CS Maker blog

The Top 9 Mobile Apps for Music Production

Fri, 18 Feb 2022 01:50:51 GMT

A few decades ago, had you prophesized that soon one day we’d be able to create music on our telephones, you’d struggle to find someone that believed you. The Rolling Stones would have their 19 ^th nervous breakdown, Elvis would call you the devil in disguise, and David Bowie would think you quite the space oddity.

Nevertheless, here we now are, in a world where you need only pick up your mobile to record, arrange, edit, mix and master anything you can imagine. Music production hasn’t quite transcended the studio yet, but it’s getting a step closer thanks to evolving apps on faster and faster devices.

If you still don’t believe that number-one hits can come from your trusty pocket computer, here’s the proof you’ll need, our list of the top 9 mobile apps for music production.

Our selection of the top music production apps:

Chordsheet Maker
Steinberg Cubasis
MixPads
Image-Line FL Studio Mobile
Propellerhead Figure
BandLab
Music Maker JAM
Auria Pro
GroovePad

1. Chordsheet Maker

Function : Creating chord and lead-sheets

Pros : Instant export and file sharing; exceptionally intuitive; clean layout with clever button placement; rhythmic notation; transpose your music;

Cons : No audio playback; lacking comment feature

Price : $5.99

Platform : iOS

When you think about writing music, you’re probably imagining some singer passionately scribbling away on crumped paper, with plenty of blotchy ink, illegible handwriting and crossed-out mistakes. Chordsheet Maker is the far more efficient means of notating your songs, creating chord and lead sheets directly on your device.

This interface is pleasantly intuitive, where the developers have favoured functionality over confusing menus and hidden settings. A clear, minimalist layout ensures you can see exactly where to add rhythmic intonation or annotations. The only features you’ll find and the ones you actually need.

A key feature is the touch-and-drag triads, where you can create complex chords with a single finger gesture. Tap your base note and drag to the appropriate position to add extensions and create the specific triad. As soon as you’re ready, you can export as a PDF file for easy sharing or use in other apps.

Chordsheet Maker allows you to get your next hit song down on the page as swiftly as possible, making the earliest steps of music production more enjoyable.

2. Steinberg Cubasis

Function : Digital Audio Workstation (DAW)

Pros : extremely capable software; huge library of effects and presets; record at 24-bit/96 kHz; MiniSampler for creating unique instruments; unlimited track count

Cons : steep learning curve; no demo version

Price : $19.99-29.99

Platform : Android and iOS

Originally a lite version of the hugely successful studio software Cubase, this mobile app has since been “rewritten from the ground up” to include a much more impressive range of professional features. It’s arguably the closest one can get to a full DAW, providing endless possibilities for your music.

There is an unlimited track count, and you can process audio/MIDI groups as if they were single track. You can add up to 8 insert and send effects, choosing from an expansive library of 502 presets. If that isn’t enough customization for you, there’s also 301 instrument sounds and 200 MIDI drum loops included, along with a 126-preset virtual analog synthesizer.

Expect all the hits, like EQ, reverb, delay, phaser and overdrive, with the option of purchasing extras like an ultramaximizer or vintage FX. For hands-on production, there’s a virtual keyboard and drum pad, but you can also use hardware and sequence apps that are compatible with coreMIDI. You can export MIDI files, too.

Expert musicians will seriously struggle to find a mobile DAW more comprehensive than Steinberg Cubasis, making it must-have software for professionals.

3. MixPads

Function : Drum pad and DJ audio mixer

Pros : load audio files from storage; supports 96 kHz sample rate; YouTube and SoundCloud integration; engaging design and easy navigation; finger drumming;

Cons : poor recording options; incompatibility issues can cause crashes;

Price : Free (in-app purchases)

Platform : Android

Aspirational DJs will surely be thrilled with MixPads, a simple yet elegant solution for multi-track mixing. The entire software operates through an instinctive interface of 12 one-shot pads, which can consist of lead, bass, drums, voice and various audio effects.

MixPads comes with a wide range of sample packs, specifically catered to DJ pads and in various genres, such as Techno, Trance, Trap, House and Hip Hop. If you’re already working on something great, you can load your audio files and go from there, making this a go-to app for remixing. Audio formats like mp3, wav, ogg, aac and flac are all supported, amongst many others.

In terms of DJ effects, you can use delay, reverb, notch low/high pass, low/high shelf and a few more. The app has VST plug-in support, so you could add alternative studio effects. You can even record your own voice, or object sounds, and apply the various effects loaded up, which makes production both more convenient and creative.

If you need a way to produce DJ beats effortlessly, without worrying about thousands of dials and settings, MixPads offers a fun, practical means of doing so.

4. Image-Line FL Studio Mobile

Function : DAW

Pros : intuitive interface; generous amount of real-time effects; step sequencing; low CPU load; audio recording; touch controller pinao & drums; rapid project sharing;

Cons : No instrument sampling; sample rate capped by your device;

Price : $14.99

Platform : Android and iOS

Based on the successful Xewton Music Studio, this mobile app isn’t a direct port of FL Studio on Windows, though you can expect to see the majority of features make it over. There’s various instrument modules, including MiniSynth with 70 presets, Drum Sampler with 133 kits and loops, and Transistor Bass.

You will also be able to make use of 10 studio-grade effects, such as reverb, chorus, compressor, auto ducker, delays and a few different EQs. For free experimentation, there’s a 99-track step sequencer and various sampling options for instantly transforming your beats into loops.

Compared to other DAWs in our round-up, Image-Line FL Studio Mobile is potentially a better match for the less experienced. The interface feels natural; in fact, thanks to adaptive screen resolution, the software looks great on your phone, tablet or even TV.

The major drawback is a lack of editable instruments, a feature which is revered in the desktop version. The upside to this lack of variety is perhaps that the software does draw lower CPU load, which will deliver a smoother experience on less capable devices.

If you’re looking for the simple, reliable route to recording, sequencing and mixing epic synth beats, Image-Line FL Studio Mobile is the perfect place to start your next project.

5. Propellerhead Figure

Function : Casual music production with drums, bass and lead melodies

Pros : Exciting play pad; beginner-friendly utilities; 200 Import and enhance your existing tracks; project samples provided; easy XY-automation; fantastic look

Cons : No automatic multi-track export; shouldn’t be considered a professional tool

Price : Free

Platform : iOS

In the words of the developers, “Create an addictive beat before the barista brings your coffee or lay down a beefy bass line while waiting for the bus to arrive.” Aimed at beginners and experts alike, Figure offers you the chance to compose songs using bass synth, lead synths and drums, though other instruments are supported.

Assuming you already have a track recorded, you are able to import into the app before applying some final touches. Try audio effects like chorus, flanger, distortion and pump, or change key and tempo instantly with a single touch.

Novice music producers will enjoy the freedom to experiment without compromising the final sound. For instance, you create music by simply sliding your fingers across the play pad, yet the app keeps you in the set key whenever you go. Though you’ll be developing your songs “on the fly,” features like the arpeggiator, which creates melodies from chords, keeps any dissonance at bay.

Industry professionals looking for powerful applications probably won’t find solace in Propellerhead Figure. Dynamic control is limited, as is the export functionality. However, you are able to export to iTunes File Sharing, stream live to audiobus-compatible apps, and integrate with SoundCloud.

As an inspirational tool, or simply a way to add a fresh dimension to a track, Propellerhead Figure is as fun and intuitive as it gets!

6. BandLab

Function : Social DAW

Pros : Completely free forever; impressive social features; excellent collaboration with version tracking; huge library of samples and loops; AutoPitch; unlimited storage

Cons : interface might intimidate beginners; needs more mastering tools

Price : Free

Platform : Android and iOS

If something sounds too good to be true, it usually isn’t, right? Well, BandLab’s philosophy that everyone should have access to music-making tools seriously disrupts that paradigm. Even though the software is 100% free, you get unlimited projects, storage and downloads, all with over 10,000 royalty-free loops.

Users can record/import audio, make use of 200+ instruments, enhance with FXs, and even use super-convenient professional features like AutoPitch, magnetic timeline and tap tempo. On top of all that, there’s thousands of beats and loops so expect to have serious fun while exploring the BandLab library.

Another huge bonus of BandLab is the ability to create a ‘band’, where numerous collaborators can work on the same song without making irreversible changes. You can ‘fork’ the track, meaning original versions aren’t lost if someone else decides adds effects. There’s also a full version history, so you can track changes and return to earlier work whenever.

BandLab is a truly special software for recording, mastering and sharing your music, a social hub that promotes collaboration and encourages everyone to get creative without spending a cent.

7. Music Maker JAM

Function : DJ Audio mixer

Pros : 8-channel mixer; record external voice; 300+ mix packs; user-friendly interface; really enjoyable remixing experience;

Cons : limited scope outside of supported genres;

Price : Free (in-app purchases, including subscription service)

Platform : Android and iOS

For musicians who aren’t technically trained, Music Maker JAM offers an effortless solution for creating drum-bass beats and adding melody. You can record external audio, meaning you can sing, rap, or use foley sounds to liven up your track. Alternatively, you’re able to remix popular tracks and share with a global community of music makers.

Music Maker JAM leans towards electronic music, where the most popular genres are EDM, house, hip hop, dubstep and pop. Actually, there are over 100 music styles. With an 8-channel mixer, there’s no doubt you’ll be able to come up with something fresh.

The interface is clearly designed to be approachable. You can navigate between tools using an icon bar, so you adjust loops, bpm and FXs exceptionally quickly. You can adjust harmonies and individual song parts with simple sliders and instantly add effects, such as reverb, delay and stutter.

There’s over 300 mix packs and 500,000 loops, so the possibilities are legitimately endless. It really doesn’t matter whether or not you have expertise, either. As Music Maker JAM advertises, the software is for “DJs, beat makers, producers, or simply music lovers of all levels.”

Music composition comes to the masses with Music Maker JAM, a comprehensive and user-friendly software for building quality beats and roaring remixes.

8. Auria Pro

Function : DAW

Pros : incredibly versatile; truly professional grade; piano roll MIDI capabilities; real-time audio warping; groove templates; multi-format sampler; external hard drive support

Cons : less powerful devices might experience lag; some scrolling issues

Price : $49.99

Platform : iOS

Translating a digital audio workstation (DAW) from desktop to mobile isn’t an easy endeavor. Consequently, the majority of developers simplify their products to benefit performance or provide a more innovative format. Auria Pro, on the other hand, keeps everything very traditional, which experienced producers will definitely appreciate.

It accommodates the simultaneous recording of as many as 24 tracks, operating at 24-bits with sample rates of 44.1, 48 and 96 kHz. Each track has six aux sends and a ChannelStrip plug-in for adding effects and instruments, most notably EQ, compressor and expander modules. You’ll also be able to add reverbs, chorus and delays, amongst others.

Auria Pro features a complete MIDI sequencer with over 15 processing functions, such as legato, crescendo, velocity compression and transpose. You’re free to play around with MIDI parts by using the Piano Roll editor to either add, change, move or delete notes. You’ve got the option to record from external MIDI keyboards or use CoreMIDI-compatible interfaces.

One could easily argue that Auria Pro is the most professional mobile DAW out there. There’s insane routing capabilities with up to 32 internal busses for your most ambitious projects, portrait-mode 100mm faders for authenticity, and even external hard drive support for greater convenience.

Auria Pro is a full-featured, self-sufficient software for traditional music production, potentially the most powerful and comprehensive mobile DAW available.

9. GroovePad

Function : Drum pad and DJ Audio Mixer

Pros : External voice recording; high-quality effects; large library of samples; touch-and-drag filtering; offers coaching for specific beat packs;

Cons : No instruments; limited storage and export options

Price : Free (in-app purchases)

Platform : Android and iOS

GroovePad is predominantly a beat making software, which is designed to be easily used by all. Featuring an extensive library of soundtracks, in popular electronic genres like EDM, Dubstep, House and Trap, you use live loops to layer your tracks and create original songs.

Similar to other apps of this type, you can record external audio, meaning you can create your own samples as well as single or rap. Either way, you’ll be able to add effects like reverb, delay and flanger to enhance your creations.

There aren’t any instruments on this software, so you simply focus on mixing sounds, rhythms and beats, creating pumping DJ tracks. The interface is colourful and stimulating, with fantastic touch functionality. As a result, the music production experience feels gamified, encouraging you to just relax and explore the sound packs.

If you’re a fan of electronic music, GroovePad is a definite contender for your favourite DJ audio mixing software, one which inspires you to improvise and share your results.

The 7 Essential Qualities of Musical Directors

Wed, 08 Dec 2021 16:36:44 GMT

As anyone in the music business knows, hit songs and electric performances don’t spring up from anywhere. While rock stars, eccentric producers, and pyrotechnics may be first to mind, there is a central peg holding these shows, concerts, and tours together: the musical director.

What is a Musical Director?

Musical director is an administrative-artistic role, responsible for any and all music aspects of a performance (one-night show, full tour, televised appearance). They have a commanding influence over many aspects of a production, which may even involve them taking an active role in the production team or the show itself.

Many use the terms musical director and bandleader interchangeably, which is fine in a lot of cases. If you’re really looking for differences, a musical director is a recognized position, whereas a bandleader is generally used to mean the chief member of a group. They can share some of the same responsibilities, though, depending on how the group operates.

What does a Musical Director do?

In the worlds of orchestra and opera, musical director (aka conductor) is the most senior role. For performing bands, however, it’s a far more dynamic position. Focusing on the event and tour side of things, the musical director (MD) can occupy themself with many different tasks:

Deal with contracts and client expectations
Hire musicians and backing members
Ensure the artists are understood and feel appreciated
Select compositions, rearranging or transcribing as appropriate
Schedule performance and recording rehearsals
Refining and smoothing the material
Operate as an in-house producer
Convey technical needs to production staff
Conduct live and recorded performances
Play an instrument in the band

In actuality, there’s a lot more that a musical director may be required or inclined to do. Ultimately, they are driven by the desire to create the best version of something, whether that’s ensuring a classical performance is true to the sheet music, or adapting existing material for the wildest gig.

How do Musical Directors influence Music?

As these professionals are musicians in their own right, they are passionate about the art. It’s expected for musical directors to have a strong grasp on music theory, composition and performance practices. Their insight is valuable, yet they must collaborate with artists to find the best solution that everyone is comfortable with.

1. Transcription

In order to perfect a performance, it’s essential that players are completely aware of melodies, harmonies, and timing. A musical director will transcribe the heard into the written. It may end up as detailed charts, but simpler chord sheets or lead sheets are adequate much of the time.

2. Rearrangement

Musical directors may adapt a song so that it works better for those involved. This can include rewriting notes (melody & harmony), switching instruments (timbre), cutting sections (form), changing key (pitch), volume (dynamic), layering instruments (texture). Put simply, musical directors are prepared to interact with all elements of a song.

3. Production

As musical directors are responsible for liaising between artists and the production crew, the final sound is very much in their hands. Of course, the director must communicate the base technical needs of the band. However, they can also guide the producer’s and/or sound engineer’s decisions on mixing and mastering.

4. Inspiration

A musical director isn’t just interested in jotting down catchy tunes; the artists behind the music are just as interesting. Recording sessions and live shows are a lot of work. Inspiring performers to play at their best is one of the most overlooked director tasks. This is as simple as listening to their thoughts, accommodating their needs, and matching their passion for the project.

The Essential Qualities of a Musical Director

No two musical directors are the same, but certain qualities will do you well, regardless of project specifics.

1. Clarity

“Imagination creates reality,” as German composer Richard Wagner once said, though it isn’t always that straightforward. “Without craftsmanship,” replies Johannes Brahms, “inspiration is a mere reed shaken in the wind.”

Forgetting about reeds and reality for a moment, a musical director is a project manager. As with any endeavour, aims and objectives must be clear and actionable. When people are unable to envisage the end result, motivation can plateau, making the project infinitely more difficult.

Without sufficient instruction, musicians may misinterpret the message. Players who simply don’t know how to fulfill expectations are left frustrated, which can have a detrimental effect on team morale. In order to get the best from people, a director must be able to transform wispy imaginings into explicit directions.

While musical directors often do work on movie scores, they have to remember that they’re not in one. Performers don’t magically know everything in advance, and directors who aren’t appreciative enough of this will find their projects far more laborious.

Taking a vision and molding it into real-world action happens every day, and not just within the music industry. A collaborative venture like a concert, show, or album, however, does demand a logical, level-headed leader to make that process happen.

2. Leadership

With the best of intentions, musical directors may let their perfectionist passions rule. It’s important to remember that a music production is a democracy, not a dictatorship. Having laid out the overarching vision, a director should be able to take a step back, where the unique combination of creative talents can put the theory into practice.

Musical directors absolutely hold an immense wealth of knowledge, yet it’s integral that they guide the proceedings and not completely control them. With that being said, a musical director must be prepared to pull rank and make the appropriate changes.

In an ideal world, the assembled team will be entirely competent, but when criticism is required, a great leader will recognize how best to offer it, namely politely and constructively.

Criticism should not be embarrassing, but a fundamental part of course correction, keeping performers and production staff on the right track, adhering to the wider vision. Positive feedback is just as useful to maintaining a healthy working atmosphere. Above all, a musical director should lead to inspire, not micromanage.

3. Intrapersonal Skills

Music production goes far beyond instrumentalists and chord sheets. A musical director has to translate their ideas to many departments. They are the bridge between artists and composers, the performers, the production team, not to mention clients, creative heads, and benefactors.

Firstly, the artist/composer must feel that they are in good hands. Though they are concerned foremost with the musical properties of the piece – structure, tonality, and texture – it’s just as vital they feel generally comfortable with everyone going on around them. When it comes to the performance, it is their music that must be brought to life.

At the same time, a musical director is focused on delivering all that the performers need to correctly interpret the songs and achieve the vision. Expressive elements like dynamics, speed, and accents make a huge impact on the piece. Generally, performers are able to help each other with these elements, though the musical director has the final say.

With artists and performers synced up, the job of the musical director is far from over. The technical needs of everybody in the band must be communicated to the production staff. After all, it is the final variable for what an audience hears. The smallest touches can have significant effects, which are again managed by the director.

From start to finish, it’s all about keeping in line with the musical vision of the event.

4. Team Spirit

Even though musical directors have their eagle eyes everywhere, this position requires a heap of team spirit. The best directors simultaneously lead and follow, skilled at knowing when their input is needed and when the creativity of others should shine.

The clue is in the name, meaning that the musical director needs to direct the team. If there is genuine trust between them, progress will come quickly, and dare we say effortlessly. A concert band can involve as many as eighty musicians, but the fun doesn’t stop there. A musical director must collaborate with production teams and event staff within various types of institutions.

The other critical element of team spirit is open-mindedness. Despite the mass of experience that musical directors cultivate, everyone has their blind spots. Brilliant suggestions can occur unexpectedly, at which point a musical director decides how best to act.

A stringent director, uninterested in spontaneous opportunities, will not go far. Good luck trying to inspire creative individuals if you’re unreceptive to fresh thoughts. A musical director’s ability to admit that they are much smaller than the production can become their biggest strength.

The director may sing a melody, but the band plays the symphony.

5. Infectious Energy

It takes a certain kind of person to become a musical director. They are indeed renowned for their elaborate personas, idiosyncrasies, and wit. This isn’t solely a symptom of creativity, but a valuable resource for inspiring performers, promoting shows, and leveraging PR opportunities.

An unchained, electrifying conductor is precisely what everyone wants to see. It is evident that the music has taken over, flowing as naturally and powerfully as a river. Be it an intimate recital or televised concert, it doesn’t matter; the energy of a musical director has a direct effect on the result.

Masterful musicality is a prerequisite for this kind of energy, obtained only through years of practice and experience. Outside of the performance, the musical director can still apply positive energy to all that they do, enthusing clients, encouraging musicians, and enticing an audience.

6. Cultural Awareness

When they’re not working on a project, musical directors divide their time between practice and study. It is not enough to have mastered an instrument or two, they must also keep up to date on the shifting trends of the music world.

Or, as the infamous Pierre Boulez explains, “conducting is more difficult than playing a single instrument. You have to know the culture, to know the score, and to project what you want to hear.”

Whilst a musical director can’t help their personal preferences, and shouldn’t shy away from strong beliefs, the audience should also inform their approach. They must stay current on developments and trends in order to assimilate their vision into the presiding demands of the industry.

Listening to popular music, collecting feedback from performances, and researching the future movements of the culture may not be the most obvious responsibility, but it is integral nonetheless for a bright and lengthy career.

7. Desire to Learn

Although Mozart is often said to have been an instant virtuoso, a genius from birth, symphonies do not happen overnight. “It is a mistake to think that the practice of my art has become easy to me,” as the man himself uttered.

Musical director is a position of great influence, a senior-level management role, thus they already hold immense knowledge, both in terms of music theory and industry know-how. Nevertheless, a desire to keep learning distinguishes the good from the great.

Complacency can be an issue in many upper-management roles. While it’s not limited to the creative industries, it does prove especially damaging to the arts. There really is no limit to the situations a director may find themselves in, but those unwilling to acquire new skills will drastically limit their scope.

Keeping culturally relevant will expand your horizons, as we’ve mentioned, but personal development comes in many forms: learning new instrument techniques, adopting better management styles, and incorporating feedback are all ways in which a musical director can continue to grow.

The Heart of the Musical Director

Despite the barrage of tasks that a musical director may have, they are predominantly yal to the music. They typically begin their music career as soloists, with a deep respect for the discipline and perseverance needed to succeed in the industry.

And that is the complexity of the role, balancing an unfettered passion for music with the cool, collected mindset of business. Many struggles with this equilibrium. Some might feel disconnected from the art, whilst others lean too far into the technicalities.

At heart, the musical director wants simply to maximize the potential of the musicians under them. Despite being constrained by budgets, circumstances, and deadlines, their mission is always to bring notes to life in a way that best serves the show, the artist, and the audience.

Music Theory Crash Course: 5 - Chord Progressions

Wed, 17 Nov 2021 18:03:21 GMT

Part 1 : Notes Part 2 : Intervals Part 3 : Scales Part 4 : Chords Part 5 : Chord Progressions

Part 5 : Chord Progressions

Chord Progressions

Chord progressions are one of the ways to master music, especially if you wish to play a lot of songs or write your own music. If you play the doo wop progression of I-vi-IV-V, you will be able to play hundreds of songs. Of course, not all songs follow the same sequence the whole way through and sometimes the key to great music is slight chromatic variations.

Many of the chord progressions that we use come from sections in classical music. Sort of like how modern hip hop began as just the breakbeats or the best parts of the drumming, repeated over and over. While there are a lot of arrangements for the most part, modern music uses around 20 progressions and their variations.

What is a Chord Progression?

Just like our notes, our chord progressions follow certain diatonic patterns that revolve around the quality of their degree. When the chord progressions are given, the Roman Numerals or Nashville numbers are based on one home key. In some cases, songs will move up the Circle of Fifths, or modulate to another key for the bridge or another part of a song. We must be clear what key we are in when given the generic formula.

The tonic (1 or I), the subdominant (4 or IV), and the dominant (5 or V) can all form the basis of our harmony. Those chords alone will carry a song and will include the notes of the underlying scale they are made of. Almost all genres make use of these 3 chords.

If you look at your Circle of Fifths you will see all the I-IV-V of each key are quite easy to find. Remember to move backwards or forwards depending on whether you are going to the 4th or 5th degree and the key of C in a I-IV-V progression is C-F-G, for D it is D-G-A and so on.

The minor chords of the diatonic scale are the supertonic (2 or ii), mediant (3 or iii), or submediant (6 or vi) chord. Often minor chords are denoted by lowercase Roman Numerals, and they add the extra density and new movement. The vi is the most common chord used with the I, IV, and V, it is crazy how common those songs are!

The 7th degree viidim is a diminished or a leading tone as it has a note one semitone higher or lower compared to the root. When you build a chord on the 7th degree of the diatonic scale it ends up being diminished. Bdim is B-D-F and it moves to C major from one semitone in the root.

You will not often be using the viidim other than as a passing chord. Often our 7th degree is played as a bVII7 or some other chromatic change. Chromaticism is the secret to jazz, blues, and rock, you will notice as our progressions get funkier, they move away from the normal scale degree qualities.

Here is a graph with all the scale degrees and Nashville Numbers for all 12 keys.

That chart will allow you to input any chords necessary for the keys below. When you play in a minor key the chords will still follow the same pattern, just with the original relative minor (vi) as our new home key.

There are more technical ways of writing some of the progressions below, but we are going with what is common and popular. As you get more familiar with chord structures and harmonies you will see some of these repeated below but in the standard way.

It’s easier for a beginner to follow the formulas below, simply pick a key you like and add the correct number of the chord. In some cases, you may be told to change a major to a minor or extend the chord. And there are times where you may find examples that don’t differentiate minors, at that point they expect you to notice in your sight reading of the notes

Popular Chord Progressions

All these chord progressions below can be for almost any genre of music. Our rhythms, tempos, and extended chords are what make the progression fit the genre. And when we give examples of songs it means the progression is present at some point. It could be during the verse, chorus, or the entire song!

It is often easier to use Roman Numerals as those make changes a little cleaner. The ii-V-I is the generic and basic progression, when the song may be Dm7-G7-C7. It looks better to put ii7-V7-I7 than 2m7-5(7)-1(7). Your numerals can get messy when you find songs that are not generic and have extended chords.

I-V

The simple tonic to dominant has stood the test of time and across many genres.

· Chuck Berry – “You Never Can Tell” (with a V7)

· Lady Gaga – “A Yo”

· Bryan Adams – “Summer of 69”

· “Three Blind Mice”

· “Alouette”

I-IV

This is a favorite of blues artists for sure, some of these examples are literally the I-IV the entire song, sometimes as I7-IV7. The 1 and 4 or 1 and 5 are easy to find on the Circle of Fifths and will carry many songs.

· Traffic – “Feelin Alright”

· Sly and the Family Stone – “Everyday People”

· Bruce Springsteen – “Born in the U.S.A”

· Wilson Pickett – “Midnight Hour”

· “Great White” – “Once Bitten Twice Shy”

I-IV-V

We have already mentioned the 1-4-5 and how popular it is. A simple G-C-D will give you a pop or folk tune. By adding 7th chords, we get into rock and jazz. Funk uses this progression with 9th chords like “Kiss,” which has an A-D-E9sus4 progression.

· “Big Rock Candy Mountain”

· Elvis Presley – “Teddy Bear”

· CCR – “Down on the Corner”

· John Lennon – “Imagine”

· Miley Cyrus – “7 Things”

I-IV-I-V-I

You will find many variations to the I, IV and V as they sound so great together, the 12-bar blues will follow orders such as this, of course often using 7th chords.

· Howlin Wolf – “Sittin’ on Top of the World”

· Led Zeppelin – “Rock n Roll”

· BB King – “The Thrill is Gone”

· Jimi Hendrix – “Red House”

· Chuck Berry – “Maybellenne

I-V-vi-IV

These four chords make up the bulk of modern music and they come in four popular orders. You could almost play all of Taylor Swift’s songs with these four chords, in fact you can play most bands’ songs with these. This chord progression can also be found on the Circle of Fifths. The relative minor when added to the 1-4-5 is very powerful in every combination.

· Train – “Hey Soul Sister”

· The Beatles – “Let It Be”

· Bob Marley – “No Woman No Cry”

· Red Hot Chili Peppers – “Under the Bridge”

· Journey – “Don’t Stop Believin’”

I-vi-IV-V

If we change the order, we get another extremely popular progression. This is the doo wop progression and has been covered extensively, obviously because it sounds great!

· Boris Pickett – “Monster Mash”

· Sam Cooke – “Wonderful World”

· Justin Bieber – “Baby”

· The Penguins – “Earth Angel”

· ELO – “Telephone Line”

vi-IV-V-I

This is called a “sensitive” progression, that would make sense considering that it is in a minor key. In this case instead of Ionian scales we will be finding different minor ones, mostly Aeolian.

· Scott McKenzie – “San Francisco”

· Iggy Pop – “The Passenger”

· Joan Osborne – “One of Us”

· Offspring – “Self Esteem”

· Avril Lavrigne – “Complicated”

I-IV-vi-V

This arrangement of four chords can keep going! It is quite pleasing to the ear!

· Boston – “More Than a Feeling”

· Fine Young Cannibals – “She Drives Me Crazy”

· One Direction – “Kiss You”

· Pitbull – “Give Me Everything”

· The Lumineers – “Ho Hey”

ii-V-I

The ii-V-I is like the I-IV-V in rock, it is the jazz gold standard. It is common to move from key-to-key improvising over this progression. And it also shows up in the Circle of Fifths! If we take C-G-D, the D is the root of the minor ii degree in the C major scale. And D Is the secondary dominant, which is a term you will see later as you learn to build new chord progressions. This sequence can and will lead some songs all around the Circle of Fifths.

· Kosma and Prévert – “Autumn Leaves”

· Dan and Coley – “I’d Really Love to See You Tonight”

· Maroon 5 – “Sunday Morning”

· Duke Ellington – “Satin Doll”

· John Lewis – “Afternoon in Paris”

I-bVII-IV

When we start using bIII, bVII, and even minor tonics we get into the classic hard rock vibe. These progressions are common in mixolydian songs as they love that flat 7th. In this case we are moving back on our Circle of Fifths.

· Warren Zevon – “Werewolves of London”

· Lady Gaga – “Born This Way”

· Devo – “Whip It”

· Led Zeppelin – “Good Times Bad Times”

· Fleetwood Mac – “Don’t Stop”

I-bIII-bVII-VI

· INXS – “Need You Tonight”

· Paula Abdul – “Opposites Attract”

· Lenny Kravitz – “Fly Away”

· Julian Lennon – “Too Late For Goodbyes”

· Sonic Youth – “Dirty Boots”

I-vi-ii-V

This comes from the classic music love of the vi-ii-V-I movement, which in the key of C is A-D-G-C. Once again this moves counterclockwise on the Circle of Fifths. (At least all the root notes). And we still have use for this pattern today! Just pay attention of when to use the minor and the major!

· Bruce Springsteen – “Hungry Heart”

· Harry Nillson – “Without You”

· Judy Garland – “Have Yourself a Merry Little Christmas”

· Four Seasons – “Sherry”

· Arctic Monkeys – “Fluorescent Adolescent”

I-VI7-II7-V7

Keep all the chords dominant 7ths and rearrange them to get the ragtime progressions.

· Arlo Guthrie – “Alice’s Restaurant”

· Roof Top Singers – “Walk Right In”

· Bruce Channel – “Hey Baby!”

· Howard & Emerson – “Hello! My Baby”

· Robert Johnson – “They’re Red Hot”

I-iii-IV-V

If you are listening to an epic rock tune, this progression is likely to be involved. Sometimes the bIII will be used for more of a bluesy sound.

· Elton John – “Crocodile Rock”

· David Bowie – “Ziggy Stardust”

· The Beach Boys – “Fun, Fun, Fun”

· Chad and Jeremy – “Summer Song”

· Berlin – “Take My Breath Away”

I-IV-ii-V

If we add the ii in instead of the iii we get a different kind of song.

· The Beach Boys – “Wouldn’t It Be Nice”

· Puddle of Mudd – “She Hates Me”

· Traditional – “Jingle Bells”

· Bare Naked Ladies – “It’s All Been Done”

· Semisonic – “Closing Time”

i-iv-v

Sometimes that 1-4-5 doesn’t have any use for the major chords at all!

· Drake – “Get It Together”

· Alicia Keys – “Fallin”

· Justin Timberlake – “My Love”

· Dirty Vegas – “Days Go By”

· Santana – “Black Magic Woman”

I-i

Some songs rely on parallel minors to fill out some parts. It is common in funk to switch between the major and minor root.

· Blackpink – “As If It’s Your Last”

· The Police – “Synchronicity II”

· The Beatles – “Norwegian Wood”

· Lipps Inc. – “Funkytown”

· Grassroots – “Temptation Eyes”

I-I aug-I6-I7

This is a great example of how you can stay on one chord, but just use tension and chord extension to create the entire piece. And this progression is very popular.

· Whitney Houston – “Greatest Love of All”

· Stevie Wonder – “For Once in My Life”

· Arlen & Mercer – “Accentuate the Positive”

· John Lennon – “Starting Over”

· Captain & Tennille – “Love Will Keep Us Together”

i-V-i-bVII-bIII-bVII-i-V

This is a variation of La Folia, one of the oldest progressions in Western music. Just play it and you will feel like you are at a Renaissance festival. There is a reason it has lasted so long; it follows a progression that our ears love!

· Tangerine Dream – “Force Majeure”

· Antonio Vivaldi – “Orlando Furioso”

· “Addams Family Values” soundtrack

· “1492” Soundtrack

· Vangelis – “Conquest of Paradise”

There are plenty more chord progressions to find, but as you start to dissect them more you will see repeats. Sort of like how similar notes can have the different chords, we can sequence our chords in a variety of similar ways. And the larger chord progressions you come across are often made of smaller ones.

If your goal is to become a session musician then learn as many basic chord progressions as you can, years ago musicians carried fakebooks for these very purposes. Knowing the progressions above on your instrument will help you easily survive a band.

If you are a jazz player or songwriter, well the next step is how to differentiate your progression from the rest. If the I-V-vi-VI and its variations are so popular, how is it used over and over… and over?

That’s the next process in your song writing, how to modulate, alter, and make changes in your chord progressions. And that’s not just in a music theory fashion, these days the effects in computers and phones allow us to take a simple chord sequence and morph it into a huge variety of sounds.

Music Theory Crash Course: 4 - Chords

Thu, 21 Oct 2021 14:03:36 GMT

Part 1 : Notes Part 2 : Intervals Part 3 : Scales Part 4 : Chords Part 5 : Chord Progressions

Part 1 : Notes

Part 2 : Intervals

Part 3 : Scales

Part 4 : Chords

Part 5 : Chord Progressions

Chords

So far, we have been dealing with single notes and relations between them. Now we are going to move into specific mixed pitches. Chords are a group of notes that are usually played at the same time, or sometimes played in a sequence known as an arpeggio. Our basic chords are triads, we will start with those before moving into extended and more complicated ones.

Chords and scales are tightly knit together. One can derived from the other. A chord can belong in the same "tonal environment" of many scales (notes on the chord are in this scale) and a scale can have a different chord built on top of each and every one of its notes.

Major Triad

Again, we are going to use the C diatonic or major scale, as that is the easiest to use without any sharps or flats. Remember it is :

C D E F G A B C

What are the two most important notes there? The tonic and the dominant of C and G, play those notes together. It has consonance, but it could use something more. In the interval lesson we learned the major and minor notes are what add substance to a chord. So, let’s add the 3 ^rd or E. Now play C-E-G, it sounds better, right?

This is the C major chord or triad; we use the word triad because we are stacking every third note. The major chord formula is 1-3-5 and will work the same for all 12 keys. Look at your Circle of Fifths and find the F major scale, the 1-3-5 or major triad will be F-A-C.

Before we learn our minor triad, we need to mention inversion, which is where you play the same notes, but in a different order . The root position is C-E-G, the first inversion is E-G-C, and the second inversion is G-C-E. They all are essentially the same chord but provide a little different sound with other notes than the root in the bass.

Later when you play songs and chord progressions you will find inversions are useful in voice leading and to keep movement to a minimum. If a player can move faster to a 2 ^nd inversion of C major, and it sounds ok, this allows them to save time. Of course, it must sound good, or it may not work.

Since we based the chord from the root of a major diatonic scale ( C chord in the C major scale), the third will be major by definition because we pick the notes of the chord in the scale we base the chord on :

C D E F G A B C

Minor Triad

The minor triad is very easy to make once we know the major, the formula is 1-b3-5 , which means C minor will be C-Eb-G. Play that and your C major back and forth and see what a difference it makes when your third degree is major or minor. As we build bigger chords, these same qualities will work on the 2, 3, 6, and 7.

Here, instead of starting from a scale, we started from the "color" of the chord we want. This is what lead the quality (minor or major) of the third in the chord.

Why not talking about the fifth ?

Because the chord we want does not specify it! Remember, a fifth can be perfect, diminished or augmented. We don't say a major fifth, it simply does not exist. Since the triads we looked at are minor or major , we take for granted that the fifth is perfect . Keep reading, you'll see what I mean ;)

Diminished Triad

Remember when we change the 5 ^th, we aren’t making it a major or minor, instead we are diminishing or augmenting it. The formula for a diminished triad is 1-b3-b5 meaning a C¶ will be C-Eb-Gb. After you play that chord, you will see it is very dissonant and just begging to be resolved.

Augmented Triad

If we want an augmented triad, we use 1-3-5#, so a Cç is C-E-G# and it also has a very dissonant sound. Your diminished and augmented triads will be used sparingly and will need to be resolved. A great example of an aug chord is the Eç at the start of “ Oh, Darling .”

Our triads will work by the same rules as the notes and intervals . For example, the chords built around the I ( tonic ), IV ( subdominant ), V ( dominant ) are where the primary harmonies will often exist. Remember they sound good to our ears. In fact, next when we learn chord progressions, we will see the I-IV-V is the foundation of thousands of songs.

And of course, the other scale degrees like the submediant , mediant , supertonic , and leading tone will be used in a supportive manner to create tension that will lead back into one of the primary triad degrees.

7 ^th Chords

Many of our chords from here on out will be built on these triads. And in some cases, we will build extended chords by stacking another third on top! By adding the 7 ^th degree to our triads, we can get a variety of 7 ^th chords.

These are essential in jazz and rock, especially dominant and minor sevenths . Here is one of the more famous stories on 7 ^th chords, we were all beginners once! You will not have to trek anywhere to find these chords if you use the formula.

Major 7 ^th

The Cmaj7 is composed of C-E-G-B and is made by stacking a major third on the root and the fifth. One of the most famous song examples is “Autumn Leaves,” along with many other jazz songs. The pop song “ Jumper ” also begins on a Fmaj7 .

Minor 7 ^th

The minor 7 ^th uses a b3 and b7 to create the formula 1-b3-5-b7 or C-Eb-G-Bb . The min7 is also essential in jazz as it is common in the ii7-V-I turnaround. The entire chorus of “ Funkytown ” is a Cm7 chord, you will see the m7 often in groovy R&B type genres.

Dominant 7 ^th

Technically this chord is called the major minor seventh chord , because it has a major 3 ^rd and a minor 7 ^th for the formula 1-3-5-b7 . But the common name is the dominant 7 ^th , and you will see this chord everywhere . We call it the dominant because it is most often used as a V7 as that provides a stronger resolution than just V .

Note on chord symbols convention

Cm7 C7 Cmaj7

Which has minor 3rd and/or minor 7th ?

By convention we only specify it when the 3rd is minor, and the 7th is major .

This means we take for granted that a 3rd is major by default and a 7th is minor by default.

(We're talking about determining notes from the chord symbols here, not about chord construction in general)

So knowing that, this means:

Cm7 specifies something is minor -> we get a b3 (minor 3rd) from the name and a b7 (minor 7th) by default
C7 doesn't specify anything -> we get a major 3rd by default and a minor 7th by default
Cmaj7 specifies something is major -> we get a major 3rd by default and a major 7th from the name

The proceeding 7 ^th chords are not as common but still you will come across them. The reason we are showing you some is to take the fear away of complicated chords. Most of the time you just must read the name and build off the appropriate triad or base.

Diminished 7 ^th

This formula can look scary at first! We are using a diminished triad and adding diminished minor 7 ^th , so we get a double bb. All that means is to move a whole tone back. With a formula 1-b3-b5-bb7 that gives us C-Eb-Gb-Bbb (or A) . This chord sounds like it belongs in a cartoon or soundtrack for an exciting moment!

Half-Diminished 7 ^th (or minor 7th flat 5)

The half-diminished has the same formula, but without the double bb, 1-b3-b5-b7 so C-Eb-Gb-Bb . If you play both the Cdim7 and C half-dim7 one after the other, it has a very foreboding sound.

Minor Major 7 ^th

A minor major 7 ^th tells us the third will be minor and the 7 ^th will not be flattened. We get a formula of 1-b3-5-7 or C-Eb-G-B, which is a very dissonant chord!

Now the previous 7 ^th chords were all built on thirds, like stacked triads, but we can also have 7 ^th chords that aren’t built this way.

Augmented 7 ^th

A Caug7 is just an aug triad with just the b7 added. It has the formula 1-3-#5-7 which would give us C-E-G#-Bb and is another dissonant chord that you will not see much except in places like the whole tone scale.

Diminished Major 7 ^th

This one will be easy by just adding a regular 7 ^th to a diminished triad, giving us 1-b3-b5-7 or C-Eb-Gb-Bb. The dimM7 is not terribly dissonant and a nice jazzy way to turnaround on.

Dominant 7 ^th Flat 5

This has a formula of 1-3-b5-b7, or C-E-Gb-Bb and this very odd chord is most at home in altered, whole tone, and even Locrian scales.

It's almost all in the name!

6 ^th Chords

Major 6 ^th

Before even seeing the formula, you should have an idea of what a 6 ^th chord will be, it is simply a triad with a 6 ^th degree added or 1-3-5-6. It can often be used as a slightly less stable replacement for the I chord.

6 ^th chords are famous for how The Beatles ended their songs ( here a G6). And they are a staple of boogie woogie walking bass lines. Also, a ukulele and lap steel are often tuned to C6 to give it that strong but still laid-back vibe.

Minor 6 ^th

If we take a minor triad and the 6 ^th , 1-b3-5-6 will give us C-Eb-G-A. This chord is not as common as the major 6 ^th , but is used in jazz and soul on occasion.

9 ^th Chords

9 ^th chords follow a similar pattern as the 7 ^th , just with the added 9 ^th degree. The same goes for 11 and 13 ^th chords, these seem complicated. However, if you just find the major scale and apply the chord formula it is not that hard, just take it slow!

One notable chord with the 9 ^th degree is the Hendrix chord (The Beatles called it the Gretty chord) which is a dominant 7#9. Hendrix was very fond of the E7#9, which starts this song .

Sus Chords

A sus chord isn’t built on a triad, and it drops the 3 ^rd (sus stands for suspended). A sus2 has the formula 1-2-5 and a sus4 is 1-4-5. Like augmented and diminished chords, they are usually used in small amounts and in between more consonant chords.

One of the best examples of both sus2 and sus4 chords is “ Free Fallin ” in the beginning riff. Or often songs like to end on a sus4-sus2-maj finale. Suspended chords really love to move back to the 3 ^rd , that is usually their home resolution.

Power Chords

Power chords are not exactly chords as they only consist of the 1 and 5, but you will see them a lot in modern music. It may seem like they can’t have musical variety without any major or minor changes, but that’s not the case. All the overtones of distortion and signal changes add to the final sound. Some 90’s grunge and pop hits are all power chords! It’s an easy way to play guitar mainly using three bass strings and the root and octaves!

Slash Chords

Many musicians are confused when they come across a chord like C/B or G/F , but these are simple slash or compound chords . Think of the inversions above where we put a different note of the chord in bass instead of the root, the note after the slash is the new bass note. So, a 2 ^nd inversion of C would be C/G , or a C/B would be a regular C chord with only a B added to the bass .

It really is that simple, the final note will start the chord . It is used often for descending bass lines in a song. That way we move chords and the bass walks along with it. A great example (which was inspired by Bach) is the song “ Whiter Shade of Pale .” Nearly every line has a descending bass and slash chord pattern.

As a beginner it is best to stay in the diatonic chords and progressions, but as you progress you will want to start learning altered chords with small chromatic changes, borrowed chords, and how to modulate them. We don’t wish to give the impression that chords and their naming are all within these parameters, but those above will more than cover you for most songs.

And be prepared for some chords to have “different” names. There are only so many combinations of 12 notes . The chords C6 (C E G A) and Am7 (A C E G) have the same notes and as your chords grow, they can have many other names. Generally, you start from the bass and go up in naming, but it can depend on the song. If you join a serious music theory social media group, you will see many such arguments.

The best way to learn new chords is to play as many songs as you possibly can. Any tune you can think of, look it up and try it out. Granted tabs and chords online are not always correct (copyright issues!) but it is good practice to fix the bad ones. You don’t have to necessarily learn every song, just try them all to discover new chords.

If you want to study chords a little further, it is important to look at what scale degrees the extended chords are built on. This will help in your own songwriting and composition if you choose to do that. For now, just knowing your basic triads and how to make a few extended 7 ^th chords will allow you to play most songs.

And that leads us to putting chords together in specific sequences known as progressions. Like our notes and intervals there are not that many to memorize and work with. The key is to know the most important progressions and when to use them.

Music Theory Crash Course: 3 - Scales

Tue, 28 Sep 2021 20:08:06 GMT

Part 1 : Notes Part 2 : Intervals Part 3 : Scales Part 4 : Chords Part 5 : Chord Progressions

Part 1 : Notes

Part 2 : Intervals

Part 3 : Scales

Part 4 : Chords

Part 5 : Chord Progressions

Scales

Scales are often given a hard time by budding musicians, they either struggle learning them or hate practicing! Well, the good news is that we can help you with both! We are going to simply take the 12 notes we have learned so far and put them together in different ways.

What Are Scales

As mentioned, when we put a series of intervals together, we get a musical scale. The most common we will run into is pentatonic (5 notes), hexatonic (6), and the heptatonic or 7 note scale. The latter is what we will be focusing on the most.

You have already learned a scale and that is simply playing all 12 notes in a row, which is the chromatic scale . It is fun to play at first, but quickly gets a little boring! Instead, we will focus on the diatonic scale , which is another name for the 7 note major scale or the Ionian mode.

Yes, here we are again with those music terms that can all mean the same but have slight differences! And yes, the word mode was added! Yikes! But in the key of C these are all the same names for these notes in this order.

C D E F G A B

The Major Scale

Now we have shown you can represent this major or diatonic scale in a few ways; there is the solfège shown above and the whole step and half step formula . A major scale formula is :

W-W-H-W-W-W-H

Look on your keyboard or instrument and start on C, using that formula you will get the exact notes as above. Some players like learning their scales this way, but it can get confusing fast, so it is often easier to just use the numbers .

The major scale is numbered

1 2 3 4 5 6 7

And don’t forget that despite using the easy key of C as an example these same formulas work in all keys!

If we start on D and use the formula :

And then one-half step more will bring us back to D! You can check every note/key. The major scales are the most important to remember because it is easy to work off them to build future scales.

Major Scale Degrees

Each number in the major scale formula 1 2 3 4 5 6 7 will also have a specific name and quality. These names will be more important later as we are building chords and progressions, but you can get an idea of what is to come based on your knowledge so far.

The tonic, subdominant, and dominant all have perfect qualities just like their intervals. They alone can be the backbone of songs. The supertonic, mediant, and submediant are all similar major and minor harmony additions. The 7th degree is known as the leading tone, and we will touch on that later.

Don’t let the scale degree names overwhelm you as it can all be the same info as below. And it works for every key, start D in the 1 position and place each note at its proper degree.

These major or diatonic scales will be our home base when we start creating new scales, so it is important to know all 12 major scale keys. Luckily there is an easy reference to hang right up on your wall!

Circle of Fifths

The Circle of Fifths has all twelve keys of the diatonic scales; the key signature on the outside will always be the major scale of that key. Start on the root and go up the notes following the flats or sharps, and you will get the same result as the step or numeric formula . It is much faster than memorizing all the major scales.

It is called the Circle of Fifths because each note is a fifth away from the last. If we move backwards, it is in fourths! Since we are mostly working in tonal western music, all our basic scale and chord info can be quickly ascertained from this chart. You’re not expected to know it all right away, but as we build chords it will make more sense.

The inner circle is the relative minor of each major key, and it has the same key signature. So, C major and A minor will both have the same notes, just in a different order. There is plenty more on our Circle of Fifths to continue with, but for now we will move to our minor scale.

The Minor Scale

W-H-W-W-H-W-W or

1 2 b3 4 5 b6 b7

The C minor scale is C D Eb F G Ab Bb

By changing a few of our intervals to minors we now have a scale with the opposite effect! Before moving on, take a moment to play major and minor scales and contrast them. You can verify any of those two with the Circle of Fifths and it will check out!

If we want to find the A minor scale :

That is the good news about music theory, we have different formulas and ways to look at what our scales are. Soon you will see that this Circle is often all you need as we will be obtaining most of our scales from the major and minor!

Different Scale Formulas

Using a number system makes it rather easy to play new scales. We simply start with our major scale and apply the flats or sharps on the scale degrees necessary. That way you can pick a key (or root note) and immediately find the rest with the formula. Below are some other common scales you will run across. Right now, your major and minor are the most important , but playing new scales can be fun.

Pentatonic

This is the most common scale across the world, so common it seems to be in our very genetics and evolution. This is a great scale for new students as it has just 5 notes making it easy for melodies and solos. However, with so few notes we are limited on harmonies and complex sounds.

Major Pentatonic

1 2 3 5 6

Minor Pentatonic

1 b3 4 5 b7

Harmonic Minor

It is like the natural minor with a small change. Here the 7 ^th degree is not flattened giving it a unique sound.

1 2 b3 4 5 b6 7

Melodic Minor

Also, like natural and harmonic, but more common than the latter is melodic minor. With just a flat 3 ^rd degree it has more pleasing qualities leading to its popularity in pop music. It is normal to see one song mix these minor modes in different sections.

1 2 b3 4 5 6 7

Augmented Scale

This scale is hexatonic and is made up of two augmented triads.

1 b3 3 5 b6 7

Diminished Scale

And the diminished is an octatonic or eight note scale. Because of the intervals it is built on, this scale can be used across many diminished chords. We will explain further in the next section as we build chords.

1 2 b3 4 b5 b6 6 7

Blues Scale

The favorite scale of many musicians, and a hexatonic or six note scale. That chromatic movement of the b3 to 4 to #4 along with the flat 7 ^th is what makes it so perfect for blues.

1 b3 4 #4 5 b7

Bebop Scale

There are a variety of bebop scales as they can often be a generalized term like “jazz scales.” But here we will show the major bebop scale which is octatonic or eight notes!

1 2 3 4 5 b6 6 7

When you investigate other bebop type scales you will see they are all chromatic alterations of the main scales you learn. Jazz musicians love their chromatic movements!

Whole Tone

The whole tone scale has six notes and a formula of W-W-W-W-W-W. Makes sense right! It’s all whole tones!

1 2 3 #4 #5 b7

Arabic

This scale goes by several middle eastern names and started gaining popularity in the expanding jazz and hard rock genres of the 60’s and 70’s. Now it’s common in heavy metal and progressive type fusion.

1 2 3 4 b5 b6 b7

Hungarian Minor

Another scale with many names, it is associated with Eastern European folk, the type of music the Addams Family may dance to!

1 2 b3 b5 5 b6 b7

As you learn your scales you will see repeated patterns with different names. But soon you will know how they sound before you even play them. Jazz and blues with its chromatic touch and the stranger exotic intervals will pop out right away.

Modes

Modes are simply different arrangements of the major scale. Normal C major is C D E F G A B. But what if we start on the second note and play D E F G A B C D? It’s the same scale, right? No!

The new ordered scale has different INTERVALS than the first. Play each one again and notice the different semitone steps, the second one has more minor intervals. It is known as Dorian mode, every note you can start on has a name.

Ionian

C D E F G A B

Dorian

D E F G A B C

Phrygian

E F G A B C D

Lydian

F G A B C D E

Mixolydian

G A B C D E F

Aeolian

A B C D E F G

Locrian

B C D E F G A

So, each mode above has the same notes, but each one also has their own unique feel. This will be shown by their intervals leading to specific formulas. (And yes, solfège can be used to determine the aural quality of each mode).

Ionian

This is our major scale of 1 2 3 4 5 6 7 and most songs you hear will often be in this mode.

Dorian

This formula is 1 2 b3 4 5 6 b7, by flattening our 3 ^rd and 7 ^th we get a minor feel but still not too sad. It was used in “Eleanor Rigby” and lots of funk songs.

Phrygian

This 1 b2 b3 4 5 b6 b7 gives us a very strange and exotic sound. Whenever you hear jazz or heavy metal attempting to be foreign sounding, this mode is likely.

Lydian

Here the 1 2 3 #4 5 6 7 has a raised 4 ^th which gives a real dreamy or flying quality. This is a common theme for epic movies and cartoon intros.

Mixolydian

Here the 1 2 3 4 5 6 b7 is the perfect rock n roll scale. That flat 7 ^th makes the scale bluesy and folksy. You can be sure the Grateful Dead loved this mode!

Aeolian

If you notice this 1 2 b3 4 5 b6 b7 is the same as the natural minor scale above. Usually, Aeolian mode is mixed with portions of harmonic and melodic minor mentioned in the other scales above.

Locrian

And this insanity of 1 b2 b3 4 b5 b6 b7 just makes Locrian quite unpopular! Ha! Its main chord is diminished, and it is just not a good scale to our ears. Most music that claims to be in Locrian is only partially in that mode because our songs we all love crave resolution.

One humorous way to remember your modes is with the subject of a breakup or lost love, as we all can relate.

If you truly miss your lost love and are sad, write a song in Aeolian.
If you are kind of sad, but also tired of their nonsense and ready to move on? Use Dorian.
If you are too wasted and having a good time to care about lost love, use Mixolydian!
If you are happy for the breakup and have a date lined up already, then use Ionian!
If you wish to stalk or your now ex or get creepy use Phrygian. Ha!
If you wish to write an epic film soundtrack based on your love, use Lydian.
And finally, if you don’t care about your breakup or anyone else in the world… use Locrian!

And Even More Scales!

And there are a variety of slightly changed modal scales, where we take a common mode and flatten or raise a note or two. Some of these you may notice as the same scale formulas as above because they can have different names. But the same formula and intervals will give us the same scale.

Phrygian Dominant

If we take the b3 out of the Phrygian, we get the more common dominant scale.

1 b2 3 4 5 b6 b7

Lydian Dominant

And if we add a b7 to the Lydian scale above we get.

1 2 3 #4 5 6 b7

Super Locrian

Here change a few intervals on the Locrian.

1 b2 b3 3 #4 #5 b7

The Score on Scales and Modes

Modes are important to learn and great ways to start writing a song if you want a certain vibe, but as we showed above there are way more scales than just modes. And there are even more scales out there to look up.

When you practice these scales be sure to do more than just ascend and descend. Move around, try out different orders and rhythms. This is literally how some songwriters start writing, they take a scale and run with it. Plus, it is also the easiest way to build a solo in your song.

Don’t worry about memorization at first, post your Circle of Fifths and scale charts in your practice area. Many seasoned musicians use charts and formulas, it is more important to know how to use them, then to remember them all.

If you really want to dive far into the use of scales for melodies, there is always the Thesaurus of Scales and Melodic Patterns . It was written by the famous composer Nicolas Slonimsky, and it has inspired many musicians. Coltrane is said to have carried a copy of it often and Frank Zappa used it too.

The book is so old it can be found free online and if you are new to music just looking at it can be anxiety inducing. It’s a lot of info, but now that you know more about intervals and scales you now can pick one and explore it. It’s just up to 12 potential notes in different orders , that’s all, no reason to be anxious or confused.

We built our notes into intervals, those into scales, and now the next step is to start building chords. You will be using the same principles and ideas so far, hopefully chords will be much easier now!

Music Theory Crash Course: 2 - Intervals

Mon, 13 Sep 2021 21:16:40 GMT

Part 1 : Notes Part 2 : Intervals Part 3 : Scales Part 4 : Chords Part 5 : Chord Progressions

Part 1 : Notes

Part 2 : Intervals

Part 3 : Scales

Part 4 : Chords

Part 5 : Chord Progressions

Intervals

In this lesson we will go over the sound qualities that are made with each specific interval. Remember our notes do not have much meaning until we play the next one, in this lesson we will learn how each note sequence sounds.

This is where your ear training really begins, and the best way to practice is to listen to well known songs. The first note you start on is known as the root and for now we will stick to C. On your instrument of choice play C and then C#. Play them back and forth and it sounds like the theme from the movie Jaws. That half-step or semitone interval is known as the minor 2nd.

When we move two semitones up it is known as whole step or whole tone. Later when we build scales , some formulas will use W for whole tone and H for a half step. Each keyboard key and fret on a (Western) stringed instrument is usually a semitone apart.

This graph below shows the name of each interval in western notation and how many half-steps it takes to get there. Be sure to play along with each interval as we give examples below, repeat it over and over and let it sink in.

Our intervals can be perfect, major, minor, augmented, and diminished. Each quality will determine its overall sound.

The perfect fourth, fifth, and octave will all have very pleasant sounds. The initial root note is the most important and the next is the fifth (or dominant). These intervals are often used in strong tonic and resolution type situations.

The 2nd, 3rd, 6th, and 7th can be major or minor and they play a large part in melody and harmonic qualities. These intervals are really what give more flavor to the music. Later when we start building chords these are what will start giving us our blues, jazz, and the genres that have since broken off.

The augmented and diminished intervals sound unpleasant at times and begging for a resolution. Augmenting is raising or sharpening the note by a semitone, and diminishing is lowering it by one.

Intervals can continue into the next octave and in jazz chords you will see chords like C9 or G13. Don’t let these higher chords scare you, we are simply continuing our count with the notes as before. And like the 2nd, 3rd, 6th, and 7th they add the similar flavor, but in many cases with more spice!

Interval Song Examples

One of the best ways to practice ear training is to learn popular songs that have great interval examples

Now we used C as our starting note above, but keep in mind that any note you start on will have the same intervals. That is why we can change the key to a song , and it will still usually sound ok, because we are playing and singing at the same intervals.

Here is a video showing different examples for each intervals:

Practice your intervals as much as possible. Keep that piano app on the phone handy and when you hear a song try and pick out some intervals being played. It will be a matter of trial and error, but it is some of the best music training you can find.

As you listen to more music you will start to notice these intervals. If you want a real challenge, go back through the song examples above and see if you can find the next notes.

Depending on your instrument you will have different approaches to these intervals. A bebop sax player may jump all over, but a singer will have to keep in mind the realities of their vocal range. Unless you are Plavalaguna .

If you have ever used a harmonizer pedal (common for guitar players) that essentially allows you to digitally select the intervals you want to play.

Why Interval Study?

Ok so it is kind of cool to hear these songs and recognize the intervals, but really what is the ultimate point? Most of us aren’t Grammy winning vocalist Bobby McFerrin and we rarely go around learning new songs just by intervals.

What intervals will help you with is with scales and the building of chords. Do scales sometimes seem overwhelming and insane? Now that you know your intervals, they will make more sense and now just be a quick reference to look up when necessary.

Now we are going to put all the notes together in certain patterns to build on the aural vibes and feelings we already have with intervals. And before we begin you can probably make some guesses? For example, a scale with all major intervals will sound bright and a scale with minor will sound down and maybe sad.

Notes | Fundamentals of music theory

Tue, 24 Aug 2021 19:58:34 GMT

Part 1 : Notes Part 2 : Interval s Part 3 : Scales Part 4 : Chord s Part 5 : Chord Progressions

Part 1 : Notes

Part 2 : Intervals

Part 3 : Scales

Part 4 : Chords

Part 5 : Chord Progressions

Music Theory Disclaimer

Before embarking on your music theory journey, it is important to remember a few key points. Music theory is often portrayed as difficult, when instead it is just ambiguous. There are multiple ways to find an answer and what you are told is against the rules, sometimes really sounds amazing.

Learning music is the same as any other language, the more you immerse yourself, the quicker you progress. The Beatles and other greats learned to play music by putting a record on and playing along. The only better method than that, is to go play with some other musicians. You must be willing to make lots of mistakes and sound bad for a while.

As you read these lessons on music theory, make sure you have any instrument to play along. Even a simple piano or other music app on your phone will suffice, you don’t have to spend a fortune. If you play a guitar or ukulele it may help to have a tuner around to check the notes you play, but the theory below applies to any instrument.

And finally, some good news about music theory is that there are only 12 notes we are dealing with! Once we get acquainted with these notes and how they interact with one another, you will have a solid foundation in music.

Notes

If you head over to Wikipedia and look up ‘musical notes’ it says they are symbols denoting musical sound. While that is the proper definition, it’s kind of vague, especially for beginners. And that’s because a note has very little meaning until we know its duration, pitch, and most of all what comes before or after it.

In this guide we are going to be dealing with western music notation, so our notes are based on semitone intervals. A semitone or a half-step is the length between each piano key or guitar fret. There is some amazing music in the world that deals in quarter tones and microtonal music , we won’t be diving into them now, but they are worth a look.

Our First Look at Notes

No matter what instrument you play, it is helpful to use a piano keyboard when it comes to beginner theory. Below is an image of all 88 keys and where the notes fall on the staff.

Pitch

As you can see each note has a designated pitch, all the notes that have the same letter will sound the same, except a different octave. There are seven full octaves on the piano.

C1-C2, C2-C3, C3-C4, C4-C5, C5-C6, C6-C7, and C7-C8

The numbers beside the note tell us which octave it is. As you can see, C4 is right in the middle of the keyboard. Knowing the octave number can be very helpful when tuning, and most tuning machines give the value these days.

If you play guitar, a six string is in the E2-D6 range. A ukulele is C4-A5 and, the piccolo ranges from D5-C8! The human voice usually ranges from E2-C6, but there are exceptions.

Here Mariah Carey sings in the C3 to E7 range And The famous Paul Robeson who was a bass baritone sang from A#2 to D#4!

Any vocalist you like or any instrument you play will mostly be in the range above, the next time you hear a piece of music, try, and figure out what range it may be in. That’s why a little piano app on your phone is nice, to help you find pitches. This will help you become a more active listener.

A Note on Frequency

We are not going to dive into the science and physics of the musical notes, but one aspect of frequency is very important. A couple hundred years ago there was no standard pitch, and many musicians tuned their instruments to different frequencies. This made it hard for singers and when playing with someone else.

Eventually it was decided to tune our pitches to the A=440 Hz, and that caught on and is still in use today. Some readers may have read about how the Earth’s frequency is 432 Hz and that number has healing or magical powers. It doesn’t! It is all arbitrary as you will eventually see.

Clef and Music Reading

The art of reading music is dying out and that is not good. Many modern beatmakers work in DAW’s and ignore any form of scoring, which will bring problems. It’s not necessary to become a professional engraver but knowing where your notes are will be very helpful later.

Below are the notes broken up by clef. Instruments that read their notes mostly on the bass clef are the tuba, trombone, bassoon, cello, and more. Instruments on the treble clef are guitar, saxophone, bagpipe, trumpet, and many more. And of course, the piano uses the bass and treble.

Why should you learn the notes on the treble and bass clef? As you progress in playing you will want to know solos, song keys, modes, and more about the song. And for those who haven’t noticed the Internet is not filled with the best info! Instead, you can google the sheet music and see the notes for yourself!

(Later when you learn chords and chord progressions you will quickly discover that many tabs and chords online are terribly wrong!)

Accidentals

The notes in the image above are not the whole picture. We will not always be in the key of C so we will have to raise or lower our notes as necessary. We can raise it or make it sharp (#), or it can be lowered/flattened (b). These are known as accidentals.

If we raise or sharpen our C note, we will get C#. If we flatten the C note we will move one semitone back to B. Sometimes you will see a note that is double flat (bb). But no worries, you simply lower it two semitones or a whole step.

Accidentals can be shown in the key signature or on individual notes within the song. With our note knowledge so far, we can build the basic 12 note chromatic scale.

C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B

The notes that have a slash above are enharmonic, this means they are the same, but not! Ha! Music theory is so fun! They are the same sounding note when played alone but depending on your music key, it will matter if you use F# or Gb.

Duration

Now that we have worked on our pitches and know the chromatic scale, we need to discuss the duration of the pitches played. In the image above those notes were quarter notes. Below is a chart on how the notes break down from whole, half, quarter, eighth, and sixteenth notes.

by Chelsey Hamm, Mark Gotham, and Bryn Hughes - https://viva.pressbooks.pub/openmusictheory/chapter/rhythmic-rest-values/

Of course, the time you spend playing those notes will be determined by the tempo and rhythm of the song. And depending on our time signature, we will know what our note values will be. Time signatures and reading sheet music will be better topics for you once you have some theory down.

For now, the best way to get you to understand note values and duration is to give song examples. When you hear a bass playing a walking bass line , they are using quarter notes. When you listen to rock and pop drums, they play in 1/8 notes (1 and 2 and 3 and 4 and).

Funk slows down the tempo a bit so they can play in 1/16 notes (1 e and ah 2 e and ah), this gives funk that groovy feel . And if you like to listen to speed and death metal, you have likely heard 1/32 notes playing on the drum double bass pedal at lightning speeds . Trap music beats also use those highly subdivided note values.

Rhythmic Counting

If you struggle with reading or writing sheet music one of the better ways to practice is by assigning syllables to each note duration. One popular method is the Kodály method.

Now when you look at music you should be able to at least find the proper pitch using the images above. And even if you aren’t skilled at sight reading you will now also get an idea of how the song will sound by using the correct syllables.

There are other methods for rhythmic syllables, or you can use the number system like we did above. If you practice enough, you will find sheet music isn’t so confusing. Making your own sheet music is one of the best ways to practice your note values and learn their pitches.

And the biggest problem you will have with note duration is likely syncopation or swing. Syncopation is what makes you want to dance and where jazz and rock came from. When you accent the offbeats and play slightly off time, you will get some groovy swing. It is possible to denote swing in sheet music, but that’s a little advanced for now.

Swing is also hard to play sometimes, you can see the notes or chords and know how to play them, but you must be able to get that loose feeling and vibe. Most seasoned musicians will tell you that it took some time to learn syncopation.

Loudness and Timbre

We have discussed the frequency and pitch of notes and you now are acquainted with the commonly used values and basic rhythms. We can’t forget another important and obvious quality; and that is how the note sounds! Is it played softly or loud? Do we slur our notes together with legato or keep them short and distinct like staccato?

Many of these other note qualities can fall under the category of its timbre, which describes the texture and overall color of the music. Once you are comfortable with some basic chords and songs, we can revisit the ideas of timbre and texture.

What's next?

Now that you know some basics on the 12 musical notes, it is time to take the next step. Notes by themselves represent a certain pitch, but they have little meaning until you add other notes in. The sounds that comes before and right after your note will make all the difference in the overall vibe. So, our next step is to show how notes interact with each other, we will discuss musical intervals.

How to Prepare for a Recording Session: 5 Steps to Effortless Virtuosity

Tue, 10 Aug 2021 18:17:18 GMT

For those who keep an office job, you’ll probably have sat through various meetings about time management and productivity, so you’ll be familiar with many planning and organization tips. Though musicians aren’t famously known for their business savvy, anyone looking for how to prepare for a recording session might benefit from a little touch of this workplace formality.

Taking the recording studio seriously requires a good amount of preparation, but the rewards are huge! There’s no need to sacrifice fun for efficiency, as you’ll find you can happily preserve the pair. You can turn a simple recording session into a well-oiled, fine-tuned masterpiece through clever checks and an open outlook.

1. Get all Business with your Music

Because of the creative, spontaneous nature of the industry – the passion and raw expression that musicians pour into the work – recording sessions are rarely planned as thoroughly as they perhaps should be. Whilst, no one is looking for a twelve-page analysis, thinking of studio sessions in a business sense can help you stay focused, and take the music a little more seriously.

Sitting down and drafting up a solid schedule with clear aims is the key to success. Firstly, and most obviously, ask yourself what you will actually do in the studio. Is it pre-production? Are you song-writing? How many tracks do you want to get? From these concerns, establish an explicit, defined target that can be understood by both artist and producer.

You could create a priority checklist so that the most important tasks get done first. It’s devilishly easy for time to get away from us, so you can think of these targets as either critical – “We must finish the bass parts today” – or desirable – “ If we have time, we’ll see if saxophone works for the middle 8” – so you don’t get a massive headache worrying about everything all at once.

A comprehensive planning phase is even more essential with larger projects, where costs quickly mount. In such cases, you need to strongly consider budget, as this magic number determines the kind of sessions you get, the quality of leased equipment, the hours an engineer can dedicate, and perhaps even the skill of the individuals involved.

The fact that every hour carries a big cost can work in your favor; it acts as an incentive to maximize efficiency, which in turn saves money. Identify your specific critical and desirable goals for each session, else you can rapidly lose an entire session daydreaming, and with it a lot of coins, too. Always budget for one or two extra sessions as you’ll likely underestimate the time required, or face a few unforeseen obstacles.

In a nutshell: Run your music like a business. Clearly define and communicate your aims to keep all involved on track and able to work to clear parameters during every session

2. Prepare like the Apocalypse

Even after the briefest experience recording music, one comes to realize the importance of good preparation. It’s not exclusive to music, at all; being organized and well-equipped produces better results in any situation. While artists will naturally lay the most emphasis on practicing the songs, there’s a plethora of prep that you need to enact for a stellar studio session.

Musicians absolutely need to master the music, but some other general preparations should also be made. They’re really just standard practices for being professional and productive, so many are intuitive. In our case, let’s break it down a little.

What you should do

Keep all project members informed of updates
Master the music before you get to the studio
Practice with a click-track (especially bands)
Consult with the studio about their available gear and resources
Arrive on time, fresh-faced and spritely
Ensure you’re well-fed and rested
Try to get into a positive, open-minded state

What you should bring

A written outline/plan for the session (paper or digital)
Reliable, working instruments (multiple allows for choice)
Spare parts (strings & skins)
Hardware (leads, pedals, adapters, tools)
Lyrics, sheet music, and tabs for everything on the agenda
Any audio files you plan to use (via e-mail or physical drive)
Healthy, high-energy snacks and a lot of fluids
Anything that helps you get comfortable and in the best mindset

Turning up on time with this level of organization will make things go significantly faster, leaving you a little amazed at how much you can get done when you’ve accounted for everything beforehand. Not having the exact pieces of kit you need can waste hours , having a knock-on effect on a team’s motivation and mood. Even the apple that stops you from getting grouchy makes a profound difference, so prepare as best as you can in all ways.

In a nutshell: prepare in as many ways as possible to put yourself in the best position of efficiency and productivity

3. Practice is for Home, Performance is for Studio

There’s a huge expanse of words to describe working in a studio, but cheap definitely isn’t one of them. Sadly, countless artists waste their precious time and money by coming to the studio in practice mode. It’s a brilliant way to kill all of your momentum if you are crazy enough to want that. Every note should feel natural by the time you’re in the studio. The more proficient and familiar you are with a track, the faster you can record it, freeing up some time for some impulsive, experimental jamming... you know, the fun bit!

When you’re practicing at home, you may not wear headphones, and most probably don’t have a click-track playing incessantly. Consequently, when you get to the studio, you get thrown off a little bit. Hence the need to get used to the click-track before you go anywhere near the sound desk.

Recording with a click-track, or metronome, eliminates tempo fluctuations, allowing you to easily overdub and more freely mix parts of a track. In many cases, each instrument will get its own individual tracking session, making a click track even more vital.

Of course, improvisation is distinct from practice, so it’s still a good use of time in a recording session. Capturing a new riff or fill on the fly is truly exhilarating, but watching your lead guitarist fluff their solo four times is closer to painful. Having sporadic bursts of free-playing between takes can keep the group from going insane, but remember that a recording session should feel like work, because it is work.

In a nutshell: master the music then practice thoroughly under the same headphone and click-track conditions you’ll get at the studio. Leave room for improvisation if things start to feel uninspiring and regimented

4. Quality Gear makes Quality Music

When recording, you’re on the clock, so any problem you encounter with your instruments or equipment makes a huge impact. Sort your gear out, ensuring everything plays well and components all work with one another. If you don’t spend time on this, it’ll be the engineer who has to, with you paying for the service.

There’s a big difference between quality and usable equipment, so bring the best tools you have. Consulting with the studio is advantageous because you can find out the exact equipment available for hire, or negotiate some included as part of the larger agreement. Even the slightest warping of untended instruments can result in some questionable tuning and harmonics, which will be magnified tenfold on a highly-produced track.

Some guitarists consciously maintain old strings to create a certain timbre, but the general rule is to whack on a fresh set. Just like a gig, you should be bringing sufficient spares and tools that keep you going through the session if you have an issue.

It’s also quite fun to have some choice, too, which you can do by bringing multiple instruments or plenty of effects and amps for particular styles of sound. If your good friend has an expensive gem that they’ll let you borrow, be sure to grab it. The more equipment you arm yourself with, the more potential you have in the studio!

In a nutshell : source the best, most reliable gear and instruments, with plenty of provisions for fixing them if they go wrong. Don’t be shy when borrowing equipment from mates or studio

5. Make Sure your Voice is Heard

You’re spending a lot of energy and finance on the privilege of a dedicated, professional production. The role of the engineers and assistants is to accommodate your ideal, aiding you in creating a fantastic track that shows the best of what you can do. Therefore, if there’s anything that is causing you grief – no matter how small – you need to bring it up.

If you want the lights adjusted, if the room feels a little cold, or if you aren’t happy with the way equipment has been arranged, tell the studio what your optimal environment is and expect those standards ready for the next session. In terms of personnel, make sure the engineer or producer matches your style and works well with you.

Being complacent and totally silent about concerns doesn’t help anyone, and it can actually confuse the people you’re working with. However, you’ll quickly irritate everyone around if you suddenly become an outright diva, so a little caution is advised. Find the brilliant middle-ground of firm yet fair.

There are lots of variables (budget, circumstance, clientele, ideology, etc.) that affect how a studio feels and operates, so there will inevitably be a lot of compromise between the two parties. Just remember that the whole reason you’re there is to make an awesome song with what you’ve got.

In a nutshell: Speak up when something is suboptimal, leaving your ego at the door. You’re paying for a service, so make sure everything suits you and feels right .

Conclusion

If you’ve decided you require professional studio production, remember the main aim of creating the best possible result, which you cannot achieve on your own. This process doesn’t begin once you arrive for the session, but much, much earlier. Only through adequate preparation, diligent practice, and a fun, collaborative spirit can you maximize your time in the recording room.

It’s a team effort, so it’s best to foster a supportive environment that brings out the best in everyone involved. Use every tool at your disposal, being receptive to the expert guidance of the techies while staying true to your vision. Do all of these things and you’ll surely have something remarkable to show for it!

The Secrets of Success for Remote Music Collaboration

Mon, 05 Jul 2021 14:49:10 GMT

We repeatedly hear about the latest digital developments that now allow faster this and better that, but how do these apply to musical endeavours?

We’re now very must used to the notion of streaming music through mobile devices, but the practice of remotely creating singles and albums in a similar fashion is not yet widely practiced.

However, remote collaboration has its own, unique place in the musical world. It can be hugely useful to many but for those in more isolated areas, or lovers or less-common genres and hybrids, it may be the best option for finding likeminded artists.

What is remote collaboration?

Remote collaboration happens every day: banks exchanging money, customer service lines, programming or countless other computer-based jobs, and obviously a plethora of work in the creative industry.

We’re used to traditional song-writing practices, the teenage band in the garage, producers and professional studios, or solitary soloists and pairs recording away at home. What most of these examples have in common, of course, is a physical location, hence it seems a little strange to think about “remote” music creation.

All in all, remote music collaborating is simply the practice of making music when all or some of the artists are in separate locales... and it may not be as strange or unnatural as you first assume.

What are the major differences and difficulties?

As mentioned, the biggest difference is the lack of one centralised place, but that doesn’t mean you need to sacrifice real-time communication or brilliant improvisation. Thankfully, with the tech, gadgets and tools we have access to today, it’s entirely viable to create excellent music remotely.

It’s not a replacement for face-to-face sessions, but an effective

alternative for when meeting up just isn’t possible.

Immediate potential difficulties faced will be the feeling of a reduced natural creativity and issue of effective communication, wherein you don’t feel as inspired and somewhat disconnected from your peers. However, the rise of general connectivity and continued competition between music/recording apps and software has led to some ingenious advancement, so groups are able to stream instantly with each other, making live practice possible.

How do get the best results?

The true distinctions between the two mediums can be extensively minimized by knowing a few tips and tricks. There are lots of workarounds for keeping communication quick, protecting that precious spark of inspiration, maintaining efficiency when actually transferring recording files, arranging them and actually producing the track.

Clearly, there’s no one philosophy that works for everyone and certain methods may not apply to your particular project, but even some light consideration over better ideologies towards working well together at long distances will make the entire process easier, more enjoyable and far more productive.

Here is our advice on successful music collaboration:

1. Communicate and Prep

As president Abraham Lincoln is quoted: “Give me six hours to chop down a tree and I will spend the first four sharpening the axe.” In much the same way, music collaboration, whether local or remote, benefits hugely from a dash of proper preparation, a little discussion prior to plugging in.

When working far apart, eliminate the inefficiency and impersonality of e-mail exchanges by choosing to simply call or video chat, using apps such as Skype or Zoom. As well as your best expectations, it’s useful to also talk about things you’re trying to avoid, so that the path to a brilliant end-result appears clearer and more direct.

Alternatively, groups can communicate through in-built features within online music-making apps or producing software, many of which offer some form of chat or live feedback function. Let’s look a little closer at the importance of using these online tools.

2. Powered by Apps

The true source of remote music-making muscle comes from the vast range of fantastic apps and software available right now. Utilising these tools and services can accommodate faster, more effective messaging and bring many responsibilities and duties of creative music into one interface. Here are our recommendations, to mention but a few:

Soundtrap

As per their website, Soundtrap gives you the ability to “ record, edit and collaborate on any device, anywhere you go,” highly sought-after features for remote music makers. Audio Assemble rates it quite highly (9.1/10), revering that fact that “it is of one of the few cloud-based DAW’s that allows collaborations within the same session in real-time... [making it] a legitimate community of musicians. ”

Based on a freemium model, with additional features unlocked through subscriptions, the app has an impressive library of over 4,000 loops, beats and presets, allows the import of your own files (mp3, m4a, wav) and notably superior synchronization features for quick, effortlessly layering.

Pibox

“ Review creative content 70% faster ”, claims Pibox, an interface designs for better communication and transferral of files. Think of it like Slack or Microsoft Teams for musicians and producers. Users are able to leave feedback on specific parts of tracks, benefit from generous cloud storage and make use of an array of organizational and communicative tools.

In their review, Finances Online mention that “Pibox also provides a platform wherein you, your team members, collaborators, and reviewers can work in tandem,” featuring “extensive file support” and “high-definition calls and streaming to improve your team’s productivity.”

Avid Cloud Collaboration

For those who already make use of Avid’s hugely prevalent Pro Tools, their Cloud Collaboration feature allows multiple users to effectively manage a project remotely, with an integrated chat feature for better communication and edit notes.

Available on any device with the Pro Tools software, you can easily start a collaborative project, or make an existing track collaborative, with the click of a single button. Afterwards, you’re able to work with anyone from around the globe, be it a singer, instrumentalist or producer.

“ Collaborating with creatives who have a similar mindset but different

skills or experience can directly benefit you, ”

University of Silicon Valley

Those mentioned are great resources, but there are other amazing options. If you’d like to know more about these sorts of apps, the Musician's Institute has a great read, as does the Landr blog – a provider of its own music collaboration app – as well as an article by Musician Wave.

Regardless of your software selection, the vital factor is finding a platform that works for everyone, as to make sharing, mixing and feedback more convenient. In certain cases, it may be better to implement multiple apps or software.

3. Own the Tool, Learn the Tool

Once you’ve found a place to compile ideas, share recordings and communicate well, spend a little time making sure you’re competent with the platform, and are taking advantage of as many applicable features as possible. For every type of software, there’s tenfold the number of tutorials online, available both as written guides or help videos.

For example, say you wanted to learn more about Garageband. You could find countless videos on a dedicated YouTube channel like The GarageBand Guide or learn about GarageBand Power Tips in a written piece.

Of course, anything you do learn is not only valuable to you but every member involved in the project. You can quicken the process and increase efficiency by sharing new knowledge about any tricks, shortcuts and features you find. As a consequence of this kind of co-operation, you will probably find that your team general feels closer, further improving productivity.

4. Keep yourself Disciplined

When you’ve booked studio time, it’s easier to get into a serious mindset and consider every minute there as money leaving your band’s wallet. However, with remote collaboration, in lieu of a physical space, you run the risk of letting yourself feel a bit too relaxed, unless actively keeping yourself in check.

When you understand your project as a collective effort towards a valuable and refined piece of music, you may be more inclined to act more professionally, leading to generally better working practices. Equally, scheduling meetings and sessions online should be done with a similar gravitas and professionalism.

When you’re working within different time zones, keeping to a set schedule is even more crucial for the healthiness and continuance of your team relationships. If you agree upon a section of the day to freely jam or practice a certain section, you should treat it as working hours, which applies to video calls too. For some more general guidance on online etiquette, you can check out Slack’s Ultimate Guide to Remote Meetings.

5. The More the Merrier, the Merrier the Mightier

One of the major advantages of working collaboratively is the capability to pull from greater collective experiences and knowledge. If you’ve got it, flaunt it, as they say, so don’t be shy about seeking or giving advice as a way to maximise your collective potential.

Just as every extra member brings new perspective, ensuring all contributors feel respected and valued will bring with it greater enjoyment and passion for the project. Keep in mind that collaboration of any manner should be mutually beneficial for all participants, and when it isn’t you will find that people quickly become disinterested in sharing their riffs or mastering your mix.

Another note is to cultivate that sense of intimacy and heart that presents when you’re face-to-face in practice rooms and studios. Actually, it is possible to experience a strong bond with your fellow musicians even when exclusively working remotely.

Swedish DJ and producer Johan Hugo has turned to “ doing sessions on Zoom and using tech that allows you to mix live in real time and in high fidelity ” in reply to extended lockdown. “ What’s surprised me ,” he says “ is that you can get a sense of intimacy and connection within a remote session. ”

6. Open Mind

In the 2012 Handbook of Organizational Creativity, Paulus, Dzindolet and Kohn express the idea that “ creativity implies freedom” and that “members of an organization or a team must feel that the organization or team is receptive to and supportive of the expression of new ideas [otherwise] individuals will not risk the potential ridicule or negative reactions that may accompany new ideas, especially radical ones.”

Simply put, keeping an open mind to better foster new, alternative ideas is often a precondition of a fair, fun creative environment. In efforts to preserve a healthy working relationship within your group or team, allow exploration into many avenues. Don’t stress too much if this slows down production a little; while adherence to deadlines is import in a business sense, it doesn’t actually influence the music like a feeling of creative freedom does.

Conclusion

We’ll always think about music creation in terms of guitarists jamming in their basement, and there’s little to no chance that physically getting together will be replaced, but in times and situations where that’s utterly undoable, getting to grips with remote music collaboration can considerably help you, not just with making tracks but mates too.

In reality, anyone with a positive attitude and a noticeable passion for their project has a better chance of working better with others. For your next hit, though, it may just make all the difference to remember these few tips and tricks on how best to produce your remote music collaboration.

How to Create a Chord Sheet With a Song Template

Mon, 21 Jun 2021 13:37:25 GMT

As a musician you find a point where you have played your fair share of songs with tabs and chords. Eventually you will reach a stage where you or your band will start writing original songs, and the best way to get started is by creating a simple song template with chord sheet making apps and software.

But even simple music scoring can be a little daunting for a beginner! In this article, we will show you some basic chord progressions and song formats to start with, that way you get a better idea of how to create a chord sheet and how to write a song.

Common Chord Progressions

Music is not as creative and unique as many people think it is. There are only so many drum rhythms, bass lines, and chord progressions out there; legally speaking, the melody, hooks, and riffs are what can’t be copied. Before we mention a few well-known progressions, let’s review our Nashville Number System (or some prefer to use Roman Numerals).

The Nashville Number System was popularized by the Jordanaires (the backing quartet that sang for everyone from Elvis to Ween ). The system was a quick way to transcribe keys by just showing which scale degree the chord is built on. They would walk into the studio and hear “it’s a 1-4-5 in the key of G, slow 4, and watch me for changes.” The players would then know this new song has the chords G-C-D, and is played slowly in 4/4 time. Even a beginner can easily change keys with the chart below.

The chart is chock full of info, so start with the one key you are most comfortable playing in. If you don’t know what key you sing in, stick with C and G in the beginning as they are the most common. Using that chart, you can fill in the chords for these very popular chord progressions.

I-V-vi-IV ( Axis of awesome )
I-vi-IV-V (Doo wop progression)
vi-IV-I-V (sensitive/moody pop)
I-IV-V (basic folk/pop/rock)
I-IV-I-V (blues)
I-VIIb-IV (classic/epic rock)
I-iii-IV-V (rock ballad)
I-ii-V (jazz)
I-ii-vi-V (jazz/pop standard)

Almost all the songs you hear can be covered by those progressions or slight variations. This is how bands can play songs on the fly without too much practice, they already know what common chord sequences are used across many genres. And this is also why lawsuits are so common!

The best part about knowing chord progressions, is that a songwriter doesn’t have to constantly get a spark of creativity to work. They can start a new song with a rhythm, riff, or with one of these common progressions.

Notice how we added the F chord in briefly at the end of the chorus, this gives us some better resolution. As you build songs with chord progressions, experiment with simple changes and then as you advance you can really get into some fun chord substitutions.

A simple chord sheet like this may sound generic and similar, but this is how songs work. We all have the same skeletons with different features; think of music the same way. Try other progressions to see how they sound; and at first, at least stay in the same key you are comfortable in.

Here is another example using the I-ii-V progression in the AABA format.

Notice in the B section we didn’t stick to a specific progression but used similar chords. It’s ok to shuffle our chord orders around, use your ears to tell what might fit. These first chord sheets you make will not be complicated, but they are still amazing practice for studying music theory and composition.

Creating a Lead Sheet

Of course, it isn’t necessary to write the C-G-Am-F verse out twice, we could just show it repeats. However, depending on you or the band’s music reading skills, it may be best to write all the measures out. Remember the point of this isn’t to force perfection or absolute scoring knowledge, it is simply to get you started writing chord sheets.

Eventually though you will advance and start moving into more complicated aspects, especially creating the lead sheet. If you took the basic chord progression above and made it into a song, your next step is to place the notes of the melody into your music. But that will require more practice in ear training and lots of patience.

If you have created a song template for your band then you can add in melody notes at practice, or other members can work on the shared project alone. And even if you don’t get a final song out of it, your band will be well versed in common chord progressions. Perhaps with practice, one day your lead sheets can look like this ? Easy right?

Conclusion

With these basic chord progressions and song structures you should be well on your way to creating your own chord sheets and original music. Perhaps you have a list of past songs you would like to get on paper, or this is just a new route for inspiration. Now that you have some basic music scoring skills, your creativity and songwriting will be so much better. Just don’t forget to practice and play what you write!

The Essentials of Hiring Freelance or Session Musicians

Wed, 26 May 2021 13:19:06 GMT

Traditional nine-to-five jobs have long been around, but there’s been a steady rise in freelance work in recent years. The Intuit Report (2011) predicted that freelancers would exceed 40% of the US workforce by 2020. In actual fact, 59 million Americans (36%) were freelancing in 2020. It’s called the gig economy, for a reason: traditionally, musicians were the prime example of this kind of work.

I’ll have a Pint of Music, Please

Modern society is based upon the exchange of money for goods and services. It’s quite obvious when we’re buying a pint of milk, renting a bicycle in a foreign city or paying a streaming subscription, but it gets blurry once the product or service isn’t tangible.

When you hire a freelance musician, what precisely are you buying? The answer dictates the working relationship and conditions. Depending on the expectations of the producer, different approaches to both the hiring and creative process will be used. First and foremost, people tasked with hiring freelance musicians need to be familiar with the etiquette of freelance work and the nature of the music industry.

Here are the essential points on how to hire session musicians and work well together:

1. Provide Information

As with any job, finding the right person is the key to a painless process. When canvassing candidates, you should provide as much information as possible; describe the project precisely so that you can easily track down the most relevant musicians. Follow a general hiring procedure and focus on:

Relevant Experience
What similar projects have they done? If you are looking for a jazz guitarist, save time by requesting examples of comparable projects.
Hard Skills
Does the job require them to have a formal music education, or other certifications that demonstrate their ability to do the job? If not, what are their other skills? Do they excel at improvisation or sheet-reading?
Soft Skills
Do they have a personality that will fit with the team? Are they an applicant that will work amicably and competently with others members of the project?
References/Testimonials
How have previous clients rated their performance and attitude?

By asking questions relevant to a project, producers find relevant answers. This will quickly brush away the musicians who aren’t particularly versed in the specific genre, techniques or musical direction the project is concerned with.

It’s best to come up with specific objectives that are easy to understand so that the session musician feels confident they can align themselves with the goals. Additionally, the probability of finding the ideal freelancer can be increased by placing your ads on industry-specific sites, such as Airgigs or SoundBetter .

2. Money First, Work Second

Just as producers have explicit expectations, so too do session musicians. Most of them expect to be paid. Simply put, it’s just unprofessional to start work without talking about finances. If money is offered for studio time, the decision between hourly charge and a fixed price must be made.

Conversely, the industry standard for live gigs is fixed price, which can be influenced by the individual’s proficiency and workload, expected revenue and standard rates for the region. Regardless, working within defined terms will build a professional rapport, resulting in more efficient and productive work.

If the gig is unpaid, try to offer other incentives, such as exposure, experience, although the maxim “you get what you pay for” should be remembered. Freelance musicians are unlikely to offer the best service unless they’re getting some money out of it: one creative alternative could be to offer partial rights to the music, if their role is significant enough.

3. Be Prepared

Mechanics need spanners, chefs need knives, and pilots need planes (and aviators). Likewise, musicians can’t work without the correct tools. The smooth beginning of any recording session or live gig starts hours before anyone arrives.

For recording sessions, keep in mind that studios are a little pricier than a bassist’s garage; it’s not a place for practice, but production. Project leaders can save time and money by having the writing finished, equipment checked, and all provisions provided.

Audio and sheet music should be prepared and ready on demand. Further, any audio or sheet music that is sent to a musician prior needs to be the absolute, correct version to avoid any confusion or delay, which applies to both studio recording and live gigs. In addition, for live performance, make sure the musician is aware of planned rehearsals, length of shows, number of songs, and the extent to which they should learn them. Even popular songs, which many may assume to be in a player’s repertoire, can prove time-consuming when proper sheet music isn’t provided.

If you don’t have full sheet music, giving musicians chord progression, stylistic notations and any written information (time signatures, rhythm, harmonies) that will aid them is preferable. A picture is worth a thousand words, and so too is a song; compile a playlist of similar songs that capture the vision of instrumentation and dynamics.

Simple things like a chord sheet and playlist will save time and effort. Online chord makers are convenient and easy-to-use; some providers, such as Chordsheet Make r , even come as mobile apps with transcribing features. At the same time, finding related songs for a playlist has never been easier, so there really is no excuse for unpreparedness.

4. Understand the Service

Although musicians are clearly passionate about music, they can’t be expected to fall in love with everything they play. This can’t be forced, either, so any efforts to do so are unproductive. Although freelancers will have informed, expert opinions about the music they contact with, they are offering a service that should predominantly hinge on their musical ability, not emotional response.

Any accomplished session artist will still be able to imaginatively interact with the music without having a strong attachment. However, if it so happens they do start to relate to the project, your recording session will probably go a lot better. This is one reason why producers should consider original input as part of the provided service.

On the other hand, as it’s a paid service, session musicians should have high competence in picking up the musical phrases and shouldn’t require countless takes to get to something decent. Musicians are aware of how competitive the industry is and should have taken efforts to practice as many styles as possible. Therefore, producers should expect them to be able to do the job at an accelerated pace. Incidentally, this benefits both parties, as having artists play take after take will bore and distract them.

5. Create the Plan, Plan to Create

As Louis Armstrong once sung, “the creator has a master plan”. Producers and composers may have very specifics vision for their songs, but session musicians are huge resources of creativity. Whilst an explicit plan can be great for holding focus and setting clear aims, too strict a framework will limit spontaneity and improvisation.

Those well-practised in the creative industries are aware that collaboration is unavoidable. Songs benefit from a little room left for the session musicians to be creative. Promoting extra input can result in fantastic, unforeseeable results that complement the music.

Session musicians that are given zero opportunity to be creative will eventually become disillusioned and bored. If a project really doesn’t require artistic input, ensure that the freelancer is more suited to structured, constrained sessions or performances.

6. Ask for references

It’s a common practice for someone to enhance their CV, or exaggerate relevant qualifications, so it’s important to ask for references. If session musicians have previously worked under an agency, project leaders should reach out. Equally, any producers and musicians that have worked with the candidate previously are good sources for a quick summary of an individual. Good examples of references include:

Instructors/Teachers
Directors (of an Orchestra, Choir or other formal group)
Supervisors of Long-term Projects
Clients (Producers, Songwriters, Venues)

Even if the music industry can tend to get a little less formal than, say, the business and finance sector, the role of references remains the same. They not only validate the claims that a candidate makes, but also paint a picture of the actual person that is going to closely and intensely work within a team.

7. Be a Leader

At the end of the day, anyone interested in hiring session musicians or band members should establish themselves as a clear leader. It is solely their responsibility to oversee the project and continuously make the decisions.

As with any managerial role, project leaders need to control their team and set clearly-defined responsibilities and rewards. Cost of service, type of contract (work for hire or royalty-retained), number of takes or gigs, and artist credits are just some of the formalities that need sorting.

In the heat of the music, it’s too easy to forget that hiring a freelance musician is a business transaction; as with any thriving business, good leadership is crucial.

The Key to Success

If time has been taken to search for the perfect freelancer and everything set up accordingly, producers or songwriters are entitled to higher expectations and deserving of the best results. Of course not all session musicians are created equal, and each will have their own unique skill set and preferences. The key to success, though, is clear, upfront communication of your ideas and desires throughout the entire process.

Contrary to popular belief, freelance musicians are human, so don’t treat them like blank machines that only exist to play the same musical figure five-hundred times. Both producers and artists will benefit from the mutual understanding that the making of music is a complicated, expressive undertaking. Yet, by following these simple guidelines, hiring a freelance musician and maximising their potential is made a little easier.

Insérer un accord

bernier.db@gmail.com (Dave Bernier) — Wed, 05 May 2021 12:54:35 GMT

Insérer un accord

L'application été construite autour de ce concept, combiné avec une navigation rapide entre les mesures, permettant ainsi une transcription rapide d'accords et de structure. Les fondamentales et triades sont sur la droite.

Les boutons ressemblent à ceci :

Dièse

Pour entrer un accord dièse majeur ou un renversement avec un dièse, glissez votre doigt dans la partie supérieure, où le symbole "#" est affiché.

Bémol

Pour entrer un accord bémol majeur ou un renversement bémol, glissez votre doigt dans la partie inférieure, où le symbole "b" est affiché.

Mineur

Pour entrer un accord mineur, glissez votre doigt dans la partie de droite, où le symbole "m" est affiché.

Combinaison

Pour entrer un accord mineur dièse ou bémol, glissez votre doigt dans le coin où les zones des deux symboles désirés se superposent.

Relâchez votre doigt lorsque les deux zones sont mises en couleur.

How to insert a chord

bernier.db@gmail.com (Dave Bernier) — Tue, 04 May 2021 17:16:53 GMT

Inserting a chord

The design of the app was actually thought around this concept combined with quick navigation between measure to allow a fast transcription of chords and structure. With a single press you can replace the whole foundation of a chord.

Pressing another root button will replace any root existing in the selected chord. (A selected chord has blue background)

The root key looks like this :

Sharp

To enter a sharp root, simply drag your finger up in the section with the "#" symbol.

Flat

To enter a sharp root, simply drag your finger up in the section with the "b" symbol.

Minor

To enter a sharp root, simply drag your finger up in the section with the "m" symbol.

Combination

You can combine flat and minor or sharp and minor. To do so, simply drag your finger in the corner where the desired options overlap each other. Release your finger when both sections are highlighted. You might need a bit of practice at the beginning, but you should get the hang of it pretty quickly :)

Inversion or bass note

Inversions or bass notes are entered using the slash button "/" in the same section as the chords root. Once the slash is present, you'll be in "inversion mode", meaning that any root button pressed will be inserted as a bass note or replace the existing one. Alterations and minor will not be accounted for when pressing a button in this mode.

In the same logic, if you press the backspace button, the bass note will be erased. Press it again to remove the slash and go back in "root mode" where pressing a root button will replace the chord.

Extensions

At all time you can add extensions to the selected chord. Combinations are not limited, only duplications are prevented. This way you can have a b9 and a #9 at the same time.

Chord sheets and lead sheets best practices

Fri, 10 Apr 2020 19:51:33 GMT

The do's and don'ts of chord sheet and lead sheet transcription

Chordsheets are part of a session musician's career. There's enough details on it to follow up with the band but your part itself is not detailed. Often used in lower budget productions because you don't need to transcribe every single parts, it's also nice in recording sessions where musicians are free to play what they feel and take notes all along.

As a session guitarist myself, most of the gigs I play are charted with chordsheets. Either because it is a single night event or I'm subbing someone that knows the show by heart. (I then sometimes make my own sheets)

Here are tips to make efficient chordsheets for you and your peers to easily follow. The main keyword: clarity.

Layout

A good layout can save a huge amount of time and energy to the musicians. Very often a chordsheet will be read during performance, thus the need of a good layout. Most songs in pop culture are "square" : 4/4 time signatures, sections length of 4, 8,12 or 16 bars are really common. These feel natural for the musicians. This is why I recommend separating your staves in multiple of 4 measures. It feels more natural and musicians are less prone to get lost if their eyes leave the charts.

Don't try to compact 16 bars on a same staff too. Think about the musicians who have to take notes of their part. Be sure there's enough space for them to do so.

Sections identification is important too. Always start a new section (chorus, verse, etc) on a new line. ALWAYS

This way, if a musician loses track of where they are, they can get back on track easily on the next section.

Discussion about the structure of a song is one of the biggest time consuming argument you can have during rehearsal or preparation. A clear layout will help prevent this.

Repeats

Beware of the appealing shortcut of repeat bars. Yes there's a lot of songs where the chord progression is almost the same all along, but don't be lazy. Making a chordsheet is supposed to help save time to all the band. Make sure that when you add a repeat bar, it is beacause the only thing not being repeated are the lyrics. Listen to what all the instrument plays. If there's  a big difference in one of the part, dont use a repeat bar. It is not gonna help the musicians if they have to notate 2 or 3 different part variations in a same section because you were lazy. Doing it properly will ensure a better performance and less tiny scribble.

Try to avoid too many page turn too. reading a chart is a lot like reading a book. If you have to go back and forth very often and it's not clear, you open the door to confusion and mistakes.

Rythm

A song is more than just chord and structure. There's often the need to add rythmic notation. It can be for a tutti, a break or an important punch in a section. Just be sure that it applies to the majority of the parts. You don't want the drummer to break where he shouldn't. All because it was written.

Summary

In a nutshell , clarity and common sense are the most important things. Just don't be lazy because you think it's too long of a job to do. A well made chordsheet can save a lot of job and hassle in the future. Some tools are quite useful in saving time transcribing songs while doing a good job.

CS Maker blog

The Top 9 Mobile Apps for Music Production

1. Chordsheet Maker

2. Steinberg Cubasis

3. MixPads

4. Image-Line FL Studio Mobile

5. Propellerhead Figure

6. BandLab

7. Music Maker JAM

8. Auria Pro

9. GroovePad

The 7 Essential Qualities of Musical Directors

What is a Musical Director?

What does a Musical Director do?

How do Musical Directors influence Music?

1. Transcription

2. Rearrangement

3. Production

4. Inspiration

The Essential Qualities of a Musical Director

1. Clarity

2. Leadership

3. Intrapersonal Skills

4. Team Spirit

5. Infectious Energy

6. Cultural Awareness

7. Desire to Learn

The Heart of the Musical Director

Music Theory Crash Course: 5 - Chord Progressions

Chord Progressions

What is a Chord Progression?

Popular Chord Progressions

I-V

I-IV

I-IV-V

I-IV-I-V-I

I-V-vi-IV

I-vi-IV-V

vi-IV-V-I

I-IV-vi-V

ii-V-I

I-bVII-IV

I-bIII-bVII-VI

I-vi-ii-V

I-VI7-II7-V7

I-iii-IV-V

I-IV-ii-V

i-iv-v

I-i

I-I aug-I6-I7

i-V-i-bVII-bIII-bVII-i-V

Music Theory Crash Course: 4 - Chords

Chords

Major Triad

Minor Triad

Diminished Triad

Augmented Triad

7 th Chords

Major 7 th

Minor 7 th

Dominant 7 th

Diminished 7 th

Half-Diminished 7 th (or minor 7th flat 5)

Minor Major 7 th

Augmented 7 th

Diminished Major 7 th

Dominant 7 th Flat 5

6 th Chords

Major 6 th

Minor 6 th

9 th Chords

Sus Chords

Power Chords

Slash Chords

Music Theory Crash Course: 3 - Scales

Scales

What Are Scales

The Major Scale

Major Scale Degrees

Circle of Fifths

7 ^th Chords

Major 7 ^th

Minor 7 ^th

Dominant 7 ^th

Diminished 7 ^th

Half-Diminished 7 ^th (or minor 7th flat 5)

Minor Major 7 ^th

Augmented 7 ^th

Diminished Major 7 ^th

Dominant 7 ^th Flat 5

6 ^th Chords

Major 6 ^th

Minor 6 ^th

9 ^th Chords