Posted by dance on January 13, 2020
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Modes and Key Signatures have a variety of different characteristics and are great for outside-the-box songwriting. Here’s a cheat sheet to remember them!
Jeremy is a Montreal-based musician, sound artist and improviser who loves giving advice to emerging artists on how to make their tours more effective. He writes, records and performs electroacoustic “concrète” music for tape, oscillators and amplified objects and surfaces, as well as solo guitar. He has performed and released material throughout Europe and the UK, Asia, the US and Canada, mostly with his trio Sontag Shogun.
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By stressing and manipulating the common and uncommon tones between these three scales, we can create a lot of tonal variation out of very little harmonic information — freedom in limitations, for sure. Examine these three scales to see the crossover:
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Additionally, we know that each fret will raise the intonation by a half-step. So for example, if we play just the 6th string and move up one fret at a time, progressively we’ll get the following notes:
In order to set up yourself for success, keep your cords, microphones, headphones, and instrument equipment organized in specific, consistent spots so you always know where they are when you need them. And then, after you’re done with them, always return these items to their respective spots. Put guitars in cases or hang them on the wall, coil cables when they’re not in use, and build shelves to store stuff that gets used less frequently. Big plastic storage bins are also a great option for extra cables and assorted items.
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“Call Out My Name”: Hey-hey, look, it’s another compound meter, with an ultra-slow 45 BPM tempo. By comparison, the slowest tempo we reached in last year’s Chartmania was 57 BPM — also a compound meter. The form here is why they made up the word “formulaic.” Though perhaps the absence of any tricks lays a foundation for Abel Tesfaye to take more liberties with his phrasing, starting his melodies first where you’d expect them, later well before the bar lines dictate, and then after the bar lines for a stumbling, dizzying effect. Watch out in the outro for the strong G♭ in the bass making a good argument for a G♭6 chord. Then again, it may be a first inversion E♭.
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The piece ends with the same texture we heard at the beginning, natural harmonics produced by sympathetic resonance (2:23). Only a tiny variation in the musical landscape pops up — a new note, D. Although this looks like an anomaly in the construction of the piece, in my opinion this choice makes total sense, considering that this work is a series of 11 pieces, the presence of another note creates a sense of directionality. Instead of the movements feeling like isolated fragments collected together, inserting a new note before this section ends offers a glimpse ahead, and a bit of connective tissue.
Let’s take it back a notch. You don’t have to memorize every single note on every string in every fret; that’s because of how the guitar is tuned and organized. We know that if we play open strings on the guitar, we will get the following notes: