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Traditional Blues

Traditional Blues – Hurricane Projects!

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Hurricane Blues

With Hurricane Ian just around the watery corner, most of us in Florida expect a day or two (hopefully not more…!) of boredom as we wait for the storm to pass. Assuming that it’s just a lot of rain, hurricanes can be quite dull, especially when the power goes out. I’ve already planned a couple of house cleaning adventures! However, sitting around is a great opportunity to start a new art project or write something new – and what better than some old-fashioned Hurricane Blues?

 

Traditional Blues Format

Grab your instrument, a notepad, and something to write with! The blues has been around for a long time and is the child of spirituals and traditional call-and-response slave songs. Its blending and evolution gave birth to rock and roll, hip-hop, rockabilly, country, and pretty much every popular genre on the radio if you trace far enough down the lineage. Fortunately, traditional blues follows a specific pattern and is very repetitious.

 

The Twelve Bar Traditional Blues Structure Is:

1 | 1 | 1 | 1 

4 | 4 | 1 | 1

5 | 4 | 1 | 1 (or 5)

We commonly see chords written with Roman Numerals, but I’ve simplified it to regular numbers to make it easy. The numbers in the pattern represent the chords that you should play for your blues song. Let’s say that we are in the key of C Major, one of the simplest keys to visualize. If you are playing piano, it only uses white keys.

The C Major scale looks like this:

C – D – E – F – G – A – B – C

If we were to expand on this scale and turn it into the chords for C Major (also called the Diatonic Chords), it would look like this:

C – Dm – Em – F – G – Am – Bdim – C

Lastly, let’s number the chords of the scale. That would look like this:

C – Dm – Em – F – G – Am – Bdim – C

1 –   2 –    3  – 4 –  5  –  6   –   7     – 1

If you apply these chords and their respective numbers to the Twelve Bar Traditional Blues, our correct format for the Blues in C is:

C | C | C | C

F | F | C | C

G | F | C | C (or G)

*Note: You can make this sound a lot “bluesy-er” and authentic by making each chord a dominant chord if you know how to do that. For example, C would be replaced by C7.

 

Taking It Farther:

Now that we’ve made the Twelve Bar Traditional Blues in C, you can apply the same structure to any key if you know the proper key signature. If you need help, use a handy image of the Circle of Fifths. If you’re not sure how to do that yet, stay tuned for further posts regarding the music theory that makes the rules work the way that they do!

Stick with the C Major Blues if this is your first venture with Blues or more involved music theory nonsense. 🙂

 

Meter:

Like most music, Blues can be in a variety of awesome meters! Most commonly, it’s in 4/4 time or 6/8 time, though. In the format above, each chord or space represents an entire measure (also called a bar). Twelve measures make up the entire structure. Stick with using 4/4 for now if you’re a beginner, but don’t be afraid to try out 6/8 when you’re ready! I personally love a good 6/8 blues.

 

Lyrics:

Here’s the fun part! Blues lyrics are often simple and repetitive, but they still pack a punch! Try to find a single idea and frame it with a contrasting thought. A conflict and a resolution work beautifully. Blues also has a lot of humor, so start with a good joke if the idea of writing “serious” music is too tough! Most songs are structured like this:

Initial Idea, or Conflict (four bars)

Repeat or Embellishment of the Initial Idea (four bars)

Contrasting Idea or Resolution (four bars)

Lovers of poetry could compare this to an A / A / B structure. Feel free to steal any of these original lyric ideas as I anticipate Hurricane Ian’s arrival:

 

The house is starting to smell

Yeah there’s a stench here in my house

I forgot to start the dishwasher, oh well.

 

It’s been raining here for two whole days

It’s been pouring here for two whole nights

I’ll build a boat if Ian’s here tomorrow

 

Oh I didn’t do the laundry

No, I didn’t do the laundry before the storm

There's only one pair of socks and they can’t take much more

 

I can’t find my batteries

Can’t see my own two feet

Suppose I should go to bed since the batteries are all gone

*Note: the very last bar of the form is called the turnaround. It’s often where cool solos, musical tricks, and vocal riffs can be heard. Feel free to throw some pizzazz in for your turnaround!

 

It’s a Wrap!

I hope that this simplifies the Traditional Blues and makes it a bit more accessible. Try your hand at experimenting with it during the storm. Use an instrument or just your voice! If you come up with anything that you are particularly proud of, send it to us at Songbirds! Stay tuned for more posts to our Knowledge Blog, and most importantly, stay safe during Hurricane Ian and other storms to come!

phrygian mode guide

How to use the Phrygian Mode

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One of our previous blog posts about how to use Dorian is still one of our most-viewed of all time. It seems like there’s a lot of hunger for information about modes, so let’s take a deep-dive into the absolute BEST mode in music: Phrygian.

Hold up: why is Phrygian the best? This is subjective, of course, but it’s my favorite as it can immediately transport you to exotic musical lands. It has the sound of classic middle-eastern mystique and can absolutely melt faces when paired with metal or rock. It also has three variants contained within itself, so it’s highly versatile. To the western musical ear, it’s one of the farthest and most dramatic departures from what we are used to hearing. It’s gratifying and thrilling – what’s not to love?

A Reminder About Modes:

Modes don’t need to be complicated. Grab your instrument (or ideally, go to a keyboard) and play the concert C Major scale. Those notes are C – D – E – F – G – A – B – C. This scale is a mode in itself: Ionian. When we play a Major scale, we are also playing an Ionian scale. We use two different words to describe the same thing, but most musicians don’t know about modes. Use this knowledge bomb to impress your friends with your musical nerdiness. 😉

Now, if we were to play the same NOTES from the C Major scale, but start in a different spot within the scale, we would be playing a different mode. It’s that simple.

Phrygian starts on the third note of the Major scale. This means that Phrygian, using the same key signature and notes of C Major, would be: E – F – G – A – B – C – D – E.

Play that scale, which we will now call E Phrygian, on your instrument and hear how it sounds.

Special Note:

The method for arriving here doesn’t resonate with some people as easily as others. If this was too confusing, you can approach Phrygian ‘in reverse’. Think of the E major scale. Those notes are E – F# – G# – A – B – C# – D# – E. We can turn E Major into E Phrygian by lowering, or flattening, the second, third, sixth, and seventh, notes. The shorthand for this is “E Phrygian is Major with a flat 2, 3, 6, 7”.

Still confusing? You can also think of it as an E natural minor scale with a flat 2.

The Most Important Note:

Phrygian uses the flat 2, which is the reason why it sound so special. When writing or improvising with Phrygian, it’s a good idea to utilize the flat 2 a lot!

How to use Phrygian - Easy Mode:

All modes, but especially the exotic ones, do very well with a pedal tone. This is a single note that drones below the melody of the music. For inspiration, check out some traditional Indian sitar music or Klezmer music. In the case of Indian music, there is often a tone generator on stage that drones the pedal tone while the sitarist plays.

Let’s use this method to improvise an awesome Phrygian melody. Find an easy way to drone the note E – it’s better if it’s low. You could record a piano and loop it with your phone, or you could use a free tone generator online.

Once you have that set up, grab your instrument and play the E Phrygian scale! Pay special attention to how the notes relate to the pedal tone.

How to use Phrygian - Medium Mode:

Plenty of songs exist with pedal tones, but chordal harmonies add so much depth to the piece. Let’s compose a chord progression using the notes of the E Phrygian scale. As a refresher, those notes are: E- F – G – A – B – C – D – E

This means that the chords would be Em – F – G – Am – Bdim – C – Dm – Em.

It’s important that we use the notes of the scale for our chords, for now. Try the following progressions on your instrument, and when you’re ready, use the E Phrygian scale to solo over them:

Em | Bdim | C | Em

Em | F | G | Em

Am | G | F | Em

Em | F | G | F | Em

How to use Phrygian - Hard Mode:

I mentioned earlier that there are some cool variants of Phrygian, and here they are! The best one (in my opinion), is called Phrygian Dominant. This version sounds even more exotic. All you have to do is raise the third note by one half step, or sharp the 3. This means that, in E Phrygian Dominant, G becomes G#. The notes of this scale are E – F – G# – A – B – C – D – E, and the chords for harmonies are E – F – G#dim – Am – Bdim – C+ – Dm – E. Note that we are using E Major, not E minor, with this variant, plus we get TWO diminished chords and the rare augmented chord on C! Spicy! The best example of this variant is the guitar solo for the song Don’t Fear the Reaper. Take a listen and enjoy those cool harmonies!

Try to solo over the following chord progressions with E Phrygian Dominant:

E | F | Am | E

E | F | G#dim | Am

E | Bdim | C+ | Dm

But Wait! There's One More Variant:

Now that you’ve grown accustomed to the Phrygian Dominant scale, you can take it one step further with this last variant: the Double Harmonic Scale. This is simply a Phrygian Dominant with the seventh note raised one half step, or a #7. That means that the notes of the E Double Harmonic Scale are E – F – G# – A – B – C – D# – E. Use the same chords as in the Phrygiant Dominant, as the raised seventh of the Double Harmonic Scale functions as a melodic tool for tension and release – much like the Melodic Minor scale.

If you’ve understood all of this, you are ready to branch out and use the Phrygian scale in unique ways. Much like with the Double Harmonic, you can now make alterations to your chord harmonies and melodies that pair well (or not!) with Phrygian. For example, I might write a chord progression with the Phrygian Dominant chords and substitute a B Major chord in (so that the D# note in the Double Harmonic has an interesting place to land). I could also use the Phrygian Dominant scale over a standard Em chord progression to enjoy all of the dissonance and rub where the notes don’t quite align. Have fun with it!

Conclusion:

I hope that this sheds some light on the best musical mode, Phrygian, and that you get loads of enjoyment from experimenting with it! Stay tuned for more guides on how to use other modes in the future, and if you want to dive deeper, check out our Music Lesson Program!

Custom Guitar Pedals

What are the Most Important Guitar Pedals?

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The wonderful world of guitar pedals and effects can be overwhelming. I remember buying my first pedal when I was in high school and never truly learning how to use it (or even what it did!) for years. The exciting reality is that guitar pedals allow us to transform our instrument into an amazing variety of sounds – the sky's the limit! Here are my recommendations for the most important types of guitar pedals to get you started, plus some of my favorites in each category. Don't forget that Songbirds stocks custom pedals that are clones of most of these circuits that are listed! Check out our shop, or contact Justin if you have an idea for a custom order.

Custom Guitar Pedals

1. Overdrive, Distortion, or Fuzz

This recommendation is especially true if you currently don’t have any guitar pedals. Start here if you’re brand new to the pedal world! Overdrive, Distortion, or Fuzz should be your most important pedal because they all make an incredible difference in your sound when activated. They open up your horizons and allow you to more authentically play rock, blues, metal, or any genre with crunch. The one that you choose is up to personal taste, but I recommend Overdrive for the most utility in different musical styles. Overdrive has less distortion and signal clipping, Distortion has a medium amount, and Fuzz has a lot!

My favorite overdrives are the DOD250, Klon Centaur, and EQD Speaker Cranker.

For distortion, I love the Proco RAT and EQD Acapulco Gold.

My favorite fuzzes are the original germanium Fuzz Face and the Devi-Ever Hyperion.

Songbirds has clones of ALL of these listed favorites in stock, plus they're custom! Come in and try them to see if you like how they sound.

2. Amp Simulator or Tone Shaping

Every guitarist needs a reliable “amp-in-a-box” pedal, especially for playing gigs and recording. You can skip this step if you ONLY play with an amplifier. However, the moment you start playing through a speaker, PA, or recording through an interface, you will notice the need for an Amp Simulator. Why is that? Guitar amps do a lot of heavy lifting with shaping the way that guitars sound. They boost the incoming guitar signal before the speaker makes it sing, plus they have great control over EQ, or how much bass, middle, and treble sound is in your signal. Most importantly, amps “warm up” the sound of the instrument by adding in natural breakup, or very light distortion, which we have come to expect when we hear a guitar.
An Amp Simulator pedal provides all of the perks of your guitar amp, in a conveniently smaller and much lighter package. This pedal should always go last in your signal chain before heading out to your speakers or interface. Treat it just like you would a real amp. Even acoustic guitarists need an Amp Simulator, especially because those instruments tend to sound tinny when plugged directly into a speaker.
If you are primarily recording through an interface, you can use virtual Amp Simulators in your Digital Audio Workstation. Having an EQ or Amp Simulator pedal may still help shape your sound at the source, which always expedites the recording and writing process.

The most famous utility amp simulator is the Joyo American Sound. This company also stocks a British Sound version. You can't beat the price!

More boutique amp simulator pedals offer a wider control over tone shaping and specific warmth. I play with a clone of a Dumble Overdrive Special that I made, but I also love a Fender Tweed simulator. Ask Songbirds if you'd like a custom amp sim pedal made for you!

3. Reverb or Delay

These circuits add dimension, space, and depth to your guitar’s sound. Reverb is more of an ambient wash that imitates the sound of a room when music is played in it. Imagine how your guitar would sound if you were to perform in a concrete stairwell, a warehouse, or a cathedral – that’s Reverb. Delay is more of an echo. This circuit briefly copies your incoming guitar signal, then spits out a copy at a delayed rate that you can control. Imagine shouting into a canyon or clapping in a cave or stadium – that’s Delay.
Most professional guitarists have both Reverb and Delay pedals (and use them together), but there is a fair amount of overlap in what they accomplish. I’m more of a Reverb guy myself, but it’s up to you to decide what you like best!

I always use an EQD Ghost Echo clone that I made at the end of my signal chain for excellent reverb.

For delay, you can't go wrong with the digital titan, the Boss DD-3. I personally prefer analog delays that have a bit of grit and warmth to their decay like the MXR Carbon Copy or the Madbean Cave Dweller (a mid-fi DIY project with amazing capability).

4. Something Unique

Now it’s time to have some fun! I recommend that your next pedal is something that is unique – something that makes you excited to play it (and maybe is a little wacky). Maybe it could be a Chorus for a seasick wash of sound, or maybe it could be an Autowah to make your guitar “speak” like a robot. You could be extra adventurous and try a Phaser or a Flanger for crazy out-of-this-world alien sounds, or you could experiment with a Bitcrusher for old-school video game sound effects. We are lucky to have some much technology at our fingertips, and with a bit of innovation, we are able to make our guitars sound like completely different instruments. Have fun, and just try stuff!

This is my favorite category of pedal, and I could make an entire book on recommendations. The Midfi Clarinot, Walrus Audio Julia, Parasit Studio Multiwave, Morley Autowah, and EQD Grand Orbiter are probably the five wacky pedals that I would take to a desert island, assuming it had power and lots of guitars.

Speaking of “just try stuff”, check out the JHS Show, one of my favorite channels for awesome guitar content!

Great Bass Guitars

Great Bass Guitars (under $400!)

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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!)

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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

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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

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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

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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

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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 minor pentatonic scale. Dorian works well with both of them! For example, you might try improvising with the D minor pentatonic scale or the D natural minor scale over one of the above chord progressions. These scales are as follows:

D Minor Pentatonic:

D – F – G – A – C – 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

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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!

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