktail party.

In other words, you can forgive Yamaha’s software for botching the transcription of complex songs. Weirdly, though, it also frequently mis-hears chords in much simpler, straight-ahead songs—directing you to play a D minor chord in “Piano Man,” for example, when it’s quite obviously a D major chord. The result: Clash city.

There are also occasional bizzarities in note spelling. I mean, G-flat here? Really? We non-computer beings would call that an F-sharp:

The auto-generated piano parts contain some weird glitches.

OK, expectations lowered? Good. Because even with its glitches, when you add to this feature the ability to slow down the music, to simplify the piano part, to watch those LED Guitar-Hero lights, and to wear headphones, you’ve got yourself an insane piano-learning environment. You are playing keyboards for any band you choose.

It’s incredibly enjoyable—and that, of course, is Yamaha’s ulterior motive; if you’re having fun, you’ll play more. If you play more, you get better. Period.

The end of piano teachers?

When I unboxed the Clavinova on Facebook Live a couple of weeks ago, one of our viewers commented, “Good-bye, piano teachers!”

And it’s true that you can become a better amateur piano player by spending time with this thing, just by playing song after song and following the little blinking lights. You’ll wind up noodling more convincingly on pianos you find at friends’ houses or bars, for example.

Without a teacher, though, you won’t become a good piano player. The digital piano makes no attempt to teach you fingering, technique, pedaling, or expression. It has no ability to monitor your progress and assign you sequentially more challenging pieces. It can’t explain to you about how sheet music works.

And, most concerning of all, it can’t critique itself. It can’t say, “Oh wow, your iPad is showing the totally wrong chord here! Every time you come to this part, make that an F-sharp.” You may very well wind up practicing songs wrong.

Yamaha’s stance is that this piano really shines as a companion to a human teacher. That’d be the ultimate. On that, I have to agree.

The coda

Almost everyone who tries out the Clavinova CSP has a strong reaction.

Rank beginners get excited by those little LEDs, which demystify playing the piano if you don’t read music. Amateur players are absolutely blown away by this piano; they see immediately how delicious it can be to play along with bands they love, on tunes they know, without ever paying a dime for sheet music.

Especially when you crank the volume and fill the house. You feel like a superstar.

On the other hand, there may be a class of musician who’s disgusted by the whole thing. They may see the LEDs as a crutch, or bemoan the piano’s emphasis on pop music, or object that the computer-generated piano parts are simplistic sometimes to the point of nonsense. And these are all reasonable points.

But that’s like saying that we shouldn’t have calculators, because doing math by hand built character. Or we shouldn’t send texts, because we’re losing the art of handwritten letters. I mean, that’s true— but the history of technology is about making our lives easier, and progress never goes backwards.

Love it or hate it, the Yamaha Clavinova CSP fits right in. It uses some astounding technology to make learning the piano easier and much, much more fun.

More from David Pogue:

What I learned from my first total solar eclipse 

Samsung’s Bixby voice assistant is ambitious, powerful, and half-baked

Is through-the-air charging a hoax?

Electrify your existing bike in 2 minutes with these ingenious wheels

Marty Cooper, inventor of the cellphone: The next step is implantables 

The David Pogue Review: Windows 10 Creators Update

Now I get it: Bitcoin

David Pogue’s search for the world’s best air-travel app

The little-known iPhone feature that lets blind people see with their fingers

David Pogue, tech columnist for Yahoo Finance, welcomes nontoxic comments in the comments section below. On the web, he’s davidpogue.com. On Twitter, he’s @pogue. On email, he’s poguester@yahoo.com. You can read all his articles here, or you can sign up to get his columns by email. 

[kandaceeason4-blog]

How You Can Begin Training Private Songs Trainings Coming From House.

Properly, to produce a 3D flash photograph picture on Mac, first off you need a 3D picture Picture Producer - iFunia 3DGallery for Mac Through this effective Mac computer flash gallery software application, you can easily create3D flash picture with pictures, popular music and also excellent 3D gallery layouts, then publish to your very own web site and social sites like MySpace, Facebook, Blog owner, etc I have a ton of cousins down there certainly and our team'll generally go out to eat rather than go to listen to music. The use not simply permits individuals to discover streaming broadcast stations, but additionally seek their preferred tracks click through the following internet site keying in the song name in the Music Explore container. Pandora has to do with the only gamer in the streaming songs area keeping that trouble. Picking tunes like these aid one to master quick and easy piano songs, with no difficulty. Step 1 - Place the Compact Disc, which includes the music to become ripped, right into the CDROM/DVD disk. Nevertheless, still, a lot of the moms and dads today deal with an obstacle to encourage their youngsters to play popular music and frequently participate in training class. This concurrent action coming from both right and left brain is going to boost as well as maximize your activities that you are actually doing (while listening to the popular music) like discovering. Their fourth and also third albums, Supertones Strike Back and Chase The Sunlight, amassed the best industrial results as they made their means to the 2nd put on the present-day Christian music charts. Prior to you can easily begin posting your popular music to your unit, validate that you possess the ideal system software for the player.

The most crucial means your can easily help your kid is actually to sit in on their music training. Yes, material producers on Youtube will certainly be generating cash off from a video recording with your popular music in it ... which I personally believe is excellent. Then, hit Begin melt" to start the procedure of burning your popular music files to the CD. Microsoft window Media Player will certainly deliver a progress report as the get rid of is actually functioning. Since you've learned effective ways to delete Coby IPOD songs, you might desire to download brand new tracks over that. This is quite simple. An individual can learn to play piano notes by the fist-full through learning piano chording music styles. You will certainly see off the steps below that Apple makes that is quick and easy to delete songs coming from an iPod Nano. Our team are actually having a Beatles popular music gathering at a buddies area in December as well as Think of will certainly be among the magic tracks we'll all vocalize along to. Cheers companion. Help make no mistake, had quick web connections existed in 2001, the movie sector additionally would possess encountered a debilitating decline. The YouTube online video features arenas off the film franchise business to the music from Upcoming Property through P Diddy. Therefore does popular music that is actually timeless, considering that it has a tendency to have one's attention far from those veal chops you devoted the whole damn mid-day filling.

Detector Music was actually had social by Ceo Edgar Bronfman Jr in 2005 with support off exclusive equity companies, as well as its own portions trade at lower than $5 today, a far cry from its own $17 float rate. There's a whole lot from quick and easy songs on the market that you may play with a lowest from initiative. The other obvious attribute is actually the TrackID facility which aids in quick and easy awareness of tracks through linking it to a database to earn certain that you recognize just what you are actually hearing. It is actually genuinely an uniqueness. Lately, I have found out a few incredibly simple methods to promptly find out exactly what one of the most preferred bands, cds, as well as tunes are actually.

[nextcinemastudios]

As a bassist, bandleader, teacher, and music copyist, I’ve worked with hundreds of singers throughout the years. Though working musicians know hundreds of tunes, singers need to have good charts in order to have their music played the way they want. I define a “good chart” as a piece of written music that effectively tells the musicians what they should play.

  Written music comes in seven basic forms: chord charts, sheet music, songbooks, lead sheets, fake books, master rhythm charts and fully notated parts.

As a musician has a responsibility to play the chart before him correctly, the supplier of the chart has the responsibility of providing the right kind of chart. Knowing what type of chart to use for what kind of tune or gig is very important.

This article explains what the different types of charts are, and under what circumstances to use them. I hope you find it useful.

TYPES OF EDM MUSIC

Charts can be simple or elaborate according to the style of music and type of gig. Cover tunes are traditionally learned from recordings; classical and choral music can be found in sheet music stores as well as in various music catalogs; numerous tunes will be found in music books of all kinds; and many public libraries carry recordings and written music for your use.

The word “chart” refers to any piece of written music or any arrangement (music that has been adapted in a unique manner) of a tune. Decades ago it was strictly a “cool” slang term for a tune, but any piece of music could be called a chart these days, though a classical buff might not refer to a Mozart work as a “chart.”

Knowing what type of chart to use for what kind of tune is very important. When you’re playing a gig and someone hands you a chart — it is what it is and you either read it well or not. But, if you buy charts, have them made for you or provide them yourself, you need to know which kinds to use for which situations. Years back, while doing singer showcases, singers brought in all kinds of charts: good ones, bad ones, incorrect ones, inappropriate ones, and it was a real pain. The singers who provided the right kinds of charts got their music played the way they wanted. The singers who had the wrong kinds of charts didn’t, and weren’t very happy about it. Unless a musician already knows the specific parts, he can only play according to what’s on the chart before him. Though a good musician can improvise a good part in any style, if a specific musical line needs to be played, it needs to be written out.

As a musician has a responsibility to correctly play the chart before him, the supplier of the chart has the responsibility of providing an appropriate one.

Without getting into too many music notation specifics, here are the different kinds of charts and when they are used:

1. HOUSE

A chord chart contains the chords, meter (how the song is counted, e.g., in 4 or in 3 (like a waltz), and the form of the song (the exact order of the sections). This type of chart is primarily used when: 1. the specific musical parts are improvised or already known, but the form and chords need to be referred to, 2. to provide chords to improvise over, or 3. when a last-minute chart needs to be written, and there isn’t time for anything more elaborate.

A chord chart does not contain the melody or any specific instrumental parts to be played. To play from simple chord charts a musician basically needs to have steady time, know the chords, and improvise his part in whatever style the tune is in.

2. TECH HOUSE

Sheet music is a store-bought version of a song printed by a publisher, which contains the instrumental part, chords, lyrics, melody and form. An instrumental piece will, of course, have just the music. Sheet music is written for both piano and guitar. Guitar sheet music is in standard notation (often classical), as well as in TAB. A good piece of sheet music will always say whether it’s for piano or guitar. Most sheet music is not meant to be completely representative of the actual recording, and the actual arrangement that you’ve heard on a recording is seldom present.

Many people have experienced the frustration of getting the sheet music to a song they like, playing it, and discovering that the chords are different from the recording, and sometimes the form is too. Unfortunately that’s the way it is a lot, and it could be for a number of different reasons. To get the exact arrangement and chords, you need to do a “takedown” of the song: learn it by ear. A takedown is when you listen to a piece of music and write it down. Takedowns can range from simple chord charts to elaborate orchestral parts or anything in between. In order to do good takedowns, you need to have good ears, understand and be fluid with music notation to the complexity of the type of music you’re working with, and preferably understand music (the more the better). Having “good ears” consists of recognizing and understanding the music, whether heard on the radio, played by another musician, or heard in your head.

3. DEEP HOUSE

Songbooks are compilations of many tunes and often contain the same information that sheet music does, along with the chords and arrangement being different from the recording most of the time. Sheet music commonly has full introductions and endings, whereas songbook tunes are generally shortened to create space in the book for more tunes. Sheet music is generally written to be played on a keyboard, but songbooks come in different styles and for different instruments. They are compiled by artist, style, decade, and in various collections including movie themes, Broadway hits, etc.

Songbooks are a good reference source when other, more exact charts are unavailable. For example: I needed two movie themes for a gig once (client request). Instead of spending $8 for two tunes of sheet music, I bought a book of movie themes for $16 that contained over a hundred tunes. Sheet music and songbooks are pretty unusable at gigs because of cumbersome page turns and bulkiness; but in an emergency you use them and do what you can. If having to use sheet music or songbooks for live performance, either: 1. recopy the tune onto 1-3 pages or 2. photocopy it and tape the pages together (although, strictly speaking, this may be considered copyright infringement). Make sure to always provide a copy for each musician.

To play from songbooks and sheet music, a musician needs to be able to read the music notation, or at least improvise a part from the chord symbols, i.e., a guitar strum, bass groove, piano groove, etc., or better yet, both. A vocalist can sing the words if they know the melody, or be able to read the notated melody if they don’t know it.

4. TECHNO

Lead sheets contain the chords, lyrics and melody line of the song and are mainly used by singers, accompanists and arrangers, though they appear on the bandstand now and again. Songwriters use lead sheets to copyright their songs, and very often sheet music includes a lead sheet of the tune as a condensed version to use. Instead of having three to six pages of sheet music to turn, a lead sheet is usually one or two pages long. Lead sheets do not contain any music notation except the melody and chords, so a musician needs to know how to improvise when reading from one. A lead sheet is generally written out by a music copyist, who is someone who specializes in preparing written music. Playing from lead sheets minimally requires playing an accompaniment from the chords and understanding the form directions and symbols (the markings telling you to go to the verse or the chorus or the end, etc.) and maximally having excellent accompaniment skills and reading notation fluidly.

5. ELECTRO

A fake book is a large book of tunes that contain only the melody line, lyrics and chords. There’s no piano part, guitar part or bass part. That’s why they call it a fake book. You have to already know your parts, or improvise them in the style of the tune. Some people call that “faking it.” Faking it means to be musically adept enough to be able to follow along by ear and figure it out as you go: that’s one of the reasons for ear training. When a person’s ears “get trained”, they learn to recognize and understand the relationship of pitches and musical elements. With this understanding you can “hear” your way through tunes, even if you haven’t heard them before, you fake it. However, when you don’t hear so well, you’re really faking it!

Before there was an abundance of legal fake books on the market, there was an abundance of illegal fake books on the streets. (As of this writing, I’ve only seen a few at gigs.) Since a working musician needs to have access to a large number of tunes at gigs, musicians compiled books of hundreds of useful tunes containing only melody lines and chords. A working player doesn’t need all the notes written out, because he can improvise, so large books were made with choice tunes. Some fake books are hand copied, either by a pro copyist or casually done with pen or pencil, while others consist of cut up sheet music where all the piano parts are removed, leaving the melody and chords, all for the purpose of condensing space.

Rather than take stacks of songbooks to gigs, you pop a fake book of hundreds of choice tunes into your gig bag and off you go. A tune taking up five or six pages in songbook/sheet music form can take up a page or less when rewritten by hand or cut up, leaving only the chords and melody. Fake books are often used and I’ve seldom been at a casual where someone hasn’t had at least one.

The reason the illegal books are illegal is copyright laws. With the homemade books, nothing goes through the publishing houses that own the rights to the tunes, so neither the publishers nor the composers get paid for their use. The Catch-22 over the years has been the fact that there weren’t any good legal fake books that pro musicians could use at a gig. In a songbook of 200 tunes, maybe ten were usable. So, the players made their own, and gigging musicians lived happily ever after. But since making these books is illegal, some decades ago a few nationwide distributors were arrested and fined for copyright infringement. But you still see the illegal books on the bandstands, nonetheless.

Over the years many legal fake books have been published and are very good. There are music books for: pop, jazz, rock, country, specific artists and movie themes, and there are special wedding books with all the key music that brides like. Big sheet music stores should have them all. And recently, some of the most popular illegal fake books have been made legal. (Hooray!) The 5th Edition Real Book is an example. Filled largely with jazz tunes, the book is in the original format, but published legally as the 6th Edition Real Book.

Legal fake books are plentiful at sheet music stores, and illegal books… well, you’re on your own. Trade magazines and music union papers often advertise a wide variety of music books as well as joke books, ethnic music and other related entertainment materials. Sometimes instrument stores carry fake books as well.

Fake books are good to have, but the more tunes a musician knows, the better.

6. DEEP TECHNO

Master rhythm charts are charts designed for the rhythm section (piano, bass, guitar and drums). It is one chart that contains the general idea for everybody to play from: a sketch of the tune, a master copy of it all for each player. These charts are like elaborate chord charts with just enough specifics on them to make the music either feel and sound more like the original recording, or to provide just enough specifics to make it interesting and recognizable, leaving the rest to improvising.

Unless a tune is composed or arranged in this style to begin with, which many are, these charts are written by someone doing a takedown from a recording, or created from lead sheets or songbooks. Whereas lead sheets are primarily for the singer, master rhythm charts are primarily for the musicians. When a singer provides charts to the musicians in the band, these are the usual ones to use.

A master rhythm chart contains:

• All the chords

• Key rhythms (the main rhythms)

• Key melodic parts for the instruments

• Key lyrics for reference if desired

• Key background vocals if present

• Dynamics-how loud, how soft, etc.

• Any form, clarifying instructions and symbols needed to ensure a good performance of the tune.

All styles of popular music use master rhythm charts, and it’s common to have one along with a lead sheet for each tune when a singer is involved. Master rhythm chart reading, and writing, entails improvising fluidly in the style of the tune, and requires fluid notation reading abilities.

7. CHILL OUT

When the music needs to be extremely specific it will be fully notated. Everything that needs to be played is written on the page. What to play, when to play it and how to play it: the notes, rhythms, dynamics, and any and all notational expressions, such as tempos (how fast or slow), who cues what, etc. Most professional recording sessions and shows require fluid note reading and provide individual parts for each instrument.

LYRIC SHEETS WITH CHORDS

Though they are not written music, lyric sheets with chords deserve a mention.

Singers who play an instrument often use lyric sheets with chord symbols written above the words. For a singer/musician these are very useful, and are often used. I’ve used them myself.

Musicians reading these charts, however, can do well if they are familiar with the song, but this leaves a very large margin for error. Very often the chords are over the wrong words, or the chords are wrong or incomplete: very dicey business. Musicians like specifics.

My students use these all the time, and there are a number of Internet sites with thousands of lyric sheets you can download. For certain situations they are very handy!

The 7 Different Types of EDM Music As a bassist, bandleader, teacher, and music copyist, I've worked with hundreds of singers throughout the years.

[designmeblogss]

The Seven Different Types of Written Music

As a bassist, bandleader, teacher, and music copyist, I've worked with hundreds of singers throughout the years. Though working musicians know hundreds of tunes, singers need to have good charts in order to have their music played the way they want music promotion. I define a "good chart" as a piece of written music that effectively tells the musicians what they should play.

Written music comes in seven basic forms: chord charts, sheet music, songbooks, lead sheets, fake books, master rhythm charts and fully notated parts.

As a musician has a responsibility to play the chart before him correctly, the supplier of the chart has the responsibility of providing the right kind of chart. Knowing what type of chart to use for what kind of tune or gig is very important.

This article explains what the different types of charts are, and under what circumstances to use them. I hope you find it useful.

TYPES OF CHARTS

Charts can be simple or elaborate according to the style of music and type of gig. Cover tunes are traditionally learned from recordings; classical and choral music can be found in sheet music stores as well as in various music catalogs; numerous tunes will be found in music books of all kinds; and many public libraries carry recordings and written music for your use.

The word "chart" refers to any piece of written music or any arrangement (music that has been adapted in a unique manner) of a tune. Decades ago it was strictly a "cool" slang term for a tune, but any piece of music could be called a chart these days, though a classical buff might not refer to a Mozart work as a "chart."

Knowing what type of chart to use for what kind of tune is very important. When you're playing a gig and someone hands you a chart -- it is what it is and you either read it well or not. But, if you buy charts, have them made for you or provide them yourself, you need to know which kinds to use for which situations. Years back, while doing singer showcases, singers brought in all kinds of charts: good ones, bad ones, incorrect ones, inappropriate ones, and it was a real pain. The singers who provided the right kinds of charts got their music played the way they wanted. The singers who had the wrong kinds of charts didn't, and weren't very happy about it. Unless a musician already knows the specific parts, he can only play according to what's on the chart before him. Though a good musician can improvise a good part in any style, if a specific musical line needs to be played, it needs to be written out.

As a musician has a responsibility to correctly play the chart before him, the supplier of the chart has the responsibility of providing an appropriate one.

Without getting into too many music notation specifics, here are the different kinds of charts and when they are used:

1. CHORD CHARTS

A chord chart contains the chords, meter (how the song is counted, e.g., in 4 or in 3 (like a waltz), and the form of the song (the exact order of the sections). This type of chart is primarily used when: 1. the specific musical parts are improvised or already known, but the form and chords need to be referred to, 2. to provide chords to improvise over, or 3. when a last-minute chart needs to be written, and there isn't time for anything more elaborate.

A chord chart does not contain the melody or any specific instrumental parts to be played. To play from simple chord charts a musician basically needs to have steady time, know the chords, and improvise his part in whatever style the tune is in.

2. SHEET MUSIC

Sheet music is a store-bought version of a song printed by a publisher, which contains the instrumental part, chords, lyrics, melody and form. An instrumental piece will, of course, have just the music. Sheet music is written for both piano and guitar. Guitar sheet music is in standard notation (often classical), as well as in TAB. A good piece of sheet music will always say whether it's for piano or guitar. Most sheet music is not meant to be completely representative of the actual recording, and the actual arrangement that you've heard on a recording is seldom present.

Many people have experienced the frustration of getting the sheet music to a song they like, playing it, and discovering that the chords are different from the recording, and sometimes the form is too. Unfortunately that's the way it is a lot, and it could be for a number of different reasons. To get the exact arrangement and chords, you need to do a "takedown" of the song: learn it by ear. A takedown is when you listen to a piece of music and write it down. Takedowns can range from simple chord charts to elaborate orchestral parts or anything in between. In order to do good takedowns, you need to have good ears, understand and be fluid with music notation to the complexity of the type of music you're working with, and preferably understand music (the more the better). Having "good ears" consists of recognizing and understanding the music, whether heard on the radio, played by another musician, or heard in your head.

3. SONGBOOKS

Songbooks are compilations of many tunes and often contain the same information that sheet music does, along with the chords and arrangement being different from the recording most of the time. Sheet music commonly has full introductions and endings, whereas songbook tunes are generally shortened to create space in the book for more tunes. Sheet music is generally written to be played on a keyboard, but songbooks come in different styles and for different instruments. They are compiled by artist, style, decade, and in various collections including movie themes, Broadway hits, etc.

Songbooks are a good reference source when other, more exact charts are unavailable. For example: I needed two movie themes for a gig once (client request). Instead of spending $8 for two tunes of sheet music, I bought a book of movie themes for $16 that contained over a hundred tunes. Sheet music and songbooks are pretty unusable at gigs because of cumbersome page turns and bulkiness; but in an emergency you use them and do what you can. If having to use sheet music or songbooks for live performance, either: 1. recopy the tune onto 1-3 pages or 2. photocopy it and tape the pages together (although, strictly speaking, this may be considered copyright infringement). Make sure to always provide a copy for each musician.

To play from songbooks and sheet music, a musician needs to be able to read the music notation, or at least improvise a part from the chord symbols, i.e., a guitar strum, bass groove, piano groove, etc., or better yet, both. A vocalist can sing the words if they know the melody, or be able to read the notated melody if they don't know it.

4. LEAD SHEETS

Lead sheets contain the chords, lyrics and melody line of the song and are mainly used by singers, accompanists and arrangers, though they appear on the bandstand now and again. Songwriters use lead sheets to copyright their songs, and very often sheet music includes a lead sheet of the tune as a condensed version to use. Instead of having three to six pages of sheet music to turn, a lead sheet is usually one or two pages long. Lead sheets do not contain any music notation except the melody and chords, so a musician needs to know how to improvise when reading from one music pr. A lead sheet is generally written out by a music copyist, who is someone who specializes in preparing written music. Playing from lead sheets minimally requires playing an accompaniment from the chords and understanding the form directions and symbols (the markings telling you to go to the verse or the chorus or the end, etc.) and maximally having excellent accompaniment skills and reading notation fluidly.

5. FAKE BOOKS

A fake book is a large book of tunes that contain only the melody line, lyrics and chords. There's no piano part, guitar part or bass part. That's why they call it a fake book. You have to already know your parts, or improvise them in the style of the tune. Some people call that "faking it." Faking it means to be musically adept enough to be able to follow along by ear and figure it out as you go: that's one of the reasons for ear training. When a person's ears "get trained", they learn to recognize and understand the relationship of pitches and musical elements. With this understanding you can "hear" your way through tunes, even if you haven't heard them before, you fake it. However, when you don't hear so well, you're really faking it!

Before there was an abundance of legal fake books on the market, there was an abundance of illegal fake books on the streets. (As of this writing, I've only seen a few at gigs.) Since a working musician needs to have access to a large number of tunes at gigs, musicians compiled books of hundreds of useful tunes containing only melody lines and chords. A working player doesn't need all the notes written out, because he can improvise, so large books were made with choice tunes. Some fake books are hand copied, either by a pro copyist or casually done with pen or pencil, while others consist of cut up sheet music where all the piano parts are removed, leaving the melody and chords, all for the purpose of condensing space.

Rather than take stacks of songbooks to gigs, you pop a fake book of hundreds of choice tunes into your gig bag and off you go. A tune taking up five or six pages in songbook/sheet music form can take up a page or less when rewritten by hand or cut up, leaving only the chords and melody. Fake books are often used and I've seldom been at a casual where someone hasn't had at least one.

The reason the illegal books are illegal is copyright laws. With the homemade books, nothing goes through the publishing houses that own the rights to the tunes, so neither the publishers nor the composers get paid for their use. The Catch-22 over the years has been the fact that there weren't any good legal fake books that pro musicians could use at a gig. In a songbook of 200 tunes, maybe ten were usable. So, the players made their own, and gigging musicians lived happily ever after. But since making these books is illegal, some decades ago a few nationwide distributors were arrested and fined for copyright infringement. But you still see the illegal books on the bandstands, nonetheless.

Over the years many legal fake books have been published and are very good. There are music books for: pop, jazz, rock, country, specific artists and movie themes, and there are special wedding books with all the key music that brides like. Big sheet music stores should have them all. And recently, some of the most popular illegal fake books have been made legal. (Hooray!) The 5th Edition Real Book is an example. Filled largely with jazz tunes, the book is in the original format, but published legally as the 6th Edition Real Book.

Legal fake books are plentiful at sheet music stores, and illegal books... well, you're on your own. Trade magazines and music union papers often advertise a wide variety of music books as well as joke books, ethnic music and other related entertainment materials. Sometimes instrument stores carry fake books as well.

Fake books are good to have, but the more tunes a musician knows, the better.

6. MASTER RHYTHM CHARTS

Master rhythm charts are charts designed for the rhythm section (piano, bass, guitar and drums). It is one chart that contains the general idea for everybody to play from: a sketch of the tune, a master copy of it all for each player. These charts are like elaborate chord charts with just enough specifics on them to make the music either feel and sound more like the original recording, or to provide just enough specifics to make it interesting and recognizable, leaving the rest to improvising.

Unless a tune is composed or arranged in this style to begin with, which many are, these charts are written by someone doing a takedown from a recording, or created from lead sheets or songbooks. Whereas lead sheets are primarily for the singer, master rhythm charts are primarily for the musicians. When a singer provides charts to the musicians in the band, these are the usual ones to use.

A master rhythm chart contains:

• All the chords

• Key rhythms (the main rhythms)

• Key melodic parts for the instruments

• Key lyrics for reference if desired

• Key background vocals if present

• Dynamics-how loud, how soft, etc.

• Any form, clarifying instructions and symbols needed to ensure a good performance of the tune.

All styles of popular music use master rhythm charts, and it's common to have one along with a lead sheet for each tune when a singer is involved. Master rhythm chart reading, and writing, entails improvising fluidly in the style of the tune, and requires fluid notation reading abilities.

7. NOTATED PARTS

When the music needs to be extremely specific it will be fully notated. Everything that needs to be played is written on the page. What to play, when to play it and how to play it: the notes, rhythms, dynamics, and any and all notational expressions, such as tempos (how fast or slow), who cues what, etc. Most professional recording sessions and shows require fluid note reading and provide individual parts for each instrument.

LYRIC SHEETS WITH CHORDS

Though they are not written music, lyric sheets with chords deserve a mention.

Singers who play an instrument often use lyric sheets with chord symbols written above the words. For a singer/musician these are very useful, and are often used. I've used them myself.

Musicians reading these charts, however, can do well if they are familiar with the song, but this leaves a very large margin for error. Very often the chords are over the wrong words, or the chords are wrong or incomplete: very dicey business. Musicians like specifics.

My students use these all the time, and there are a number of Internet sites with thousands of lyric sheets you can download. For certain situations they are very handy!

TECHNOLOGY!

With the presence of smartphones, tablets, and similar devices, it's common to see a musician with all of their music scanned into a device! Though this will never replace paper, it certainly is convenient! A solo pianist can leave the suitcase of music at home, a jazz player can load the 6th Edition Real Book on his or her smartphone, and a singer can get last-minute lyrics via the Internet while on the bandstand.

[sweetbitradio]

Sweet Bits #2

Cheap Trick’s The Latest: Sweet Bits #2

The Latest was the first Cheap Trick studio album I purchased. After buying “Live: At Budokan” in the early Spring of 2010 and listening to it non-stop, I quickly purchased Cheap Trick’s “latest” studio album, pun intended, that was being promoted all over Ultimateguitar.com at the time. When I got the album I was excited and anxious all at once. I remember listening to “Miss Tomorrow” in my computer lab class a lot and that single track convinced me that I needed to purchase the album. I’m not exactly sure I remember what songs stuck out to me initially, I just remember listening to the album non-stop until I purchased more Cheap Trick albums later in the year. In my mind for the longest time, this was the greatest Cheap Trick album.

So what’s the deal with the Latest? Is it a good album, or is it just an album for the sake of being an album? A lot of the material was reworked older material and even just a straight cover of a song from Robin Zander’s 1993 solo album. The Latest was the 16th studio album published by the band. Julian Raymond, who had worked with the band previously (and also would work with them in future), Howard Wiling alongside the band produced this album.  The album was recorded from 2008- 2009 and eventually released in June of 2009. The first single, and the only official one, from the album, was a cover of Slades’ “When the Lights Are Out” which had a promotional video produced which contained old concert footage.  Another video was released for the album for the track “Sick Man of Europe.” This music video was also just old concert footage spliced together with some “trippy” effects of a go-go girl dancing at the start of the video.

Commercially the album debuted at number 78 on the Billboard charts and quickly fell off the charts. It was reported that the album had sold 24,000 copies as of March 2016. The band appeared on the Conan O’ B. show in September of 2009 to promote the album. The performance of “Sick Man of Europe” from that show also featured some go-go dancer girls like at the start of the music video mentioned earlier. The Latest was unique because it was released on CD, Vinyl, and 8-tracks which have quickly become collector’s items. This is also the last album to feature Bun. E Carlos on drums. So, does this album send Bun. E off with justice? Let us find out.

1.      Sleep Forever: The start of the album does lack some energy, although I can’t imagine where else this song could be placed on the album. Maybe as a hidden track at the end of one of the ballads? This song sounds like it could fade into the other ballad on this album entitled “Miracle.” Maybe they could’ve made it as a little intro for “Miracle.”  Rick Nielsen in a 2009 interview told the reporter that they had to put it at the start of the album because no one would’ve listened to it anywhere else on the record.  This track was written about a friend of the band who passed away. Clocking in at just over a minute and a half, this song is one that I have found myself skipping over the years. Nothing is wrong with this song, and for what it is, it’s beautiful and haunting. Robin’s voice carries this song while a piano and keyboard have a haunting but lifting undertone in the background. I just personally wish a full song would’ve been made out of this song. It just deserves more love and attention. This track was performed live during this era of the band and would fade into “Heaven Tonight” when performed live.  2/5 for this track. Won’t wake you up, but might make you “Sleep Forever” with some Trazadone thrown in.

2.      When the Lights Are Out: With a sustained chord from “Sleep Forever” fading into this track it is quickly followed up by the familiar “Elo Kiddies” drum riff. Here is a cover of the Slade classic. It does seem like a proper Cheap Trick song but it also seems like the band is making a point to remind you of their past tracks at the same time if this makes any sense. The video possibly doesn’t help in this matter because it is all old Cheap Trick concert footage just spliced over this song.  Personally, I feel like this track should have opened the album but then again I have a hard time trying to find a place for “Sleep Forever.” Starting off the album with a haunting ballad and a cover with homages to the band’s past is a unique way to set the pace for this album. I do love the lyric “you can blow me over, blow me a beautiful blow” and this was featured as a favorite quote on my Facebook for many years.  This track was also performed live by the band during this era. It should also be noted that this backing track was allegedly recorded in 1976…. then again I’m probably wrong.  3/5 beautiful blows for this Slade cover.

3.      Miss Tomorrow: I remember hearing this song for the first time in my computer lab class in high school Junior year and instantly falling in love with it. This is the second cover of the album, with the original being a B-side from Robin’s 1993 solo album. This version, an unpopular opinion, is better than the one from Robin’s solo album in my opinion. With either version you can’t hide the fact that this track is very “Beatles-lite”, even referencing the band in the 2nd verse. This version just has a certain energy to it that I don’t hear or feel on the solo Robin version. It should also be noted that the Robin solo version seems to get wrongfully bundled in with the Red Ant demos from the band from time to time with online compilations.  The main synth riff on this song is something that instantly stuck out to me when hearing it along with the strings playing the main melody as an intro and pre-chorus. There’s one part after the second chorus where the song gets “trippy” and bongos are played over a delayed guitar making some scratch noises before Rick Nielsen makes his guitar whistle and ends this section of the track.  The song resumes back to normal and jumps into its catchy chorus. This song was played live during this era of the band but doesn’t seem to translate too well live.  This just seems to be one of those songs that only sound right in the studio. I would give this track 4/5 Beatles bleeding.

4.      Sick Man of Europe: This song was named referencing the band’s original name “Sick Man of Europe.”  In an interview when questioned about this Rick Nielsen responded “it was a bad idea for a band name years ago. And here we are X amount of years later. If it’s a bad idea, we’ll take two.” This song was performed live during this era of the band. The song starts off with a grungy guitar riff before the entire band kicks in and Robin starts screaming “This ain't the new, it's the old generation? Oh!” The song is high energy and frantic throughout the duration of the song. During the track, you will hear a line also referencing “the Nazz” which is a reference to the group “Sick Man of Europe” and their lead singer’s old band name (I think I’ve got that right.)  Personally, I enjoy it now; however, when I first started listening to this album, I always skipped it. In recent years, I’ve really come to enjoy this track and found that it is one of the most “Cheap Trick like” songs off this entire album. Is it my favorite song off the album? No; however, it is a song that any casual listener should spin at least once to understand what Cheap Trick is about. 3/5 Sick men over Europe.

5.      These Days: The second ballad of the album fairs a lot better than the first one. You’ll notice with a few of these songs on this album, they begin to start sounding similar. When you first hear this song, it’s enjoyable and nothing is seemingly wrong with it. As time goes on and you listen to the album more, you realize that this seems to be a “sibling song” to another song that comes later on this album. This track over the years hasn’t aged too well with me. Of course I’ll sing along when the song comes on, however, I don’t think I’ve willfully listened to this track since senior year of high school.  The band have played this track live during this era and it seemed to bring some much-needed life into the song. “These Days”, I would give this track 2/5.

6.      Miracle:  Even when I was in love with this album in high school, I never cared too much for this track. The song isn’t terrible, it’s just bland after following up “These Days.” The song starts off with Robin Zander doing a counter vocal melody to an acoustic guitar strumming some chords. Then quickly becomes something I could hear off of a later Beatles album. Once again this song was played live by the band during this period and does bring some fresh life into the track; however, there just isn’t anything that makes this track stick out on this album. I could be crazy, but I could hear this being on the Red Ant album and sounding killer. It does feel like they added this track, just for the sake of adding it onto an album. It’s a Miracle to get through this one 1/5.

7.      Everyday You Make Me Crazy: Originally a jingle for a Pepsi commercial that seemed to be recorded during the Red Ant sessions. This track does breathe a breath of fresh air into a part of the album that was getting bland. The biggest fault of the song? The song only being less than a minute and twenty seconds long. It gives you enough punch and makes you want more….maybe I need a Pepsi now? This song does sound like a classic Cheap Trick track and add another minute or two to this track and I think it could almost be the highlight of the album.  I would give this track 3/5 Diet Pepsi cans.

8.      California Girl: Cheap Trick again makes a little reference to themselves by writing a song entitled California Girl. Get it? Because they covered California Man on Heaven Tonight. Well, actually this is another song from the Cheap Trick vault that goes back to 1997 when Cheap Trick appeared on an All the King’s Men tribute album.  That song from 1997 was entitled “Bad Little Girl.” It’s essentially the same song. This track does bring some energy that’s needed on this album but I personally don’t think the song has enough “wow” factor. I’ve actually found this track to be more forgettable over the years. While listening to this album to prepare for the review, I forgot this song was on this record. I still knew the words, it just seemed to have gotten lost “Into the Void”, yes a KISS reference. I don’t dislike this track, but I don’t love it either. 2/5 bad little girls in the neighborhood that are up to no good.

9.      Everybody Knows: The greatest John Lennon song written between 2008-2009 that wasn’t actually written by John Lennon. This song is unique in that it focuses on a crew on a sinking ship and what’s going through their minds before the ship finally goes under. This song isn’t like the other ballads on this album and offers a unique sound and feel to it. It’s hard to explain exactly. Maybe it’s the John Lennon influence. The haunting piano riff followed by the little organ played over the piano during the intro just sets the tone perfectly for this song. Is it perfect? In my opinion, it isn’t. It’s just not honestly my style; however, I feel that I understand the song though and appreciate it musically and lyrically. I just feel like it could use something more “grand.” Maybe it’s the production, I’m not sure. Something just doesn’t fully go together with this song. Although I really do enjoy the breakdown where Robin sings in falsetto. It definitely stands out on this album. 2.5/5 bloody hells for this track.

10.  Alive: Originally a demo entitled “What’s in It for You” this is the band going back in the vaults to resurrect a forgotten song. Basically making the demo transform into a kick-ass track. Easily the most “Cheap Trick sounding” song on the album. This song just has an energy that this album needs; however, I think it almost comes too little too late. The chorus pays homage to the “Dream Police” track by having very similar strings found on that track buried in the chorus of this song. Again, this seems to be the band reminding you of their previous works.  This song is easily the best track on the album, but not my personal favorite track… if that makes any sense. Rick Nielsen truly shines on this track. Robin does a fantastic job on the verses. If you haven’t heard this song, take the time to fully listen to it and appreciate it. 4/5 Silver Linings (when we want gold.)

11.  Times of Our Lives: Honestly, this just sounds like a different version of “These Days.” This is the “sibling song” I was referencing earlier. This song isn’t bad at all, just bland to some degree. Very forgettable to another degree. It’s fine, I’ve just personally never cared for it and always thought “These Days” was a superior song. This track does feature a nice little slide guitar solo from Rick Nielsen. It just doesn’t seem to fit on an album that is already staying past its welcome in some ways. Give it a listen, enjoy it and then forget about it.  2/5 (not the name of a soap opera.)

12.  Closer, The Ballad of Burt and Linda: This song is based on Burt Pugach and Linda Riss. What makes their story so unique that Rick Nielsen decided to write a song about it? Well…. Burt had a relationship with Linda but once Linda discovered that Burt was actually married, she broke up with Burt after discovering this. Burt would continually harass Linda and was even was quoted as saying “If I can’t have you, no one else will have you, and when I get through with you, no one else will want you.” Once Burt found out Linda had got engaged, he hired three assailants to throw Lye in Linda’s face causing her to go blind in one eye, partially blind in another and left her being permanently scarred. Burt would go to jail for 14 years and afterward, Burt and Linda would continue their relationship after Burt got released from jail. They even wrote a book together. Enough backstory, although it is very entertaining. This song, I almost don’t want to say anything about it because it really is a killer ballad and makes the album worth a full listen. This song was performed live by the band during this era and the live versions sound just as good as the album version in my opinion. Just listen to it and enjoy. 4/5 Burt hired assailants.

13.  Smile: This song deserves better. It truly does because at its core, it’s an amazing ballad. It’s just lost in the shuffle of this album. I think the intro sounds too similar to “Everybody Knows” and that always hurt me listening to this track when I first purchased the album. I always got parts of this song confused with “Miracle” at the initial listens.  This song also has always gotten lost to me because “Closer” is such an amazing song to me. It should be noted that this track was performed by the band in 2015 at the Rock N Roll Fantasy Camp, although Robin isn’t singing lead on the song and it has a few other “guest” musicians from the camp playing on the track. Now, to put it simply, I love this song. Robin’s voice is beyond powerful in the chorus and the chorus is just something that needs to be heard while listening to the album. Not in a car, not while walking or running but actually sitting down and listening to this track and hearing the raw power coming from Robin’s voice. I truly believe this is an amazing Cheap Trick ballad that just simply gets lost by being at the end of this album. 3.5/5 Smiles from my love.

Nostalgia kept me blind to this album for many years as far as being “one of the best Cheap Trick albums”. Honestly, it just doesn’t feel like a Cheap Trick album. In some ways with production and songwriting style, it honestly gives me Countryside Blvd. vibes. I would never tell anyone not to listen to a Cheap Trick record, but this wouldn’t be the first I recommended to anyone. My friend who is a casual Cheap Trick fan loves the album. I think if you’re a casual fan, you would enjoy the album. I was a casual fan when I bought the album and loved it. I still love this album. I just feel like the thing that makes Cheap Trick……Cheap Trick is missing. There are some amazing songs on here and there were some I had a hard time listening to for the past few weeks.  This album is out of print and somewhat pricey for a used CD so if looking to listen to it I would suggest streaming it on Spotify or buying it off iTunes if it’s still on there. My total rating for the album would 2.5/5. Again, what’s good is good on here but what isn’t; seems to drag a lot of what is good down.

Sorry for the shameless plug but if you enjoyed reading this maybe check out my band’s latest single that we recorded. https://soundcloud.com/patrick-grindstaff/id-give-it-up-for-you-tonight

[gdsradio7]

    As a bassist, bandleader, teacher, and music copyist, I’ve worked with hundreds of singers throughout the years. Though working musicians know hundreds of tunes, singers need to have good charts in order to have their music played the way they want. I define a “good chart” as a piece of written music that effectively tells the musicians what they should play.

Written music comes in seven basic forms: chord charts, sheet music, songbooks, lead sheets, fake books, master rhythm charts and fully notated parts.

As a musician has a responsibility to play the chart before him correctly, the supplier of the chart has the responsibility of providing the right kind of chart. Knowing what type of chart to use for what kind of tune or gig is very important.

This article explains what the different types of charts are, and under what circumstances to use them. I hope you find it useful.

TYPES OF EDM MUSIC

Charts can be simple or elaborate according to the style of music and type of gig. Cover tunes are traditionally learned from recordings; classical and choral music can be found in sheet music stores as well as in various music catalogs; numerous tunes will be found in music books of all kinds; and many public libraries carry recordings and written music for your use.

The word “chart” refers to any piece of written music or any arrangement (music that has been adapted in a unique manner) of a tune. Decades ago it was strictly a “cool” slang term for a tune, but any piece of music could be called a chart these days, though a classical buff might not refer to a Mozart work as a “chart.”

Knowing what type of chart to use for what kind of tune is very important. When you’re playing a gig and someone hands you a chart — it is what it is and you either read it well or not. But, if you buy charts, have them made for you or provide them yourself, you need to know which kinds to use for which situations. Years back, while doing singer showcases, singers brought in all kinds of charts: good ones, bad ones, incorrect ones, inappropriate ones, and it was a real pain. The singers who provided the right kinds of charts got their music played the way they wanted. The singers who had the wrong kinds of charts didn’t, and weren’t very happy about it. Unless a musician already knows the specific parts, he can only play according to what’s on the chart before him. Though a good musician can improvise a good part in any style, if a specific musical line needs to be played, it needs to be written out.

As a musician has a responsibility to correctly play the chart before him, the supplier of the chart has the responsibility of providing an appropriate one.

Without getting into too many music notation specifics, here are the different kinds of charts and when they are used:

1. HOUSE

A chord chart contains the chords, meter (how the song is counted, e.g., in 4 or in 3 (like a waltz), and the form of the song (the exact order of the sections). This type of chart is primarily used when: 1. the specific musical parts are improvised or already known, but the form and chords need to be referred to, 2. to provide chords to improvise over, or 3. when a last-minute chart needs to be written, and there isn’t time for anything more elaborate.

A chord chart does not contain the melody or any specific instrumental parts to be played. To play from simple chord charts a musician basically needs to have steady time, know the chords, and improvise his part in whatever style the tune is in.

2. TECH HOUSE

Sheet music is a store-bought version of a song printed by a publisher, which contains the instrumental part, chords, lyrics, melody and form. An instrumental piece will, of course, have just the music. Sheet music is written for both piano and guitar. Guitar sheet music is in standard notation (often classical), as well as in TAB. A good piece of sheet music will always say whether it’s for piano or guitar. Most sheet music is not meant to be completely representative of the actual recording, and the actual arrangement that you’ve heard on a recording is seldom present.

Many people have experienced the frustration of getting the sheet music to a song they like, playing it, and discovering that the chords are different from the recording, and sometimes the form is too. Unfortunately that’s the way it is a lot, and it could be for a number of different reasons. To get the exact arrangement and chords, you need to do a “takedown” of the song: learn it by ear. A takedown is when you listen to a piece of music and write it down. Takedowns can range from simple chord charts to elaborate orchestral parts or anything in between. In order to do good takedowns, you need to have good ears, understand and be fluid with music notation to the complexity of the type of music you’re working with, and preferably understand music (the more the better). Having “good ears” consists of recognizing and understanding the music, whether heard on the radio, played by another musician, or heard in your head.

3. DEEP HOUSE

Songbooks are compilations of many tunes and often contain the same information that sheet music does, along with the chords and arrangement being different from the recording most of the time. Sheet music commonly has full introductions and endings, whereas songbook tunes are generally shortened to create space in the book for more tunes. Sheet music is generally written to be played on a keyboard, but songbooks come in different styles and for different instruments. They are compiled by artist, style, decade, and in various collections including movie themes, Broadway hits, etc.

Songbooks are a good reference source when other, more exact charts are unavailable. For example: I needed two movie themes for a gig once (client request). Instead of spending $8 for two tunes of sheet music, I bought a book of movie themes for $16 that contained over a hundred tunes. Sheet music and songbooks are pretty unusable at gigs because of cumbersome page turns and bulkiness; but in an emergency you use them and do what you can. If having to use sheet music or songbooks for live performance, either: 1. recopy the tune onto 1-3 pages or 2. photocopy it and tape the pages together (although, strictly speaking, this may be considered copyright infringement). Make sure to always provide a copy for each musician.

To play from songbooks and sheet music, a musician needs to be able to read the music notation, or at least improvise a part from the chord symbols, i.e., a guitar strum, bass groove, piano groove, etc., or better yet, both. A vocalist can sing the words if they know the melody, or be able to read the notated melody if they don’t know it.

4. TECHNO

Lead sheets contain the chords, lyrics and melody line of the song and are mainly used by singers, accompanists and arrangers, though they appear on the bandstand now and again. Songwriters use lead sheets to copyright their songs, and very often sheet music includes a lead sheet of the tune as a condensed version to use. Instead of having three to six pages of sheet music to turn, a lead sheet is usually one or two pages long. Lead sheets do not contain any music notation except the melody and chords, so a musician needs to know how to improvise when reading from one. A lead sheet is generally written out by a music copyist, who is someone who specializes in preparing written music. Playing from lead sheets minimally requires playing an accompaniment from the chords and understanding the form directions and symbols (the markings telling you to go to the verse or the chorus or the end, etc.) and maximally having excellent accompaniment skills and reading notation fluidly.

5. ELECTRO

A fake book is a large book of tunes that contain only the melody line, lyrics and chords. There’s no piano part, guitar part or bass part. That’s why they call it a fake book. You have to already know your parts, or improvise them in the style of the tune. Some people call that “faking it.” Faking it means to be musically adept enough to be able to follow along by ear and figure it out as you go: that’s one of the reasons for ear training. When a person’s ears “get trained”, they learn to recognize and understand the relationship of pitches and musical elements. With this understanding you can “hear” your way through tunes, even if you haven’t heard them before, you fake it. However, when you don’t hear so well, you’re really faking it!

Before there was an abundance of legal fake books on the market, there was an abundance of illegal fake books on the streets. (As of this writing, I’ve only seen a few at gigs.) Since a working musician needs to have access to a large number of tunes at gigs, musicians compiled books of hundreds of useful tunes containing only melody lines and chords. A working player doesn’t need all the notes written out, because he can improvise, so large books were made with choice tunes. Some fake books are hand copied, either by a pro copyist or casually done with pen or pencil, while others consist of cut up sheet music where all the piano parts are removed, leaving the melody and chords, all for the purpose of condensing space.

Rather than take stacks of songbooks to gigs, you pop a fake book of hundreds of choice tunes into your gig bag and off you go. A tune taking up five or six pages in songbook/sheet music form can take up a page or less when rewritten by hand or cut up, leaving only the chords and melody. Fake books are often used and I’ve seldom been at a casual where someone hasn’t had at least one.

The reason the illegal books are illegal is copyright laws. With the homemade books, nothing goes through the publishing houses that own the rights to the tunes, so neither the publishers nor the composers get paid for their use. The Catch-22 over the years has been the fact that there weren’t any good legal fake books that pro musicians could use at a gig. In a songbook of 200 tunes, maybe ten were usable. So, the players made their own, and gigging musicians lived happily ever after. But since making these books is illegal, some decades ago a few nationwide distributors were arrested and fined for copyright infringement. But you still see the illegal books on the bandstands, nonetheless.

Over the years many legal fake books have been published and are very good. There are music books for: pop, jazz, rock, country, specific artists and movie themes, and there are special wedding books with all the key music that brides like. Big sheet music stores should have them all. And recently, some of the most popular illegal fake books have been made legal. (Hooray!) The 5th Edition Real Book is an example. Filled largely with jazz tunes, the book is in the original format, but published legally as the 6th Edition Real Book.

Legal fake books are plentiful at sheet music stores, and illegal books… well, you’re on your own. Trade magazines and music union papers often advertise a wide variety of music books as well as joke books, ethnic music and other related entertainment materials. Sometimes instrument stores carry fake books as well.

Fake books are good to have, but the more tunes a musician knows, the better.

6. DEEP TECHNO

Master rhythm charts are charts designed for the rhythm section (piano, bass, guitar and drums). It is one chart that contains the general idea for everybody to play from: a sketch of the tune, a master copy of it all for each player. These charts are like elaborate chord charts with just enough specifics on them to make the music either feel and sound more like the original recording, or to provide just enough specifics to make it interesting and recognizable, leaving the rest to improvising.

Unless a tune is composed or arranged in this style to begin with, which many are, these charts are written by someone doing a takedown from a recording, or created from lead sheets or songbooks. Whereas lead sheets are primarily for the singer, master rhythm charts are primarily for the musicians. When a singer provides charts to the musicians in the band, these are the usual ones to use.

A master rhythm chart contains:

• All the chords

• Key rhythms (the main rhythms)

• Key melodic parts for the instruments

• Key lyrics for reference if desired

• Key background vocals if present

• Dynamics-how loud, how soft, etc.

• Any form, clarifying instructions and symbols needed to ensure a good performance of the tune.

All styles of popular music use master rhythm charts, and it’s common to have one along with a lead sheet for each tune when a singer is involved. Master rhythm chart reading, and writing, entails improvising fluidly in the style of the tune, and requires fluid notation reading abilities.

7. CHILL OUT

When the music needs to be extremely specific it will be fully notated. Everything that needs to be played is written on the page. What to play, when to play it and how to play it: the notes, rhythms, dynamics, and any and all notational expressions, such as tempos (how fast or slow), who cues what, etc. Most professional recording sessions and shows require fluid note reading and provide individual parts for each instrument.

LYRIC SHEETS WITH CHORDS

Though they are not written music, lyric sheets with chords deserve a mention.

Singers who play an instrument often use lyric sheets with chord symbols written above the words. For a singer/musician these are very useful, and are often used. I’ve used them myself.

Musicians reading these charts, however, can do well if they are familiar with the song, but this leaves a very large margin for error. Very often the chords are over the wrong words, or the chords are wrong or incomplete: very dicey business. Musicians like specifics.

My students use these all the time, and there are a number of Internet sites with thousands of lyric sheets you can download. For certain situations they are very handy!

The 7 Different Types of EDM Music As a bassist, bandleader, teacher, and music copyist, I've worked with hundreds of singers throughout the years.

[cimovement-blog]

    As a bassist, bandleader, teacher, and music copyist, I’ve worked with hundreds of singers throughout the years. Though working musicians know hundreds of tunes, singers need to have good charts in order to have their music played the way they want. I define a “good chart” as a piece of written music that effectively tells the musicians what they should play.

Written music comes in seven basic forms: chord charts, sheet music, songbooks, lead sheets, fake books, master rhythm charts and fully notated parts.

As a musician has a responsibility to play the chart before him correctly, the supplier of the chart has the responsibility of providing the right kind of chart. Knowing what type of chart to use for what kind of tune or gig is very important.

This article explains what the different types of charts are, and under what circumstances to use them. I hope you find it useful.

TYPES OF EDM MUSIC

Charts can be simple or elaborate according to the style of music and type of gig. Cover tunes are traditionally learned from recordings; classical and choral music can be found in sheet music stores as well as in various music catalogs; numerous tunes will be found in music books of all kinds; and many public libraries carry recordings and written music for your use.

The word “chart” refers to any piece of written music or any arrangement (music that has been adapted in a unique manner) of a tune. Decades ago it was strictly a “cool” slang term for a tune, but any piece of music could be called a chart these days, though a classical buff might not refer to a Mozart work as a “chart.”

Knowing what type of chart to use for what kind of tune is very important. When you’re playing a gig and someone hands you a chart — it is what it is and you either read it well or not. But, if you buy charts, have them made for you or provide them yourself, you need to know which kinds to use for which situations. Years back, while doing singer showcases, singers brought in all kinds of charts: good ones, bad ones, incorrect ones, inappropriate ones, and it was a real pain. The singers who provided the right kinds of charts got their music played the way they wanted. The singers who had the wrong kinds of charts didn’t, and weren’t very happy about it. Unless a musician already knows the specific parts, he can only play according to what’s on the chart before him. Though a good musician can improvise a good part in any style, if a specific musical line needs to be played, it needs to be written out.

As a musician has a responsibility to correctly play the chart before him, the supplier of the chart has the responsibility of providing an appropriate one.

Without getting into too many music notation specifics, here are the different kinds of charts and when they are used:

1. HOUSE

A chord chart contains the chords, meter (how the song is counted, e.g., in 4 or in 3 (like a waltz), and the form of the song (the exact order of the sections). This type of chart is primarily used when: 1. the specific musical parts are improvised or already known, but the form and chords need to be referred to, 2. to provide chords to improvise over, or 3. when a last-minute chart needs to be written, and there isn’t time for anything more elaborate.

A chord chart does not contain the melody or any specific instrumental parts to be played. To play from simple chord charts a musician basically needs to have steady time, know the chords, and improvise his part in whatever style the tune is in.

2. TECH HOUSE

Sheet music is a store-bought version of a song printed by a publisher, which contains the instrumental part, chords, lyrics, melody and form. An instrumental piece will, of course, have just the music. Sheet music is written for both piano and guitar. Guitar sheet music is in standard notation (often classical), as well as in TAB. A good piece of sheet music will always say whether it’s for piano or guitar. Most sheet music is not meant to be completely representative of the actual recording, and the actual arrangement that you’ve heard on a recording is seldom present.

Many people have experienced the frustration of getting the sheet music to a song they like, playing it, and discovering that the chords are different from the recording, and sometimes the form is too. Unfortunately that’s the way it is a lot, and it could be for a number of different reasons. To get the exact arrangement and chords, you need to do a “takedown” of the song: learn it by ear. A takedown is when you listen to a piece of music and write it down. Takedowns can range from simple chord charts to elaborate orchestral parts or anything in between. In order to do good takedowns, you need to have good ears, understand and be fluid with music notation to the complexity of the type of music you’re working with, and preferably understand music (the more the better). Having “good ears” consists of recognizing and understanding the music, whether heard on the radio, played by another musician, or heard in your head.

3. DEEP HOUSE

Songbooks are compilations of many tunes and often contain the same information that sheet music does, along with the chords and arrangement being different from the recording most of the time. Sheet music commonly has full introductions and endings, whereas songbook tunes are generally shortened to create space in the book for more tunes. Sheet music is generally written to be played on a keyboard, but songbooks come in different styles and for different instruments. They are compiled by artist, style, decade, and in various collections including movie themes, Broadway hits, etc.

Songbooks are a good reference source when other, more exact charts are unavailable. For example: I needed two movie themes for a gig once (client request). Instead of spending $8 for two tunes of sheet music, I bought a book of movie themes for $16 that contained over a hundred tunes. Sheet music and songbooks are pretty unusable at gigs because of cumbersome page turns and bulkiness; but in an emergency you use them and do what you can. If having to use sheet music or songbooks for live performance, either: 1. recopy the tune onto 1-3 pages or 2. photocopy it and tape the pages together (although, strictly speaking, this may be considered copyright infringement). Make sure to always provide a copy for each musician.

To play from songbooks and sheet music, a musician needs to be able to read the music notation, or at least improvise a part from the chord symbols, i.e., a guitar strum, bass groove, piano groove, etc., or better yet, both. A vocalist can sing the words if they know the melody, or be able to read the notated melody if they don’t know it.

4. TECHNO

Lead sheets contain the chords, lyrics and melody line of the song and are mainly used by singers, accompanists and arrangers, though they appear on the bandstand now and again. Songwriters use lead sheets to copyright their songs, and very often sheet music includes a lead sheet of the tune as a condensed version to use. Instead of having three to six pages of sheet music to turn, a lead sheet is usually one or two pages long. Lead sheets do not contain any music notation except the melody and chords, so a musician needs to know how to improvise when reading from one. A lead sheet is generally written out by a music copyist, who is someone who specializes in preparing written music. Playing from lead sheets minimally requires playing an accompaniment from the chords and understanding the form directions and symbols (the markings telling you to go to the verse or the chorus or the end, etc.) and maximally having excellent accompaniment skills and reading notation fluidly.

5. ELECTRO

A fake book is a large book of tunes that contain only the melody line, lyrics and chords. There’s no piano part, guitar part or bass part. That’s why they call it a fake book. You have to already know your parts, or improvise them in the style of the tune. Some people call that “faking it.” Faking it means to be musically adept enough to be able to follow along by ear and figure it out as you go: that’s one of the reasons for ear training. When a person’s ears “get trained”, they learn to recognize and understand the relationship of pitches and musical elements. With this understanding you can “hear” your way through tunes, even if you haven’t heard them before, you fake it. However, when you don’t hear so well, you’re really faking it!

Before there was an abundance of legal fake books on the market, there was an abundance of illegal fake books on the streets. (As of this writing, I’ve only seen a few at gigs.) Since a working musician needs to have access to a large number of tunes at gigs, musicians compiled books of hundreds of useful tunes containing only melody lines and chords. A working player doesn’t need all the notes written out, because he can improvise, so large books were made with choice tunes. Some fake books are hand copied, either by a pro copyist or casually done with pen or pencil, while others consist of cut up sheet music where all the piano parts are removed, leaving the melody and chords, all for the purpose of condensing space.

Rather than take stacks of songbooks to gigs, you pop a fake book of hundreds of choice tunes into your gig bag and off you go. A tune taking up five or six pages in songbook/sheet music form can take up a page or less when rewritten by hand or cut up, leaving only the chords and melody. Fake books are often used and I’ve seldom been at a casual where someone hasn’t had at least one.

The reason the illegal books are illegal is copyright laws. With the homemade books, nothing goes through the publishing houses that own the rights to the tunes, so neither the publishers nor the composers get paid for their use. The Catch-22 over the years has been the fact that there weren’t any good legal fake books that pro musicians could use at a gig. In a songbook of 200 tunes, maybe ten were usable. So, the players made their own, and gigging musicians lived happily ever after. But since making these books is illegal, some decades ago a few nationwide distributors were arrested and fined for copyright infringement. But you still see the illegal books on the bandstands, nonetheless.

Over the years many legal fake books have been published and are very good. There are music books for: pop, jazz, rock, country, specific artists and movie themes, and there are special wedding books with all the key music that brides like. Big sheet music stores should have them all. And recently, some of the most popular illegal fake books have been made legal. (Hooray!) The 5th Edition Real Book is an example. Filled largely with jazz tunes, the book is in the original format, but published legally as the 6th Edition Real Book.

Legal fake books are plentiful at sheet music stores, and illegal books… well, you’re on your own. Trade magazines and music union papers often advertise a wide variety of music books as well as joke books, ethnic music and other related entertainment materials. Sometimes instrument stores carry fake books as well.

Fake books are good to have, but the more tunes a musician knows, the better.

6. DEEP TECHNO

Master rhythm charts are charts designed for the rhythm section (piano, bass, guitar and drums). It is one chart that contains the general idea for everybody to play from: a sketch of the tune, a master copy of it all for each player. These charts are like elaborate chord charts with just enough specifics on them to make the music either feel and sound more like the original recording, or to provide just enough specifics to make it interesting and recognizable, leaving the rest to improvising.

Unless a tune is composed or arranged in this style to begin with, which many are, these charts are written by someone doing a takedown from a recording, or created from lead sheets or songbooks. Whereas lead sheets are primarily for the singer, master rhythm charts are primarily for the musicians. When a singer provides charts to the musicians in the band, these are the usual ones to use.

A master rhythm chart contains:

• All the chords

• Key rhythms (the main rhythms)

• Key melodic parts for the instruments

• Key lyrics for reference if desired

• Key background vocals if present

• Dynamics-how loud, how soft, etc.

• Any form, clarifying instructions and symbols needed to ensure a good performance of the tune.

All styles of popular music use master rhythm charts, and it’s common to have one along with a lead sheet for each tune when a singer is involved. Master rhythm chart reading, and writing, entails improvising fluidly in the style of the tune, and requires fluid notation reading abilities.

7. CHILL OUT

When the music needs to be extremely specific it will be fully notated. Everything that needs to be played is written on the page. What to play, when to play it and how to play it: the notes, rhythms, dynamics, and any and all notational expressions, such as tempos (how fast or slow), who cues what, etc. Most professional recording sessions and shows require fluid note reading and provide individual parts for each instrument.

LYRIC SHEETS WITH CHORDS

Though they are not written music, lyric sheets with chords deserve a mention.

Singers who play an instrument often use lyric sheets with chord symbols written above the words. For a singer/musician these are very useful, and are often used. I’ve used them myself.

Musicians reading these charts, however, can do well if they are familiar with the song, but this leaves a very large margin for error. Very often the chords are over the wrong words, or the chords are wrong or incomplete: very dicey business. Musicians like specifics.

My students use these all the time, and there are a number of Internet sites with thousands of lyric sheets you can download. For certain situations they are very handy!

The 7 Different Types of EDM Music As a bassist, bandleader, teacher, and music copyist, I've worked with hundreds of singers throughout the years.

[bestpianoringtone-blog]

How to Outsmart Your Peers on Learn to play Piano

n this post, I want to go over a piano learning course called Piano For All, which is a series of eBooks (by means of download or sent out by means of DVD) featuring ingrained audio and video lessons focused on getting you comfortable and successful at playing the piano. Priced at a really budget friendly cost, this review will attempt Additional resources to answer the most apparent concern-- can you effectively find out how to play the piano through an eBook course that costs less than $100?

In truth, the digital variation of Piano for All only expenses $40, which is in some cases the cost of a single lesson from an experienced teacher (which's being generous). In this circumstances, the writer of this program, Robin Hall, is your teacher, just it's more affordable and is available whenever you need it.

I'll begin this evaluation by talking a little bit about the program itself, an introduction, with some interesting things I've personally kept in mind about it. I'll talk about the ways in which it succeeds, and ways in which I believe it might use improvement.

In the conclusion of this review, I'll figure out whether this is an appropriate replacement for a genuine instructor, or maybe a supplement rather. I'll also supply you with my ranking of the course, as well.

Piano For All Overview

As somebody who teaches piano, I am always interested in brand-new programs that help trainees improve by utilizing brand-new techniques. This program focuses heavily on blues, pop, jazz, and rock songs by popular artists of years previous, and utilizes them as a tool to carry out finding out techniques that will actually enable the trainee to be able to play "normal" music rather of uninteresting kids' tunes.

There are 10 books in this series:

1. Party Time/ Play by Ear/ Rhythm Piano

2. Blues and Rock n Roll

3. Chord magic

4. Advanced Chords

5. Ballad Style

6. Jazz Piano Made Easy

7. Advanced Blues & Fake Stride

8. Taming the Classics

9. Speed Learning

10. Resources

Each of these books concentrate on different locations of discovering the piano. Book 3, chord magic, does not focus on tunes at all, but rather reveals you how to comp every single significant and small triad (there are 24 of them) as well as how to form inversions.

As you learn new chords, the book assists you follow together with songs, both in audio kind and on paper. Integrated into each book is a series of audio files you can click on in order to play, so that you can play together with the instructor. This is a really innovative method to help individuals who are more likely to learn by ear.

Schedule 3 goes through all of the chords beyond the simpler secrets, such as C, F, and G. It does not miss any of them, and executing them into your vocabulary is made simple through listening and playing along.

The book ends by introducing the a "cycle of fifths," which I would describe as a circle of fifths (however that's neither here nor there). It's the very same thing, although it goes counter-clockwise in this book, which is admittedly a little complicated for me, personally.

As you complete each book, you of course relocation onto the next one in the series. One of the terrific features of having all of these lessons in book form is that you can return at any time, go at your own speed, and you won't forget things as rapidly because you can summarize things you desire every single day, instead of once a week with a teacher.

The last book is a book full of resources and extra supplements, with beneficial information on things such as how to choose the very best MIDI keyboard, and more. This is a terrific little perk, and it's absolutely worth reading.

If you're interested in discovering how to play piano or keyboard in an enjoyable and interactive style, then look no further then Piano for All. This course features 10 thorough eBooks which contain 200 video lessons and 500 audio lessons. And most importantly, the course deals with PC, Mac, iPad, iPhone, or any Android phone or tablet. Get your copy of Piano for All today while products last!

Video Learning Made Simple

One of the big benefits I see about this program is that there is a big library of videos you can view in order to play what the trainer has actually composed on the page. He will reveal you slowly how to form each chord or note and where it is on the keyboard, in case you forget.

A look inside the Piano for All eBook course

I've seen these type of tutorials on YouTube before and I've always thought they were an excellent idea. In this program, every video is meant to be viewed during a particular minute in your learning experience. So for instance, in book 2, when you initially start discovering the blues progression, you can follow together with the instructor so you don't get lost.

Now, one issue with this function, is that your computer system may not be in front of your piano. If you can find a way to get your piano near your computer, or use a laptop computer, you'll have no issue following together with the videos.

So just keep that in mind.

Advice You Might Not Know About

Considering that we've currently utilized book 3 as an example for this evaluation, I wished to discuss that there are certainly some unique ideas and techniques that you might not discover anywhere else. I can't say that for sure, obviously, but I've taught for a very long time and I understand my approaches, so finding out brand-new ones is constantly refreshing for me.

Let me give you an example. In one video, the instructor discusses an easy way to keep in mind how to form both major and small triads in their root position. With the exception of the B chords, every other chords' root and 5th notes are on the very same color secrets.

So, for C minor, it's C and G. With C# minor, it's C# and G #, both black secrets, and so on.

This program is peppered with things like this that you may not find anywhere else.

The concept of utilizing both audio and video to turn a virtual experience into an engaging, visual instruction lesson is engaging to me. I think there are a lot of really intriguing concepts and methods in the Piano for All course, and there are certainly a lot of ways in which this program looks rather promising.

What I Like About Piano For All

I believe a lot of teachers underestimate the power of hammering chords into students' minds. In mentor culture, it's actually typical to concentrate on the melody, the right hand. I figure this is due to the fact that a great deal of teachers desire students to seem like they're having a lot of success, and individuals with untrained ears actually just hear melodies anyway, and they type of tune out chords.

Subsequently, the right-hand man gets preferred over the left hand-- the left hand sort of gets neglected for the first numerous months of mentor. Trainees who are right-handed dominant tend to likewise prefer the right-hand man because that's the hand they're comfy with.

This program doesn't actually let you get away with not using the left hand. There is a truly strong emphasis on playing rhythm piano right off the bat, which is really unusual for a mentor course And of course, rhythm piano requires heavy usage of the left hand.

Because of this, I might see a great deal of trainees having earlier success with their left hand use than their traditional equivalents. And I truly value that. I believe it's crucial to deal with both hands similarly, since it will just benefit the student in the long run.

An image from the Piano for All eBook course.

In book 2, among the first things the trainer says is that the left hand needs to be practiced long before the right-hand man. He understands that individuals are mainly naturally inclined to be much better at their right hand parts, so he doesn't fret about it. It's a smart method to the issue, for sure.

This emphasis on chords will just help trainees professionally. Pianists in bands require to understand their chords, even if they're refraining from doing intense jazz. This method can help students read charts offered by bandleaders, and most importantly, to help them play by ear, which is crucial.

This is a fantastic supplement to the course, and is a total benefit. According to Piano for All's site, there are 10 hours worth of audio and video, which is quite a lot when you believe about it.

[sublimelody]

Top 5 Easy Piano Songs For Kids (With Tutorial Videos)

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Top 5 Easy Beatles Songs For Piano (With Tutorial Videos)

Today, we are going to learn to play the 5 easy Beatles songs for piano.These songs were chosen from the Beatles top 50 songs.

Let’s dive in.

Related Article:Top 34 Easy Piano Songs You Can Play Today

5. A Day In My Life

"A Day in the Life" is a song by the English rock band the Beatles that was released as the final track of their 1967 album Sgt. Pepper's Lonely Hearts Club Band. Credited to Lennon–McCartney, the verses were written mainly by John Lennon, with Paul McCartney primarily contributing the song's middle section. Lennon's lyrics were inspired by contemporary newspaper articles, including a report on the death of Guinness heir Tara Browne. The recording includes two passages of orchestral glissandos that were partly improvised in the avant-garde style. As with the sustained piano chord that closes the song, the orchestral passages were added after the Beatles had recorded the main rhythm track.

4. All You Need Is Love

"All You Need Is Love" is notable for its asymmetric time signature and complex changes. The main verse pattern contains a total of 29 beats, split into two 7/4 measures, a single bar of 8/4, followed by a one bar return of 7/4 before repeating the pattern. The chorus, however, maintains a steady 4/4 beat with the exception of the last bar of 6/4 (on the lyric "love is all you need"). The prominent cello line draws attention to this departure from pop-single normality, although it was not the first time that the Beatles had experimented with varied meter within a single song: "Love You To" and "She Said She Said" were earlier examples.The song is in the key of G and the verse opens (on "There's nothing you can do") with a G chord and D melody note, the chords shifting in a I–V–VI chord progression while the bass simultaneously moves from the tonic (G) note to the root note of the relative minor (E minor), via an F♯, supporting a first inversion D chord.

3. Yesterday

“Yesterday" is a song by the English rock band the Beatles, written by Paul McCartney (credited to Lennon–McCartney), and first released on the album Help! in the United Kingdom in August 1965."Yesterday", with the B-side "Act Naturally", was released as a single in the United States in September 1965. While it topped the American chart in October the song also hit the British top 10 in a cover version by Matt Monro. The song also appeared on the UK EP "Yesterday" in March 1966 and the Beatles' US album Yesterday and Today, released in June 1966.

2. Let It Be

"Let It Be" is a song by the English rock band the Beatles, released in March 1970 as a single, and (in an alternate mix) as the title track of their album Let It Be. At the time, it had the highest debut on the Billboard Hot 100, beginning its chart run at number 6. It was written and sung by Paul McCartney. It was their final single before McCartney announced his departure from the band. Both the Let It Be album and the US single "The Long and Winding Road" were released after McCartney's announced departure from and the subsequent break-up of the group. The alternate mix on their album Let It Be features an additional guitar solo and some minor differences in the orchestral sections.

1. Hey Jude

"Hey Jude" is a song by the English rock band the Beatles, written by Paul McCartney and credited to Lennon–McCartney. The ballad evolved from "Hey Jules", a song McCartney wrote to comfort John Lennon's son, Julian, during his parents' divorce. "Hey Jude" begins with a verse-bridge structure incorporating McCartney's vocal performance and piano accompaniment; further instrumentation is added as the song progresses. After the fourth verse, the song shifts to a fade-out coda that lasts for more than four minutes.

Conclusion

Did you find your favorite songs here?Do you have any recommendation?Please help us complete this list of 5 easy Beatles songs for piano by leaving your thoughts in the comment.

Via https://sublimelody.com/easy-piano-songs-for-kids/

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Articles, Tagged With "Video tutorial Content"

Learn to play piano: Learning how to read a musical piano sheet music should not cause you to worry. They develop into people who are better at maths as their brains have been exercised and sharpened to discern patterns and repetition among the musical notes. how to get gems on cooking fever Regardless of the sort of music you pay attention to you can find a music chart that tracks the most notable music in your favorite genre. They are attributing this decline to individuals who are violating the laws of copyright by installing music on the Internet. Music files are under the same copyright legislations as music recordings and the owners of the copyrights are entitled to royalties or payment for the music that individuals are illegally downloading it on the web. This information facts what you need to learn to make certain you can obtain the techniques for downloading songs. It's played by mothers before, during, and after pregnancy Music for most starts as soon as in the womb. There where to edges to the music: dark and light, and beliefs and hope and all where very personal and helped to extend our understanding of the Holocaust beyond words. There's a modern activity leading humanity back to the music it first created thousands of years ago. Preparing for an innovative economy- A lot of people nowadays are building their career in the field of music. You will be provided with information about how exactly to download ITunes, free music downloads, MP3 music , Pandora Radio and a great many other things that may help you have all the music entertainment you want. A group contains a number of musicians playing different kinds of instrument put together as a group to generate great musical parts together in tranquility. It is not easy (or in my own circumstance possible) to appear both these notes distinctly. Actually, a great deal of pro music artists aren't advanced at their devices ….and much more highly talented musicians don't ever before see success in their jobs. There is no need to pay for someone to cause you to a fancy video recording, see when you can think of a creative way to build your own videos that show off your instrumental music. There aremany websites that enable you to pay attention to music and there areliterally thousands of stations and that means you can pay attention to anytype of music you prefer. It really is hard to break through profound layers of depression or accept meaningful change when you are hearing music that is anchored in previous indiscretions. Just like many other things in life today, music has wentdigital and there are a lot more opportunities now for you toenjoy it. You are able to download music online and store it on yourcomputer. Prague based mixing engineer, Scott Horton, has mixed records for many established and up and coming musicians in many musical genres. I chord will harmonize three records, V chord will harmonize two additional notes and the IV chord will harmonize the rest of the two notes. She has performed a respected role in the campaign of Indian Culture and Indian Music overseas, especially East Africa, and her music is mainly Indian raga established instrumental compositions, with some folk music and vedic chanting. Nevertheless, some music assist in improving your life style like, it increases your self-esteem and motivates you decide to do things you thought you cannot do. Additionally, it may improve conditions like foundation wetting, fainting and regular attacks which are extremely common. Among the advantages of Clickster is the fact that, because mp3's are being downloaded from a web-server and not from some man over a dial-up interconnection 6000 mls away, the download rates of speed are more speedily. The music industry has altered a lot and if you're a rapper you almost certainly need to read this article. This music genre was fathered by the Nigerian controversial musical genius Fela Kuti. All they know is digital music from CD's and download and it noises considerably clearer and much greater than the older media forms. We treat music education just like a needy child trying to compete within an olympic games out of sympathy votes. Music was also used to increase harmony and communal bonding among those playing it or listening to it. In this manner, it is said that music may have contributed to changes in the brain such as verbal ram, counting, and self-discipline, which have enhanced survival.