Menu

music

Great Bass Guitars

Great Bass Guitars (under $400!)

, , , , , , , , ,

Great Bass Guitars

The bass guitar is a relatively simple instrument, but finding a quality and ergonomic one can be tricky. There are a lot of factors that go into considering the perfect bass like weight, scale, and onboard electronics. Use this list to narrow down the search and find the bass that is perfect for you! What's more, all of these great recommendations are under $400!

Some bass enthusiasts may wonder why Squier or Fender basses didn't make this list. Fender's price point is too high for this “under $400 collection.” Some Squier basses fit the price point, but I have found them to be exceptionally heavy. They are still great instruments, though! If you have the shoulders for it, try a Squier.

Ibanez 4-String Bass Guitar

I owned and played this bass for a while and loved it. It is a great all-purpose instrument and is perfect as a first bass guitar. The onboard electronics are nice, and all of the color choices are especially fun!

Ibanez 4-String Bass Guitar, 4 Knobs

This bass is slightly nicer than the previous example. It has one extra tone knob which can help narrow down the instrument's sound. However, don't sweat it if this is out of your price range – three knobs is still a great option!

Ibanez GSR Six String Bass

This is an incredible price for a six-string bass. What's more, the finish options are classy and beautiful! Most beginners should start with four strings, but this instrument is perfect for the intermediate or advanced player who is interested in expanding to more strings.

Ibanez Five String Bass

Much like the previous link, this is a fantastic price for a five-string bass! The price and quality of Ibanez instruments can't be beat, especially for bass guitars. The addition of extra strings is a personal preference, but many bassists find having the extra string useful.

Ibanez Mezzo Bass

This is one sleek and flashy instrument. It's a true medium-scale bass, meaning that it's slightly smaller and lighter than most basses. Players with small hands may find this instrument for comfortable. The finish is sure to get compliments as well!

Hofner IgnitionSB Bass

This is a clone of the famous Beatles bass that Paul McCartney used! I play this model often and absolutely love it. It is light as a feather and sounds amazing. If weight is an issue, this is undoubtedly the best choice on this list. Plus, it looks super cool!

Hofner Bass (Black)

This is the same instrument as the previous link, but in black. It's one sleek bass!

Yamaha GRM Four String Bass

This is a great bass offering by Yamaha, another wonderful instrument manufacturer. This instrument boasts four knob controls and electronics that are comparable, if not better than, the Ibanez's in the same price bracket.

Yamaha BB-Series Bass

This model is very comparable to the previous Yamaha bass, but the body design is exceptionally eye-catching! If you want a flashy bass that stands out, look no further.

There you have it! Enjoy these great bass recommendations all under $400. Check out our blog for more quality information, articles, and buying guides!

Snare Drum Upgrades

Snare Drum Upgrades (for under $300!)

, , , , , , , , , ,

Snare Drum Upgrades

Let's face it – any drummer needs an amazing snare drum to sound great. The snare might be the most important drum in the whole drum kit! If your drum set is sounding a little sub-par, check out these recommendations for great snare drums that won't break the bank. All of these snares are great quality pieces that will last well into a professional drumming career.

All of the links below are from Sweetwater, a reputable musical instrument dealer. You may find better prices elsewhere, but the customer service of Sweetwater can't be beat. As with any instrument, it is always best to try it out in person, if possible, before purchasing.

Ludwig Black Magic Snare

This is a clone of one of the most famous and sought-after snare drums in history: the Ludwig Black Beauty. You can't beat the sound, quality, and recognition of this snare.

Pearl Piccolo Snare

Pearl is a great and reliable drum company. A lot of their products and endorsements are common in Florida as well! Piccolo snares are thinner and therefore have more “snap” and “crack” than their normal-sized counterparts. This snare in particular boasts great community reviews.

Mapex Armory Snare

This is a great and forgiving snare that has a warm tone. It is perfect for playing a variety of genres. It is a true hybrid snare and is ideal for the gigging musician, cover band artist, or recording performer.

Pearl Modern Utility Snare

Much like the Mapex Armory Snare, this Pearl model is perfect for playing across various genres of music. It also has a warm tone and much more depth than the listed piccolo snare.

Pearl Session Snare

This snare was designed with recording in mind. Therefore, the sound that it produces is top-notch. It is made with two plies of birch, a softer wood, and two plies of mahogany, a rich and dense tone wood. This combination produces a beautiful finish and an unbeatable sound.

Mapex Daisy Cutter

This gorgeous snare is the most vocal on our list. Be sure to wear earplugs – this snare is loud! This is the perfect model for musicians who enjoy harder rock, metal, and demanding drumming.

PDP Concept Snare

This snare is one classy drum. The walnut tone wood and finish make it sound and look warmer than other snares on the market. This model is also great for playing across genres.

We hope that you enjoyed these great snare recommendations! Check out our Blog for more buying guides, gear suggestions, and interesting articles!

Acoustic Drums 101

Acoustic Drums 101

, , , , , ,

There’s no way around it – drums are a confusing instrument for beginners and intermediate players alike. Check out this article to learn how to properly set up an acoustic kit, avoid damage, and most importantly, protect your ears!

Acoustic Drums 101

Recommended Pieces

Acoustic drums come in all kinds of crazy varieties and set-ups. Most famous drummers mix-and-match their sets to make complete custom kits! For most music genres and levels of playing from amateur to professional, you will likely need the following pieces and their relevant hardware:

One bass (also called kick) drum.

One snare drum.

One hi-hat cymbal.

One crash cymbal.

One floor tom.

One mounted high tom.

Many kits and packages are available that come with two mounted toms. Kits may also offer a ride cymbal or another crash cymbal. Any extra parts that you can obtain within your price range is generally a good thing! Be aware that “complete” kits frequently do not come with cymbals. Triple check product descriptions to ensure that the kit comes with ALL necessary hardware, cymbals, and actual drums so that there aren’t any surprises after it is delivered. If you plan to piece together your own custom set, be wary – the price quickly ads up.

*If you are purchasing a set from a private seller, spend the extra money and get the delivery insured by USPS or other mail services! It will save you a ton of potential heart-ache.*

Traditional Setup

As you or your student develop as a drummer, a specific style of playing will be developed. Until then, I recommend to use the traditional set-up that most drummers use for playing, seen in the pictures below.

Drum setup

Be sure to place the entire drum set on a rug or carpeted area. Otherwise, the pieces will move and scratch the floor as you play!

The snare drum should be as flat and level as possible. Likewise, the floor tom should be flat and on the same plane as the snare drum to make playing fluid and easy. All cymbals, with the exception of the hi-hat, should slightly slope downwards towards the player. Any mounted toms may have a gentle angle applied to make playing comfortable. Most drummers play with a higher stool height so that they are above the drums. Adjust the general height of the set with this in mind. The player’s knees should never bend less than a ninety-degree angle while seated and playing.

How to Tune the Heads

Learning how to properly tune drum heads is an art in itself, but use these basic directions to get you started! First, find the drum key that likely came with your set. If you don’t have one, purchase one here. Put the drum on one of the rim lugs and gently turn clockwise to tighten it. Only complete several small turns. Then, repeat the process on the lug that is directly across from the one on which you started. Always tune all drum heads in a star pattern to evenly disperse the tension. As the drum gets tighter, repeat the process with the first lug and continuing until the head is as tight as you like. Use a stick to gently tap on the head as you tune.

If you are a perfectionist or a professional, tap on the head and near the lugs to hear slight variations in pitch. Tighten the lowest pitch lugs until the drum is resonating with the same tone when struck near every lug and in the center. This step is not necessary for beginners or unless you are playing a show or recording. Properly tuning the drums will make the kit sound better, though.

Mesh Heads and Mutes

Most people are wary of acoustic drums because they are so loud! If the noise worries you, or if you live in close-proximity housing to your neighbors, mutes are in order for your kit. Drum mutes refer to strips of rubber that lay on the drum pieces and muffle vibrations. Some affordable but quality mutes can be found here. For cymbals, you may also use these mutes that cling to the metal and greatly stifle noise. Regardless, I highly recommend purchasing mesh heads for the drums. They are relatively inexpensive and will last a long time if proper care is taken! They drastically reduce the sound of the drum and feel just like the normal heads when playing. Be aware that heads come in various sizes. To determine what size you need, measure the diameter of the drum at its widest point without the rim. Approximations are okay – go with the head size that is closest to your set.

Bass drum mutes and mesh heads can be purchased, but you can often get away with stuffing the bass drum with blankets and towels. Experiment to find out how much is needed to suit your sound reduction needs!

Drum Warnings

Drums are extremely sturdy. After all, they’re designed to take a beating! However, there are several ways to damage a drum set:

Be careful not to over-tighten the drum heads. Doing so could ruin the heads and strip the lugs.

When adjusting hardware, loosen the joints first! Failing to do so will strip the joints and will render the hardware useless. Always check to see if there is a thumb screw that can be loosened before you bend hardware.

Never play on the resonant heads. These are the heads that are attached to the bottom of each drum. When using real acoustic heads, the resonant heads do a lot to fill out the sound and make the drums sound great. If the resonant heads get damaged or dented from playing, they can’t do their job properly.

Never leave drums or pieces of the set in a hot car! It’s best to leave them out of direct sunlight as well. If drums get too hot, the wrapping on the shells can warp, crack, and render the drums useless. This damage is not repairable.

Keep the drums away from water. Moisture is always deadly to acoustic instruments, and drums are no different.

Strike all cymbals properly. Cymbals are tough, but they can crack and break if they are repeatedly struck incorrectly. The sticks should never collide with the thin edge of the cymbal and exert force towards the center. All stick hits should come from above and pass downward towards the floor.

Ensure that the bass foot pedal is tightly fixed to the bass drum. It’s easy to accidentally kick the pedal through the bass drum head. The pedal can also cause abrasions to the head if it is too loose.

Recommended Accessories

Besides the drum set, you’ll need some accessories to make playing easier! You will certainly need several pairs of sticks. All drummers, especially beginners, should have a pair of 5A sticks in their arsenal. This is the best utilitarian stick and gets the job done for most genres. You will need several pairs as all drum sticks eventually chip and break from use. It is also recommended to purchase a comfortable and quality drum throne. You’ll be spending a lot of time sitting on it, so it needs to be cozy! Likewise, a music stand is necessary. Most drummers set their stand up close to their hi-hat so that the music is easily visible.

Lastly, reliable ear protection is vital. This is not an optional purchase. Playing acoustic, un-muted drums for any extended period of time will result in permanent hearing damage. I recommend using these earplugs as they do not block the sound but merely reduce the decibels. Noise-cancelling headphones or conventional earplugs may also be an option for your needs. Remember that you only get two ears and that hearing damage is not reversible.

Congratulations on taking your first step towards better drum playing! Best of luck, and have fun! Check out our other informative articles here, and subscribe to our vlog here to receive the newest content about the performing arts!

Musician Errors

10 Stage Errors for MUSICIANS

, , , , ,

Musician Errors

Performing any kind of music for a live audience can be terrifying! With so much pressure on what to do correctly, it’s easy to forget about the silly things not to do. Read these ten tips in advance to help your next big performance go smoothly! These points apply to all kinds of live music performance. Also, if you have committed one of these performance “crimes”, don’t sweat it! We all make mistakes – that’s how we learn. Here’s to making better music and a more engaging live show:

Don't Apologize from the Stage

This is a really big one. No matter what happens, never, ever apologize from the stage. Performers often apologize for feeling under the weather, starting a song incorrectly, or missing a performance cue. Even if you are playing an important solo with a big orchestra and completely miss your cue, keep playing and find your way back to the correct music as quickly as possible. The show must always go on.

When a performer apologizes to the audience, the entire mood in the room shifts. The performer was originally there to take care of the audience and provide them with an enjoyable musical experience. After an apology, the audience suddenly finds themselves in an awkward position where sympathy must be offered. It makes the crowd uneasy and it invalidates the remaining musical performance. Even if the absolute worst happens during your performance, resist the urge to offer any kind of apology or concession!

Don't Break Character

Continuing on from the previous point, never break character or lose face if something goes unexpectedly wrong. Your mettle will be tested in live performance and the craziest things will go wrong – it’s just a fact of the trade. (Kind of like that one time I was playing guitar in a show and the output jack (wires included!) tore out of the instrument.) Unless it’s an emergency situation, the show must go on. It’s likely that the audience won’t even notice what happened. You’d be surprised at what insane things can happen that the average listener won’t realize. If you are able to rescue a performance from disaster, especially during a live stage show like a musical or opera, it speaks volumes for your professionalism!

Don't do Something for the First Time in a Performance

This one is also huge. Never, ever, experiment in front of a live audience! Stage shows have a script or score – write one for yourself if you are a gigging musician or are performing at more intimate venues. Once you know your show, never deviate from it. If you are tired of something and are able to change it, do it at home or in your private practice time. Then, and only when it’s ready, add it to your live performance. Experimenting and trying new things in front of an audience, especially a paying one, is akin to playing with fire. You will get burned eventually. If your show requires legitimate musical improvisation, make sure that you know the exact chord structure of the tunes and have worked out some appropriate licks in your practice time.

Don't Go On Under-Prepared

Like above, don’t attempt to “wing it” during a live show. Remember that amateurs practice until they get it right. Masters practice until they can’t get it wrong. Don’t attempt something live until you know it forwards, backwards, and upside-down. This is particularly important for memorization. If your memorization is soft, you will likely forget the words or blocking as soon as you step on the stage.

Don't Attempt New Tricks

If you really want to add an optional high note to your favorite aria, but can only hit it most of the time in practice, it is not a good idea to test-drive it on stage. Likewise, a technically-challenging instrumental passage that isn’t perfected won’t fare well in performance. Most musicians perform about six months behind their progress in the practice room or in lessons. Be patient and wait for the right time to show off your new skills. They take longer to develop in your body than you may think.

Don't Go On Without Testing Your Gear

Even if you are running behind and the clock has run out, take a minute to test all of your gear, especially your electronics. A bad cable or failed battery can absolutely destroy an otherwise perfect set. Likewise, classical musicians should ensure that their instruments are in tip-top shape. All musicians, especially vocalists, need to alot consistent time for warming up and getting ready. The first note that you play or sing for the day should not be the first note of your stage performance. This error is easily avoidable by prioritizing your warmup and triple-checking all of your gear connections.

Don't Slack if the Audience is Small

Every performer knows the feeling of positive energy when the audience is large and eating up every note. It’s addictive and wonderful! But what happens when the audience is small or if you are hired to be glorified background music? Don’t give in to the urge to play sloppily or without passion. Every audience, no matter how small, deserves to hear and experience your best performance. You never know who may be listening and what doors may open for you.

Don't Kill Time or Drag it Out

No one likes their time to be wasted. If you have a live set but are unable to fill the complete time, do not fill time by rambling to the audience, tuning your guitar again, or doodling over the same three chords. It is far better to end the set a little early or play a song again than to string your audience along. Likewise, if you are a stage performer, don’t take more time on stage than what was rehearsed. Overacting is dangerous and doesn’t end well for most performers. Say your lines just like you practiced and don’t deviate from the script.

Don't Go Over Time

This one is vital if you want to be hired again! Don’t perform over your allotted time. If the venue hired you to play one hour, don’t push it to one hour and five minutes. There may be other performers lined up after you, and if you are working in an opera house or symphony, Union Time* will likely kick in. If the venue is small and you are the only act of the night, you might be able to extend your time by directly asking the venue manager or whoever is in charge. Be sure to respect their answer! Never, ever demand more time by coercing the audience to do it for you.

*In most performance houses, this means that the entire orchestra staff must be paid for the next hour per their contract! That’s a hefty bill!

Don't Be a Diva or Divo

Thankfully, the era of the diva is coming to an end. People who act overly self-important or not as a team player won’t get rehired in most situations. However, the music field is still smarting from the wounds of the diva. Always be kind and eager to help your colleagues. Go out of your way to thank the venue staff and any guest performers who may be working with you. Ask if you can help with tear-down or set-up if appropriate. Essentially, be the helpful and easy-going person that you would want to have working with you. If an issue does arise or your feelings get hurt, try to take a step back and view the situation from all perspectives. A haughty retort won’t benefit anyone. At the end of the day, every musician and the staff that make the show happen are all there to make music and collect a paycheck. Personal feelings or grudges rarely come in to legitimate play when there is a job to do.

There you have it! Ten Fatal Errors Not to Make on Stage. Use these tips to help streamline your next big performance experience! Read here for more awesome articles, and stay tuned for our next blog!

Trends in Pop Music

Trends in Pop Music

, , ,

Trends in Pop Music

Ask any musician what he or she thinks about the current state of pop music, and it’s almost a guarantee that you will be met with a barrage of disparaging remarks. This article does not aim to attack or demonize current trends. Its goal is to analyze what is happening in the pop music markets and make an informed opinion about where the future of the genre is going. While I find the following points personally unfavorable, everyone is entitled to enjoy what he or she enjoys.

Since that disclaimer is out of the way, let’s dive in a check out ten traits of current pop music and how they are being used (and overused!).

Millennial Clave

The following rhythm appears all the time in pop music, usually as a repeated phrase (ostinato). It’s most commonly heard on a higher-pitched percussion instrument (like the clave), but can appear on any instrument:

Millenial Clave

Overusing Samples

Most hit songs pull from the same small library (or libraries) of high-quality recorded samples. If a sound engineer or artist is able to record a sound effect, specific percussion hit, or other desirable sound, he or she is able to market it and charge high fees for its use. Because the pop market is controlled by a few large record labels and music companies, like Warner Music Group*, almost all of the songs pull from the same collections of samples. This results in us hearing the exact same effects over and over again which, in turn, contributes to pop music sounding “generic” or similar across the genre. For example, you can hear my personal nemesis in a ton of pop songs: a group of male voices repeatedly shouting “hey”, usually placed on the offbeat. Fancy uses this sample. Be advised that the song is explicit.

*: There is a lot of current controversy over Warner Music Group monetizing YouTube and social markets over rights violations. Proceed with caution when researching them.

Using Samples Out of Context

Piggy-backing on the previous point, the limited selection of useable samples results in the weird inclusion of those samples in songs. For example, the “hey” shouts that I mentioned show up all the time in songs that don’t necessarily call for it. Recognizable samples like that trend more towards a feeling or an idea and are used to invoke that recollection on the song, regardless if it makes sense with the lyrics. Using those shouts in a mid-tempo ballad would be odd, but it would cause the listener to equate the song with typical club or dance music. This may be desirable by the artist or producer to maintain consistency with a certain brand.

The Reggaeton Rhythm

This rhythm is abused all the time. Like the Millennial Clave, it derives directly from Latin and Cuban music. The cultural blending in music is admiral, but everything is good in moderation. There is a problem when this rhythm is in nearly every single Latin pop song (and many non-Latin pop songs to boot!). You can hear it clearly in Despacito.

Reggaeton

Bass Buildup and Drop

This one has been around in common practice since the 90s. I have noticed a slight reduction in its use, but it’s here to stay for the foreseeable future. This occurs typically in the pre-chorus or bridge of a song when the percussion builds up in rapidity before a dramatic pause and bass drop. Start listening around 0:20 for one of the most famous and original uses of it with Sandstorm.

Small-Mouth Singing

This term refers to when pop singers exploit the effectiveness of microphones to whisper-sing in close proximity to the recording device. While this invokes intimacy and can be used as an interesting effect, it is easy to over-use and can quickly become a detriment to a song. Listen to it here in Billie Eilish’s Bad Guy.

Simple Chords and Progressions

I know, I know. Every musician ever has complained about this. However, it’s worth noting that some of the most famous chart-toppers are surprisingly simple. Did you know that Uptown Funk is composed of only two repeating chords? Turn Down for What is arguably only one chord. (The beginning snare sample is also a variation on the Millennial Clave, and the “hey” shouts show up here, too!) Jackie Chan uses a five-note major scale as a melody (which most piano students learn at their first or second lesson). Simplicity is fine once in a while, but its use is concerning if it becomes the absolute norm.

Sampling and Using Other Songs

There have been several recent chart-toppers have unabashedly used previous hits as the body of the work. For example, Aloe Blacc’s The Man is really just Elton John’s Your Song. Train’s Play That Song is just Heart and Soul. Clearly, everyone benefits from collaborations like this – the original artist claims royalties and more clicks and the newer artist gains revenue and a stronger fan base. However, reusing old material and claiming it as new is irksome if the new material does not drastically improve the original work. This is incredibly subjective, but I find a subtle nod to a previous work much more admirable than using seventy-five percent of it to create a “new” song – and then market it as such.

Overproduced Sound

The pop chart-toppers all sound perfect – almost too perfect. Innovations like Autotune, Melodyne and other post-production techniques in the studio have gotten so advanced that our ears have become accustomed to hearing perfection. Recordings that are not perfect, such as live cuts, folk music, classical music, and older hits from the 1970s or earlier, now sound vastly different and unpolished. For example, see if you can notice the slight rhythmic and tonal fluctuations that make this song a classic: All Along the Watchtower. Today, commercial recordings are also incredibly compressed (enhanced so that the sonic field is reduced to a specific range of frequencies). This makes the tracks louder, but finer sounds and finesse are lost in the process. I have noticed that current tracks in 2019 have been using more blatant autotune. Its use has shifted from a state of being either a deliberate effect or a tool that is not supposed to be noticed to an ambiguous blend of the two. For example, listen to Sam Smith's How Do You Sleep. Can you notice the digital artifacts that pull his voice to pitch, especially when he does short vocal runs?

Acoustic Drums are Gone

Even in genres that call for the use of acoustic drums like metal and rock, it is hard to find tracks that actually have recorded real drums. Almost every major-label band uses drum samples and synthesized sounds to perfect the music. Doing so, in my opinion, sterilizes the sound of the band and makes all bands who use the same samples sound similar. The same can also be said for genres like pop that veer away from real instruments in favor of more synthesizers and electronic sounds. Every acoustic instrument has its own unique sound and timbre that cannot be replicated. If everyone uses the same bank of electronic sounds and samples, how can everyone not sound the same?

Where Does Pop Music Go from Here?

No one has a crystal ball, but I suspect that the 2020s will see a shift in focus in pop music. Because the same sample libraries and sounds have been overused, I predict that artists will shift towards perfecting timbre and the sound qualities that cannot be replicated and used by everyone else. This may result in more interesting vocal techniques and may cause a resurgence in the use of real instruments. Artists and labels will begin to care how to stand out and create new sounds in order to be noticed and break away from the pack.

See if you can notice these ten trends in pop music the next time that you turn on the radio. Check out loads of our other informative articles here, and until next time, keep actively listening and practicing!

Dorian

How to Use the Dorian Scale

, , , , ,

As 2019’s Hurricane Dorian swirls off the coast of Florida, I thought it would be prudent to take a moment and write about the Dorian scale, one of music’s most useful, forgiving, and colorful tools. If the storm decides to move inland, us Floridians may find ourselves without power – and lots of practice time on our hands!

Dorian

What are Modes?

Dorian is a type of mode (also referred to as “church modes”). A mode is just an alteration to the basic major scale. If you know how to play the C Major scale on your instrument, you know how to play all the modes! Let’s look at the C Major scale. The notes are as follows:

C – D – E – F – G – A – B – C

Dorian mode occurs when the third note and the seventh note of any scale are lowered (flattened by one half-step). That means that the C Dorian scale looks like this:

C – D – Eb – F – G – A – Bb – C

Try playing this scale on your instrument. If this is too tricky, you can find a piano and play all of the white keys starting and ending with D. This is D Dorian and is a little easier to visualize! D Dorian is:

D – E – F – G – A – B – C – D

Why Learn Modes Anyway?

Modes are extremely useful for all kinds of songwriting, improvisation, and music theory learning! Playing in a mode utilizes unusual colors that can make your music stand out. They can also help your musical skills grow in new ways! For example, the Dorian Scale is very similar to the Natural Minor Scale (also called Aeolian Mode). The only difference is that Dorian has a raised 6th note. In our C Dorian example, that means that the sixth note, A, can be lowered to an Ab to transform the scale into the Natural Minor. So, using all of our Dorian-infused knowledge, we can easily make playing over a minor chord sound extra spicy and exciting by throwing in the Dorian raised 6th note! (Give it a try, but we’ll go into this in more detail later in the article.)

The Dorian Scale is used in music every day and you might not realize it. It is arguably more popular than the Minor Scale in some genres like jazz, blues, and rock. Take a listen to these Dorian songs to get a feel for the scale: Eleanor Rigby, Scarborough Fair, Purple Haze, and Oye Como Va.

Let's Use It

Try playing these simple Dorian Chord progressions on your instrument. I’ve written them all in D, but you can easily transpose them to any key you wish if you feel confident with how the scale works.

Dm – Am – C – G

Dm – Em – C – G

Dm – Am

Dm – C

Now, record yourself playing one of the progressions using your phone, a looper device, or any other kind of reliable technology. You can also grab a friend to help you. Once that is done, you are ready to begin exploring the Dorian Scale over your chord progression. Start slowly and don’t be afraid to experiment! This exercise is all about getting your ear used to the sound and color of the mode. As a reminder, the D Dorian scale that goes with the chord progressions is as follows:

D – E – F – G – A – B – C – D

If this is too easy, try some of these progressions that sound inherently more Dorian:

Dm7 – Am7 – C – G

Dm7 – Dm9 – Dm6 – Dm7

Dm9 – Em – Dm6 – G

The Next Level

Once you have familiarized yourself with the sound and feel of Dorian, try contrasting it with the natural minor scale and the pentatonic scale. Dorian works well with both of them! For example, you might try improvising with the D pentatonic scale or the D natural minor scale over one of the above chord progressions. These scales are as follows:

D Pentatonic:

D – E – G – A – B – D

D Natural Minor:

D – E – F – G – A – Bb – C – D

Then, try to switch to the D Dorian scale and notice how much the colors and sounds explode!

That's All, Folks

Try these scale exercises on for size. If you like how Dorian sounds, I suggest trying to learn another mode! There are seven in total, and you now know three of them (Dorian, Aeolian (natural minor) and Ionian (major)). Stay safe in this hurricane, and practice well!

Check out loads of other informative articles here!

Meritocracy

The Myth of Meritocracy

, , , ,

Meritocracy

What is a meritocracy, anyway? Politically, it’s a system of government where the people select their ruler based on ability alone. In theory, the most well-qualified individual earns the right to rule. In regards to art and performance, a meritocracy would exist in a situation where the person with the most experience or formal education lands the job. This rarely, if ever, happens in the real world. Artistic success is a volatile concoction of many disparate attributes, and unfortunately, there is no cut and dry recipe for success. However, performers can benefit from considering the following attributes that get most people hired. If you are looking to improve your rates of artistic success, try stretching yourself towards these categories.

Education Isn't Only a Degree

In most cases, professional degrees from college will not help you get hired in the arts or performance fields. A mistake that many artists with degrees make is that they expect that the field “owes” them for their time invested in higher learning. Once more, art is not a meritocracy. Try to think of formal degrees as important, valuable tools that help you build the career you want. You may not be able to build a bed with only a screwdriver, but you certainly won't be able to build one without it.

Education is extremely important. It helps you hone your craft and it gives you the confidence to pursue your goals. Be aware that earning more degrees will not guarantee you a job or lasting success. What you learn from being a working artist or performer outside of school is just as valuable as what you learn behind the desk. Try to accept most opportunities that come your way without burning the candle at both ends. You never know what you’ll learn and who you’ll meet! The most successful people in the arts are those who show up and start conversations with their peers. An excellent book, written by one of my own college professors, is The Savvy Musician. I highly recommend it for all musicians and most performers of other disciplines!

Looks Matter

This is the ugly truth: looks matter in the arts, probably more than you expect. Especially with performance and auditions, people care what you look like and are eager to criticize your features. If you are hoping to become the next pop idol, you will need to exercise and watch what you eat. Artists who will be in the public eye need to develop a consistent sense of fashion and style. Most importantly, you must remain confident of your body and the way that you carry yourself. It is unfortunate, but conventionally “good-looking” people will get hired over someone who isn’t as well-dressed or confident but who is more skilled. This reality is uncomfortable, but it is here to stay for the conceivable future.

Branding

Your brand is what makes you identifiable. This should be something that helps you stand out in a crowd and links you to your art. For example, Adele’s albums and artwork are almost always done in greyscale. This scheme, as well as her dress, harkens back to an older and more intimate time of performance. This coincides with her music as many of her songs sound as though she has an “old soul” and are about tough personal topics. Focus on ways to link your personality and image to your work. Having a solid brand will help you get noticed which will, in turn, help you get hired. Ask a trusted friend or family member what makes you unique if you are stuck for ideas.

Right Place, Right Time

As previously mentioned, the most successful artists have the biggest web of connections and acquaintances. Train yourself to be personable and easy to work with. Knowing lots of peers will increase your chances of being in the right place at the right time. You want to be the person that your peers think of when they are in a pinch. Be friendly, kind, and good at what you do. Being in the right place at the right time isn’t about luck at all. It just boils down to consistent and quality work as a dependable artist. Think of the arts as a meritocracy of people skills – if you train yourself to become a people person, you will cultivate more connections that lead to success.

Who Do You Know?

Similar to the previous topic, successful artists challenge themselves to meet the movers and shakers in their field. If you are the most skilled or outgoing person in a room, you are in the wrong room. Push the boundaries with your art and you will attract people who are doing the same. Successful artists always have one eye open and focused on ways to leap into new opportunities. Be sure to cultivate your professional relationships and rarely, if ever, burn bridges. The artistic field is very small and word travels fast. If you accidentally upset a colleague, you may be barred from other opportunities with someone else. Stay in touch with your acquaintances and be quick to offer help (without overextending yourself!) when someone needs it. Your kindness will return to you.

Social Media Is Your Friend

Regardless of your opinions of social media, it isn’t going anywhere. Successful artists have a wide network and prominent online presence. Social media is also a great tool for virtually attending events, starting collaborations, and meeting new people. Sharing and reposting topics from artists with higher online pull than you will also help you become noticed. Learn how to maximize your usage of social media and you will increase your chances of artistic success.

Finding consistent success in the arts is like catching lightning in a bottle. It isn’t often possible, but considering the above tips will increase your chances of getting hired and being noticed. Remember that art is not a meritocracy and that your skills and experience will not guarantee success. A successful artist is one who is adaptable, versatile, outgoing, and kind. Stay tuned for our next blog post, or read about loads of other informative topics here!

Music School

10 Things No One Told You About Music School

, , , ,

There are a lot of misconceptions about the difficulty, culture, and utility of most music schools. If you are planning on attending college for music, check out these ten points. I wish that I knew all of these before I went to my university!

Music School

1. School doesn't matter. Teacher does.

This rule applies to every stage of your musical career. The reputation of the school or institution that you attend will not make you better and doesn’t usually get you a leg up on being hired. It’s all about the teacher. You have to find an instructor that gels well with your personality and pushes you to become better at your craft. It would be a waste to attend the best music school in the country and study with a teacher who doesn’t work well for you.

2. You can learn a lot of it on your own.

Most of the music curricula at universities can be explored and learned on your own time. This is particularly valid for music theory. If you are extra motivated, you can teach yourself a ton of music theory and skills by using the internet and your local library. Skillshare and musictheory.net are great places to start. Working on your own is not a substitute for formal education, but it will give you a great foundation and will keep you sharp in college. Working ahead will also allow you to better prioritize your time and energy while in school.

3. It’s about the time you put in. You won’t magically get better.

Most music school curricula are strenuous, but you can’t rely on this to help you improve. You MUST put in the time to practice to get better. Do whatever it takes – block off daily hours on your schedule, reserve practice rooms, or assign certain days of the week for uninterrupted practice. Many music students coast through college by relying only on their provided lessons or by doing the bare minimum. They still improve, but they rarely have musical careers outside of college. It is completely up to you to decide how much you want to succeed.

4. It’s as difficult as you make it.

The difficulty of music school varies depending on who you ask. If you have a high musical aptitude and are content to coast through your studies, music school will be easy. Conversely, if you take opportunities that present themselves and strive to achieve your short-term goals for improvement, music school will be challenging. To get the most out of your degree, you must work exceptionally hard. Free time should be difficult to find. Before attending, plan out yearly or monthly goals in regard to your ability and general knowledge of your craft. Be open to frequently revisiting these goals and adjusting them if needed. Doing so will guarantee that you will be successful and will maintain a high level of accomplishment.

5. Politics are still a thing.

High schoolers who expect to enter a college free of politics and drama will be sorely disappointed. Most music programs at university are rife with favoritism and some sort of social hierarchy. Graduate students and seniors will always get more opportunities even if they aren’t as technically skilled as their younger colleagues. Conflicts between professors will trickle down to their studios and classes. Subjectivity will be abused when it comes to grading and the distribution of upcoming gigs. It isn’t pretty, but this behavior goes hand-in-hand with most music schools. New students should learn how to assimilate and play the game as quickly as possible in order to win favor with those who have the most power. Politics and favoritism won’t end or be drastically reduced until after college.

6. You need to find your own way.

Those art school stereotypes that you’ve heard hold a grain of truth. Students in music school will see, hear, and experience things that push their boundaries. New students should consider where their personal limits, beliefs, and ideologies lie so as not to be influenced by their peers. You have to maintain a strong moral compass and sense of being before subjecting yourself to music school. Remember to do what you believe will benefit your education the most, even if no one else is doing it. You will often have to forge your own path in order to succeed. It goes without saying, but any type of drugs or addictive substance will only be a detriment to your progress and technical skill. Partaking in drugs does not make you play or perform better.

7. Being well-rounded is vital.

Take as many opportunities as you can without burning yourself out. It is important to learn how to say no, but don’t be afraid to stretch outside of your comfort zone when it comes to professional opportunities. Learn how to play multiple instruments. Try conducting or recording. Improve your language skills and become conversationally fluent in at least one other language. Pick up extra minors of study that complement your major. You need as many feathers in your cap as possible, and you never know when a niche skill will come in handy. For example, singers who only sing will have a much more difficult time finding work than singers who can also play multiple instruments and compose. Adding extra skills to your resume will exponentially increase your value in the workplace.

8. Having a degree won’t guarantee a job. Further degrees won’t either.

In the professional world, no one cares (or should care) where you went to school or what degree you have. It’s all about your product and how good you are at your craft. For example, if your goal is to tour with a famous band as a guitarist, spend all of your free time practicing and getting really good – if not the best – at guitar. A degree won’t matter. If you finish your undergraduate degree and are lost, going for a graduate degree or an associate's degree may not be the best course of action. You should analyze what is best for your career. Further degrees won’t guarantee a job either. Please note that there may be exceptions when it comes to working for fusion-type jobs like a desk job at a performance non-profit or a singing professor at a college. If you do want to become a college professor, you need to plan on acquiring at least one doctorate degree.

9. You’ll be extra prepared and will learn how to practice/use your time.

You won’t realize it at the time, but the structure and discipline that is drilled into you at music school will benefit you throughout your entire life. It will help you better organize your schedule and will increase productivity in music and your career. If you work hard at music school, you also passively learn excellent time management. Be prepared for the first time that you attend a rehearsal for an amateur band, orchestra, or choir. It will both mystify and enrage you that no one else has already perfected their music and doesn’t care about starting on time.

10. It’s absolutely worth it.

Most people have a negative disposition towards music school. This comes from years of hearing about artists not getting hired or misconceptions about students being lazy or too crazy for social norms. These beliefs are misrepresented and are not true. Truly, attending music school is absolutely a wonderful and positive experience. If you pour yourself into it, you will graduate with greatly increased skills and the drive to make your loftiest goals a reality. Always stay grounded, but leave yourself open to trying new things and learning in new ways. I have never regretted earning my music degree and am thankful every day for the skills that I learned while at university.

Bonus Tip

If you are the most skilled person in the room, then you are in the wrong room.

Refer to these ten aspects of music school if you are considering attending college for music! Read more of our blogs here. Good luck in your future studies and musical education!

Thank your Judges

Auditions Part 6: Thank Your Judges

, , , , ,

This is the sixth part of an eleven-piece series on ways that you can improve your auditions! Read our previous post on being yourself here. We will be taking an honest and in-depth look at how auditions work and what you can do to succeed. This edition focuses on how to properly thank your judges and make a smooth exit after the audition. Guarantee that your last impression at the audition is a positive one!

Thank your Judges

Thanking the Judges

After you have performed your audition, don’t forget to thank your judges! It is also important to acknowledge the accompanist if there is one. It’s a good idea to follow with a short sentence wishing them well with the rest of their audition day or an upcoming event (ex: “Thank you so much for hearing me today. I hope that you have a great weekend!”) Resist the urge to make conversation or to ask questions. It is not the appropriate time to inquire about audition results or what will happen next. NEVER ask for feedback or fish for compliments about your performance. It is rare to get any written or verbal commentary on your audition. 

If the judges ask you questions about your availability, resume, or attempt to make conversation, keep your responses genuine but to the point. Rehearse your answers beforehand so that you don’t ramble or qualify your statements. For example, a poor response to the question, “What is your availability next month?” would be, “Well, I’m free every day but Wednesday. That’s because I babysit my neighbor’s kid but they sometimes are homeschooled, so it depends on the week. I guess I’m free some Wednesdays.” A more appropriate response  would be, “I’m available every day but Wednesday. I may be able to make exceptions if the rehearsal schedule is published in advance.” Ultimately, be yourself but remain aware that the judges are on a relatively strict time table.

Avoid Questions

The following is a list of questions that should never be asked of the judges in an audition. Most should be self-explanatory. If you happen to ask one or more of these questions, it will not bode well for your chances of being hired!

“How did I do?”

“Can you give me any feedback?”

“I made a mistake. May I do it again?”

“May I restart?”

“When will I hear about the results?”

“How much does this pay?”

“May I start?” or “Are you ready?”

“Did I bring the right material?”

After your performance, your focus should immediately shift to thanking the judges and making a gracious exit. Save the questions for later!

Remember the Proctors

When leaving the audition location, remember to thank the proctors or the members of the company working in the lobby. Their job is very difficult, and treating them well reflects positively on your character and professionalism. The proctors may have a slight influence on who gets hired. If you have any questions about the next step or when you will hear results, you may ask the proctor after your audition. Assuming that you were friendly with them when you first arrived, they will be eager to help you and chat.

The Truth

People will always remember how you go out more than how you came in. This is true for first meetings like auditions and long-term commitments like relationships, employment, projects, and schooling. You must pour your positive energy and kindness into your exit so that a bad impression doesn’t sour the hard work that you put into your audition. Imagine that the audition extends into the parking lot. By doing so, you will maintain composure all the way until you reach your car or another form of transportation. This goes along with the idea of “maintaining face.” If you feel that your audition was not your best or if you are upset about something, try your hardest to not acknowledge that or convey your emotions until you are in a private place. It is both professional and admirable to be able to hold your composure in all circumstances. When you are leaving, don’t forget to smile and breathe a sigh of relief! The hardest part is over and you did it. Congrats!

Use these tips to make sure that everyone’s last impression of you at the audition is a good one. Always thank your judges and the audition staff! Read more of our audition tips here. Stay tuned for the next installment of our audition series, being helpful!

Auditions Part 5

Auditions Part 5: Be Yourself

, , , , , ,

This is the fifth part of an eleven-piece series on ways that you can improve your auditions! Read our previous post on punctuality here. We will be taking an honest and in-depth look at how auditions work and what you can do to succeed. This edition focuses on how to be yourself and be personable before and after your audition. A positive attitude and demeanor in the waiting area can speak volumes for your hireability!

Auditions Part 5

Make Conversation

Once you have gotten settled in the waiting area, take time to chat with those around you. It is important to meet people from the company or organization – often several of them are lurking in the lobby! Don’t be afraid to be yourself. It looks good if you are able to converse with other auditioners and the proctors. If you are stuck for conversation topics, try asking people what they do for a living outside of performance or if they have other hobbies. Appropriate jokes are always good for breaking the ice. Your audition actually starts the moment that you walk into the waiting area. If the judges have a hard time deciding who to hire at the end of the day, proctors may be asked to provide input. If you leave a good first impression, it will be noticed! 

Don't Boast

Boasting and bragging can be exceptionally prevalent in the waiting area before an audition. It is a toxic practice in which many performers engage in order to boost their own confidence and scare the other auditioners. Those who boast are often very skilled at it and can quickly drag you into their net. You should never name-drop, talk about previous important performance experiences, reference special connections that you have that might “get you ahead”, or talk in depth about previous experiences with the company for which you are auditioning. When other auditioners attempt to drag you into this, diffuse the situation as quickly as possible. If you are socially confident and skilled with verbal banter, try to turn the conversation around in a way that puts pressure on the instigator. You should never do this in an aggressive or combative way. An example dialogue is as follows:

Instigator: I’m not worried about this audition. I know “super-famous-director-person”. I’m guaranteed to get hired.

You: That’s good for you. I hope your audition goes well.

Instigator: I’m sure it will. Do you know “super-famous-director-person”? It helps to know her. I wouldn’t want to be here if I didn’t know her.

You: I believe you, but I’d rather focus on preparing for my audition. I don’t like to rely on connections – I want to get the job because of my performance and hard work.

Skillfully avoiding this kind of conversation and being able to quickly divert it looks good to the proctors and those in the company. It’s also good practice for being a considerate human being. Be yourself and be kind – it will speak volumes for your level of professionalism!

Be Helpful

While you are waiting, be sure to remain aware and keep an eye on the room. A fellow colleague may have forgotten a pencil, makeup, a binder, a tie, or any other audition item. Try to be helpful if you can! Going out of your way to be supportive of others and their success speaks volumes for your professionalism. If you are open to being kind and helpful, it will be noticed by the proctors and the audition staff!

Be Natural

While in the audition room, be yourself and act as you normally would. Resist the urge to put on a facade or act falsely in an attempt to impress the judges. Imagine that the judges are old acquaintances that you haven’t seen in a long while. Likewise, you could pretend that the judges are family members or co-workers and that you are equals. It looks good if an auditioner is comfortable, polite, and relaxed while conversing with the judges. Speak slowly and clearly, and above all, try not to stress. If you are worried about what to say, simply smile, stand comfortably, and wait to be addressed. What slating your name and repertoire, remember to speak more slowly than you think is necessary.

Use these tips to remain calm and be yourself in your next big audition! Be kind, helpful, and personable in the waiting area as well. Doing so will help you succeed and will greatly improve your chances of being hired. Stay tuned for the next installment of our audition series: Thanking the Judges!

Load More