To assist musicians as they express themselves on their chosen platform, is very purpose driven. Tip of the hat to your willingness to serve those you relate so well with. You will do exceptionally well, enjoy your journey as you without doubt will uplift others! wade-bergner.com. Namaste, Wade
Freedom For Musicians is well into changing the world of “Notes”.
Seems to be an affair of the heart where you are pouring in everything you have. And the results are coming through load and crystal clear.
Amazing how proud you should be the emotions behind which are like music to my ears.
Susan Patricia Connor Lewis
Director / email@example.com
What an amazing site!
I love the energy of it! I am not a musician myself, but I do love music. Your site is easy to navigate and it’s easy to find everything I was looking for. The best thing is I have found some new music that I really love – the artists are amazing and I’ll be keeping a close on the updates! I look forward to checking through more of some of your amazing music. Thankyou!
Karen and Jacky
Thanks for providing a fabulous platform
As a musician myself I really love what I’m seeing here. I don’t perform professionally any more but did so for many years with my partner. These days we still write, record and play and are in the process of creating an archive website for our back catalog to live on. We were slogging away way before Facebook, Youtube and all the other social platforms existed.
A Quiet Revolution
Freedom for Musicians seems like a really innovative concept for musicians to promote and distribute their digital music. I admire the work you are doing in this industry to solve the problem of exploitation by the big labels and distributors. I look forward to seeing the success of Freedom for Musicians.
Life hasn’t always been the best for B.D.Kold, but it wasn’t anyone else’s fault but his own. Bad decisions during his youth led to trouble with not only the law but addictions that almost ruined his life. Throughout all the negativity he found hip-hop but he wasn’t ready for it at first. It took until 2014 when he entered a disciple program and turned his life around thanks in part to pastor Kenneth Stewart .
It was through the program that he not only found his faith and direction but a new voice within himself. Now he’s set on making music that not only has a hip-hop appeal but takes things a step further. His debut, Walking In Faith, is a heavy, profound hitter that leads the way to his upcoming 2018 release, Heart Condition. Both showcase what he’s been through and provides hope and support for those who hit play.
Born brandon dwayne stovall, B.D.Kold grew up in a small working class community outside of baton rouge, LA. With both parents working, he found his way as a troublemaker at an early age. At the age of 13 he decided to run away from home, stealing a car and making it to Alabama where he totaled the vehicle running from state police. Lucky to be alive, he began to search for his purpose in life. As he grew up over the years rapping became his passion and what he decided he wanted his career path to be.
He began to pursue rap on the local scene and began to come into contact with street life. Being young and from the middle of nowhere it enticed him as he started to see the guys around him earning respect as well as money through the drug trade as they were rapping in the local clubs. After years of battling multiple addictions and countless run ins with the law, in 2014 he entered into a disciple program a few towns over from where he grew up. He began to learn the word and biblical precepts god and put it in his heart to reach the people that were like he once was. This, today, has brought him to an attitude of winning the lost at any cost and gives him a fire filled approach to his music.
Why is it that many video courses, guitar lessons, guitarists, apps and tutorials explain the concept of modes for guitar over and over again? Because they are very useful of course, but somewhat fail as one usually ends up with fretboard diagrams filled with dots and patterns and it all seems like a big intellectual challenge to memorize all positions at once, all keys, all strings… so many different combinations, and how to make them sound musical and flow through them without sounding like a robot is going up and down a scale?
We believe the solution is learning through intuition and repetition with carefully designed objective oriented practice routines. Time is important, so optimizing your practice time is essential to make progress and stop wasting time.
This approach to learning the modes of the major scale for guitar is simple and effective, just play along a practice routine for 10 minutes a day and the whole fretboard will start to open up for you. The routines cover all seven modes of the major scale parallel to each other in the key of C. We are approaching guitar fretboard visualization in 3-string shapes that cover only one octave, which makes them easy to manipulate, instead of large 6-string shapes, CAGED, 3 notes per string or other conventional shapes. This process will allow you to always keep in mind the intervallic relationship of the note you are playing against the root. Basic modal theory is included and we focus on the 7 modes of the major scale: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian.
– New effortless approach to learning music theory and skills
– Fly through the 7 Modes of the Major Scale
– 21 well designed guitar practice routines for daily practice
– 14 Backing tracks/modal loops with advanced audio pitch-shifting, tempo variations, and an equalizer
– Fully featured tab section with zoom, fast scrolling, loops, tempo and tonality change
– Modal Music Theory
– Built-in Metronome
We think that in today’s digital world privacy is of the utmost importance. You can read the complete policy here: http://www.amparosoft.com/privacy
NOTE: If you run into any issues, have questions or suggestions, please email us to firstname.lastname@example.org
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All music is composed and played by Otto Reina
Scott Hutchison, the lead singer and songwriter of the Scottish folk-rock band Frightened Rabbit, was found dead on Thursday near South Queensferry, Scotland, the Edinburgh police confirmed, after a days-long search for the musician, who was said to be in a “fragile state.”
The police could not immediately identify a cause of death, but said it was not being treated as suspicious.
Mr. Hutchison, 36, had not been seen since the early morning hours on Wednesday, when he left a hotel in South Queensferry after sending two cryptic messages on Twitter. He wrote: “Be so good to everyone you love. It’s not a given. I’m so annoyed that it’s not. I didn’t live by that standard and it kills me. Please, hug your loved ones,” and “I’m away now. Thanks.”
If you’ve seen Easy A, you probably remember the scene where Emma Stone receives a card that plays Natasha Bedingfield’s “Pocketful of Sunshine” and how Stone’s character hates the song – at first. Flash forward to a few days later, and she can’t stop singing it.
There are songs that we can’t stand, yet can’t get out of our heads. There are also songs that we love and feel addicted to. For whatever reason, songs get lodged in our brains – and often stay there for a maddeningly long time.
Labled “earworms” by the scientific community, it’s been suggested that these ditties hang around longer in musicians’ minds than non-musicians’. What makes a song have such a huge impact on our brains? Below, we’ll run through the four main components of creating a catchy song that you can’t get out of your head, even if you want to.
But first, let’s revisit that clip of Emma Stone and “Pocketful of Sunshine” as a prime example of earworm invasion:
1. Song structure
There are a variety of song structures often used in today’s popular music. Formats such as ABABCB (A = verse, B = chorus, C = bridge or solo) and AABA (A = verse and B = bridge) are very common and easy for listeners to remember.
While songs don’t necessarily have to follow any specific layout, catchy songs generally tend to follow one of the more common structures listed above or a variation of some sort. Finding the right balance between meeting listeners’ expectations and throwing in something surprising is a surefire way to create an earworm.
In today’s music market, many fantastic songwriters write elaborate lyrics. That said, the majority of catchy songs feature smaller amounts of words or words that are easy to remember, and often repeat portions (see ABABCB above), which, in turn, create a difficult song to get out of your head.
When the focus is on the song’s hook and chorus, keeping the fancy lyrics for the verses will lure listeners in and leave them humming the most memorable parts throughout the day.
3. Chord progressions and melodies
There are certain progressions that create addictive songs. Similar to song structure, catchy chord progressions must balance expectations and artistic expression. By tying the simplicity of commonality to the unexpected, listeners are drawn into the comfort of what they know and the excitement of what lies ahead.
Building off the chord progressions, the melody is usually what we retain in our heads. A catchy melody is generally upbeat, though there are some hauntingly beautiful melancholy melodies out there as well. Even the most irritating songs have a well-written line that our minds can’t escape. A melody that is both interesting and recognizable is a key component of a catchy song.
4. Production quality
This last category is dependent on what exactly you do in the music industry. Are you writing for other artists? If so, the production quality may be out of your hands. If you’re in charge of the production of your song, however, this absolutely contributes to its popularity. Though there’s an audience for less polished recordings, not many people want to listen to a poorly recorded album version of a song that sounds like a demo. In order to have a catchy song that appeals to the masses, the production quality must be high. This isn’t to say that someone who can’t afford to record in a professional studio hasn’t written a catchy song, but a high-quality recording of the song will open up a larger market and make it more likely to receive favorable reviews and airplay.
Whether it’s a song you love or can’t stand, you have to admit there’s great science behind songwriting. Creating something that piques a large audience’s interest, even those who consider it a guilty pleasure, is a tough task to take on. For a fun exercise, try figuring out what makes that song you can’t get out of your head so addictive. If you’re a songwriter, you could even adapt that writing format and see what you come up with.
What do you think makes a catchy song? Let us know in the comments below!
Kathleen Parrish is a singer and songwriter from Seattle, WA. While she specializes in lyrics, she enjoys writing short stories, poetry, and journalism. For more information, please visit www.kathleenparrish.com.
The band was formed in 1981 and is made up of former musicians from the seven regiments of Her Majesty’s Household Division Bands namely:- The Life Guards, Blues and Royals (now the Household Cavalry Band), Grenadiers, Coldstream, Scots, Irish and Welsh Guards Bands. The present Household Division Musicians Association Band follows a long tradition of music making by musicians from these famous regiments.
Most of the members are still playing in leading London Orchestras, London Theatres, or teaching in music colleges and schools throughout the country.
The Band performs at numerous public and private engagements, most notably The Chelsea Flower Show, Eastbourne Bandstand, and at The Royal Hospital Chelsea. The Band rehearses at The Royal Hospital Chelsea, with which it is proud to be associated.
The band rehearses once a month on a Sunday morning from 10.30am – 12.30pm at The Band Room at The Royal Hospital Chelsea.
David began his musical career at the age of 13 as a trombonist for Barnstaple Town Military Band and Bideford Town Brass Band. In 1987, he joined the Army and was posted to the Band of the Worcestershire and Sherwood Foresters Regiment. During his two years at the Royal Military School of Music, David took a change of course, studying flute and classical piano under Graham Mayger and Veronica Clayton respectively. It was while he was at Kneller Hall that David discovered his passion for writing band arrangements.
After postings to Northern Ireland and Cyprus in the early nineties, David successfully passed an audition for the Life Guards Band of the Household Cavalry. During a series of summer concerts for the Household Cavalry band, David was persuaded by the Director of Music to take yet another musical change: he became the principal oboist of the Band, a position that he held until he left the army in 1998. During his military service he has performed all around the world, playing for all the members of the Royal Family, The Lord Mayor of London, as well as countless Ambassadors and diplomats.
At the beginning of 2016, I had an idea that I wanted to do something digitally/online that would help fellow musicians and be something that I could give back to the industry. My legacy if you like.
Now, I had no idea what it would be or how to do it so I set about learning the tech, digital marketing and website building. This was quite daunting for this fifty-something dinosaur but I quickly discovered that this modern sorcery was actually pretty easy. (Big thanks to DBL and SFM )
Hence, Freedom for Musicians was born. To be honest, the early manifestation of FFM was quite embarrassing in hindsight with no real identity and clumsy tech. However, I persevered and we now have a thriving online music magazine, independent record label and growing community of nearly 5000 musicians worldwide. FFM has Ambassadors representing Uganda, Kenya, Ghana, Canada, India, Azerbaijan, Czech Republic, Italy, USA, UK, Jersey CI and Indonesia. My initial concept has come a long way in a very short amount of time and I am immensely proud of our achievements so far,
Our focus now is to serve our members through publishing their music, videos and blogs. We advertise their products and services and release their music digitally in all stores world wide.
Please take a few moments to check out Freedom for Musicians as it now exists:
Spirit communication through musical inspiration. A short film featuring Tim Foster aboard the infamous Floyd Tillman tour bus. A musician attracted the ghosts of famous country music personalities. A psychic translated the comments. A paranormal investigator recorded the actual spirit voices. “Fun and entertaining” “She loves you” “Can you see me?” “more please”
Thank you for making this journey with me into the minds of musicians I have worked with. My first recording project was in 1987 at Began Sound in Ft. Worth, TX. The release on cassette tape featured Jackie Moore (guitar, vocals), Glenn Shelton (guitar), James Mayfield (drums), Drew Thomas (harmonica) and myself (bass), “Back to the Brazos” and “It’s So Peaceful” remain with me on quarter inch reel to this day.
We produced a series of RiverConcerts and performance venues to raise awareness of the impending dam project on the Paluxy River with the tour lasting four years. The second was in 1998 at Cedar Valley Community College studio, “Ode to a Fisherman” (poem by David Lilly), “Take Me Back To Texas”, “South of the Four Sixes” and “Old Time Cowhand” (poems by TL Thompson) was a class project where Bryan Clark was tasked in the role of producer and not allowed to play the drum tracks himself.
The day of the session, Bryan searched the corridor at the school and came back with a drummer to fill in. His name is not known for credit here. Hank Black (guitar, harmonica) on these tracks with myself (guitar, bass, vocals and songwriting)…Bryan got an “A” on the project. In the summer of 2001 with funds earned from a major construction project, I decided to fulfill a long standing promise to again record Jackie Moore (songwriter, acoustic guitar, vocals).
We had been performing off and on throughout the decade. We selected the Diamond D studio on the Brazos River in Granbury and did several sessions on one inch analog tape. With Dan Hodan (lead guitar, mandolin) and a couple of failed drummers and engineering challenges, we abandoned the project when Jackie first introduced “Poet of the Prairie”. We needed a better studio so I found The Kitchen Recording Studios Dallas, TX to record three songs.
We came out with eight. The studio percussionist was Jeff Hennon and JP handled the ProTools. Very excited about these results, we scheduled another RiverConcert with Rusty Wier and Tres Hombres to headline the show in October. We were on KNON radio and Songwriter Showcase on DCTV with Lisa Byrn. Then came the infamous 9/11 event.
I was begged to cancel the RiverConcert and called Rusty to ask if he was afraid to do it. You would not believe what he said. The RiverConcert production was a huge success. The attendance; however, was not. As producer, I retained this project and in 2003 reentered the studio and replaced Jackie’s vocals with my own version of “Poet of the Prairie”, “I’ve Crossed the Brazos” and “Goodbye to a River” (not included).
I added Tracy Fletcher (tambourine, background vocal) to “Poet” with the assistance of Mark Dove during the 2008 sessions in Azle, TX where “On My Way” and “Fisherman’s Paradise” (written by Jackie Moore not included in the 2001 sessions) were recorded with Mark Dove (piano, harmonica) and myself (vocals, acoustic guitar and bass). During my many travels developing a solo career, I have written about and performed in various unique places.
There remains songs which need recording. In Stephenville, TX, I met Clif Hunter whose poem “Does Anyone Really Care to Know?” captured a standing ovation at the Irish pub at Branson Landing. It also captured the spirits on the Floyd Tillman tour bus near Galveston where “they” gave me the nickname “Clearwater” hence the title to this album and email address. The DVD movie production by Paranormal Investigations of Texas (paratexas.com) titled “Haunted Tillman Bus” and the original Jackie Moore and The Roadrunners CD are available on request. Thank you again for listening…see y’all while ago.
Conceived and conducted by Vincent Rees, the Red Planet Orchestra combine classical composition with a contemporary structure of electronic ambient music.
With sound artist Pete Smith, the Red Planet Orchestra has accumulated a growing body of work both rich in invention and subtlety. A sound palette of future memories and past dreams. Each release has created a landscape of intense serenity.
Their debut album, Aurora Symphony, was warmly received and now a firm favourite among fans – All albums feature original artwork conceived by Belgium artist Nicolas Crombez.
The Red Planet Orchestra continue to compose music for emerging film soundtracks such as the brilliant ‘Gorka’
Aurora Symphony – 2013
Secrets of Eternity – 2013
We Breathe Together-2014
States of Space -2014
The Angry Silence -2014
Time of Dark Consequences – 2016
Contamination – 2016
Once the flagship provider of instrumental lessons, music centres, musical ensembles, classroom support and much more, East Sussex Music Service (ESMS) is facing the axe. In order to save money due to local government cuts imposed by their own party, Conservative led East Sussex County Council have decided that the way forward is to deny thousands of local children the opportunity of learning a musical instrument.
Despite decades of research proving the irrefutable benefits of music in education and the way young lives are transformed through such opportunities, heartless council leaders feel that this is the best way to make savings, due to their own mismanagement of the budget.
Last week, this letter was sent to parents of children currently involved with ESMS:
Dear Parents and members of adult groups
A proposal for East Sussex Music to withdraw from providing non-statutory instrumental lessons
I am writing to let you know that on 30 April the East Sussex County Council Lead Member for Education, Inclusion, Special Educational Needs and Disability is being asked to agree to consult on drawing up a proposal to close the instrumental teaching part of the service which would mean the Music Service ceases to provide small group and individual instrumental lessons.
As you may know, over the last few years it has been increasingly difficult for the Music Service to remain financially viable because of cuts to Arts Council and County Council funding. Over the last 4 years, the service has made savings of over £600,000 through restructuring and efficiency savings. However further recent reductions in funding mean that more savings are required.
Lucy Morgan-Jones Head of East Sussex Music
A so called consultation on these proposals will take place, but in my experience, these consultations pay nothing more than lip service to public opinion, with the intended outcome being a fait accompli. We have seen evidence of this strategy time and time again with the academisation of schools and the outsourcing of public services such as libraries and health care.
Of course those who will suffer the most are the children from low income families who receive subsidised lessons and special needs music provision. This doesn’t bother the tory councilors one little bit as the more affluent elite of the county will always be able to afford private education.
Around 75 highly skilled and gifted peripatetic music teachers will be made redundant, with their livelihoods and vocations being destroyed.
Once the damage is done it is irreversible. This wonderful and historic organisation will be lost forever, denying future generations the opportunities to be involved in the fundamental human activity of music making.
I urge you now to help stop this outrage by signing the petition and writing to your MP. Raise awareness on your own platform or network, and do anything else you can before it is too late and East Sussex Music Service is lost forever.
You do not need to be resident in East Sussex to sign the petition. Simply register on the ESCC website and sign.