Soundfly course producer John Hull walks us through how he creates a Slice to MIDI preset in Ableton Live so you can build your own customized version.

Now, if we apply the same reasoning to all the other modes, we would see that the differences between the modes and their respective Major or Minor counterparts is often only one note (with one exception, which we will see shortly).

Some examples of past programs include adding production magic to your tracks, arranging and finishing musical ideas, producing an EP, working on your branding, and getting help building an audience for your music. Whatever your project or goal may be, we’ll pair you up with a Soundfly Mentor specifically suited to your needs and experience, who will work with you to figure out what it takes to get it done.

Funding for musicians

“Nonstop”: Talk about restraint, this one only has four notes: just F#, A, D, and then D♭ shows up at 1:26 sounding like a ghost. There might even be a hint of an F# major chord sometimes, but that’s probably just the harmonic overtones of the synth-patch poking through… or a ghost.

Here’s a curveball for you! Even though at this point, Pinterest has gotten so big I’m not technically sure it can be considered a blog anymore, it remains an excellent place to get inspired on almost every level. Whether hunting for beautiful imagery for your tour poster or album cover, or a quote to boost your idea generation, it’s definitely worth visiting when you’re wracking your brain.

“I feel more musically confident because of this course. I really thought it was helpful dissecting a song and learning how it achieved a certain vibe.”

Based on a narrative from the avant-garde writer Frank Wedekind, Lulu details the rise, fall, and violent death of a sexually adventurous dancer (murdered by Jack the Ripper, no less). It shocked readers by showing true love and romantic opportunism side by side, criticizing what Wedekind saw as the hypocritical bourgeois attitude towards sexuality at the time. The story has continued to resonate throughout the years, and the story’s place at the center of Metallica and Lou Reed’s controversial collaboration only speaks to its ability to both entice and polarize audiences.

All of our mentored online courses come with six weeks of 1-on-1 professional coaching and feedback on your work. It’s like having a personal trainer, but for music! Dive deep into production-related topics like Modern and Advanced Mix Techniques, Songwriting for Producers, or Making Music in Logic Pro X, or work with a Soundfly Mentor directly to achieve a musical goal specific to you!

Individual artist grants 2018

It was at that point the bankers usually went pale and stared at me like I had three heads. I’m exaggerating, but only a little. They asked about job security, something they all uniformly seemed very grave about. I told them I had been doing this for nigh on two decades and didn’t plan on firing myself anytime soon.

“Using the technique adapted to a small instrument the man writes a whole world of the deepest thought and most powerful feeling. If I could picture myself writing, or even conceiving, such a piece, I am certain that the extreme excitement and emotional tension would have driven me mad.”

I’m in the process of doing some large-scale writing about the way I teach music technology. To that end, I thought I would talk some about how I evaluate students’ creative work, both for grading purposes and during in-class critiques.

“Perhaps the more important feedback was something that he did himself. He paid close attention to which aspects of a string of digits caused him problems. If he’d gotten the string wrong, he usually knew exactly why and which digits he had messed up on. Even if he got the string correct, he could report to me afterward which digits had given him trouble and which had been no problem. By recognizing where his weaknesses were, he could switch his focus appropriately and come up with new memorization techniques that would address those weaknesses.”

He plays around with what I’m calling the bridge, by taking the material and chopping it up randomly to make what I can only call a “second bridge.” He even chops up these lyrics to put them in the outro, and again, not in an established sequence! The second half of the choruses are pretty cool, how he shoves three stanzas into two bars. I’ve probably written over 200 songs myself, and I can’t remember ever doing this. Study it, people. Try it on for size.