|
|||
|
Stay connected with
Rich Brian: Instagram | Twitter | F
NIKI: Instagram | Twitter | Fa
Warren Hue: Instagram | Facebook | TikTok | YouTube | Twitter
88rising: Website | Facebook | Instagram | Twitter | YouTube
‘say something’ sees Clea’s warm and distinguishable vocals washing over a hypnotic, intoxicating beat. A song about the inevitability of change, and our frequent fight against it, ‘say something’ was premiered on-air via FBi and online via Atwood Magazine and arrives with a striking, world-class video from Sydney based director Jamin.
|
|
|
|
|
|
|
|
|
|
|
|
|
Tremorverse Records unveil a second track and artist to feature on their upcoming compilation album, introducing Liv McLean and her melodic groove bender, ‘New Pair Of Eyes’. After announcing the news of their third compilation album earlier this year, debuting Alex Garla’s beautifully dank groove ‘No Love’, Tremorverse are hitting the ground running to cement Tremorverse Three as one of their greatest comps to date with the arrival of Liv’s stunning new track.
‘New Pair Of Eyes’ highlights precisely what Liv McLean is known for; tight, flawless harmonies and warm, raspy vocals. In the shadow of a fractured world, Liv spent the majority of 2020 in incubation, developing her unique style and flourishing in creative growth. From writing and arranging new works, Liv recognises melodic phrases through her electric guitar and her vocals that create layering melodies and magical, eerie harmonies. Her flexibility to immerse herself into fusing and fine-tuning the world of psychedelic soul with jazz fusion is what makes Liv’s sound, and indeed ‘New Pair Of Eyes’, disparate from other artists’ work.
“New Pair of Eyes is based on shifting your perspective and rather than focusing on all the difficulties one might face, finding something positive to focus on to get out of a negative headspace.” – Liv McLean
Drawing inspiration from Moses Sumney, Solange, Lianne La Havas and Radiohead, Liv McLean weaves elements of psychedelia, funk, and dance grooves all connected by her exceptional voice. This year has already bought promising opportunities for Liv. Immersing herself in the local scene supporting other artists has led Liv to perform alongside the likes of Priscilla Stanley, Charlie McCosh and Quarterback, all of which have performed sold out shows at The Workers Club early this year. Additionally, having a weekly residency at the Sorrento Hotel alongside astounding guitarist Nick Vargas in February and March has significantly grown Liv’s dedicated fan base and status as a certified one-to-watch. Delve into the gorgeous bent grooves of Liv McLean’s ‘New Pair Of Eyes’ and keep an ear out for Tremorverse Three dropping this winter.
‘New Pair Of Eyes’ is out now via Tremorverse Records
‘New Pair Of Eyes’ Credits
Performers Liv McLean and Keanu Long
Mixed and produced by Keanu Long
Mastered by Mikey Young
Artwork by Aidan Burgess
New Pair Of Eyes Lyrics
My eyes are getting pretty old
And my eyes can’t see what it is to unfold in front of them
When I watch the news, catching flight, rewrite then tag
And when I look around, there’s so much to prove
Wrestling word into my submission watching the world all under commission
I need a new pair of eyes shift my mind
Grappling under the knife
Do I choose to be safe or choose to fights
Widening out my perspective
Choosing to wipe out the negative
This ain’t no fantasy
My eyes they used to be less wise
But now my eyes are working with what they got right in front of them
What I see is not always what I get
So why not just look around
And dream of what I could get
Wrestling word into my submission watching the world all under commission
I need a new pair of eyes shift my mind
Grappling under the knife
Do I choose to be safe or choose to fights
Widening out my perspective
Choosing to wipe out the negative
This ain’t no fantasy
Open up your eyes
LISTEN
Where are you currently based?
At the moment, I’m in this really beautiful, quiet spot in the Grand Teton National Forest over in Wyoming, it’s absolutely wild out here!
Oh man, such a funny thought. Going to a small elementary school in southern Vermont, it was sorta an unspoken requirement to give some sort of musical instrument a try. I think in 1st grade my mom rented me a trumpet, but after a few months of absurd sound making, she returned the trumpet and came back with a snare drum. The rest is history. I stuck with playing the kit my whole life. I’d say the last 3-4 years I’ve really focused more on producing, but drums will always be closest to my heart. But yeah, I was lucky to have that push from my parents at an earlier age to grab something and see what happens.
What’s been happening recently and how has your Covid experience been so far?
So much has been happening! I’ve sorta packed up my life for the next 6+ months and just recently hit the road. We’ve been on the road for 28 days today and very much still acclimating to the go-go-go lifestyle. But we can talk more about that in a bit. As far as my Covid experience, it’s been waaay easier than others, which I’m grateful for. I was lucky to spend the majority of the thick of it in VT, where there was plenty of space and a pretty conscious community who’ve taken it seriously. Knowing buddies down in NYC and hearing about the extreme isolation, I’ve had it way easy. Dogs also help haha.
Your new single ‘Fulgurant’ is out now, what influenced the sound and songwriting?
How did you go about writing Fulgurant?It all started with this really cool synth I accidentally fell into. It was one of those random small plugins that came with a bundle I bought a while ago through Native. It blended so many washy layers together, so after telling myself to stop tinkering with it I had a really cool chord progression put together. From there, I knew I wanted to do some sort of vocodery layering as well, so I spent a ton of time working on that and trying not to overdo it with the amount of synth and vocal layers. Percussive textures are always something I focus a ton on, so getting those super crisp and clear was the third piece of Fulgurant. I spent a while looking for the perfect harp plugin, which was so hard to find, and sorta funny thinking back on it now. There’s this one small section where I have this huge strum from a harp that leads into the bridge type section, and the harp sorta handles the whole transition there. It took me a while to get that sounding right haha, but so worth it! Lyric wise, I didn’t know what the song was going to be about until I really took a step back and had a bit of a realization about some pretty heavy stuff, life and death, that kinda thing. For Fulgurant specifically, it’s all about seeing a family member age, and face some pretty serious dementia. Something a lot of people face, but never really confront outright. At the end of the day, we just have to be there for eachother, and that can be hard to do too.
Where and when did you record/produce/master and who with?
I’d say 75% of the song was written out of my small corner studio space in my living room at my old apartment in Burlington, VT. For the vocals I actually just brought my gear into a practice room at this spot called the Burlington Music Dojo. I’d rent out a weekly spot for practicing drumming mostly, but the room was treated super well, and I thought I might get a better take trying to record there. Seemed to work decently well! I finished the latter part of the track down at my childhood home in southern VT. Once I had it sounding the best I could, I sent it over to a good friend and amazing engineer Nick Squids, who did the mix and master and really took it to another level. Guy is a genius.
How did you approach the recording process?
I always feel pretty amature when it comes to recording live tracks in my songs. I don’t have anything fancy, but it always seems to end up clean and clear enough. I have a 2 track audio interface and a cheap condenser mic I use for just about everything. Outside of vocals, I recorded some guitar – I have this baby taylor that can’t hold a tune to save its life, but I love it so much. I always leave it in some random open tuning, and I just set up a mic in my living room while I was plucking a few chords that ended up working really well with the song. I also have this beautiful black tele, that I love adding huge held out chords with. I usually throw a fair amount of effects on the guitar stuff, you can get some really cool sounds that way. But yeah, it’s always recorded in the middle of my apartment type of thing.
What programs/equipment did you use?
I ended up using a combination of plugins between native, output, arturia for my synths, bass, and other instruments. There’s honestly way too many options out there these days haha. I feel like I could probably do more with less, but yeah, I’ll typically throw on a handful of effects from waves or soundtoys to really start distorting and manipulating the sound. I’ve been a huge fan of the soundtoys crystallizer and some of the maserati plugins from waves. I think my favorite part of the whole set up on this song was midi tracking my drum samples into this little electric kit I got off craigslist. It was the first time I was able to actually record what I was playing with a Teulu track. I feel like it gives it a better groove, and a good groove is so important. Even if it’s dragging or maybe off a bit.
I hear you’re living out of a converted 1989 Chevy van! How and why did this come about and how has the experience been so far?
Aha yes! It’s been a wild ride so far, that’s for sure. I think the whole idea started from a huge feeling of not really knowing where to go next. I moved back east with plans to move into the city, but COVID hit and sorta threw everything out the door, like it did for so many others. Not long after that, my girlfriend and I found this cheap, old 1989 chevy van that was already gutted, and we got to work building it at the beginning of the year. It then sorta morphed into “oh, we could really cut down on our consumption while doing this, and really minimize our overall footprint.” So not only could we figure out where the next home might be, but we could consume less, and waste less in the process. I also set up a pretty cool mobile studio, more to come from that soon though. It’s really easy to romanticize this idea of living on the road, which partly can be totally true. There’s also a lot of adjusting and acclimating to be done, and we’re still going through some of that now. Especially with two dogs along for the ride, haha.
Who are you listening to at the moment?
Oooooo, so much good music just dropped! I’m halfway through the new Tyler album, and he’s crushed it again. I just love his beats and all of his production, it’s so unique and good. I’ve also been really into this artist On Planets, wicked good lyrical cadence and his writing is really inspiring to me as of late. Oh man, and don’t get me started on the new Porter record. Another really good record just dropped from rum.gold that I’m super into.
What do you like to do away from music?
I’m a huge fan of winter, so taking the pups out snowboarding is something I do pretty often. Also a sucker for a good (and bad) scary movie, but you gotta have popcorn with it. Sorta random, but I picked up leather tooling from a good buddy over in Portland, OR, and really enjoy making simple leather goods out of recycled scraps. Anything that helps pull you out of the daily routine, and get you to think about bigger picture type stuff, I love.
What’s planned for 2021?
Crazy to think we’re already halfway through it! I’ve got a few more tracks to release, which feels good. I’m still a bit slow at finishing songs, so a big goal is to write a ton of new music while being on the road. And yeah outside of music, I’ll be on the road for the rest of the year, checking out some new potential spots to call home. The biggest thing I think is just trying to really focus on living as minimally as possible and recognizing what a privilege this all is.
Favourite food and place to hangout?
Oh man, tough question! Since I just spent the last week in Bozeman, MT, I’d say that’s been the coolest spot on the road so far. I was lucky to land there during a few Pride events, and the community there is so great. The food there is pretty awesome too, I had Bibimbap for the first time over there and it really hit the spot. Shout out to Whistle Pig.
|
||
|
Stay connected with Luke Hemmings:
Instagram | Facebook | Twitter
|
|
|
About imbi x Slim Set
imbi is an experience. Through intention, authentic expression and musical magick imbi transfers tantalising and tangible energies to audiences around the world. imbi uses fluid lyricism, poetry, harmony and the raw power of their voice to share vulnerable feelings and foster intimate moments with every individual they perform for/share space with. Having performed for audiences across so-called ‘australia’ and Aotearoa (N.Z.) imbi has left many strong impressions, continuing to expand their practice of performance and push the limits of crowd engagement/intimacy every time they sing.
Slim Set are a rapper-producer duo hailing from Western Sydney. They mangle electronic and rap sonics into a hybrid sound that’s unique in the Australian music landscape. Slim Set’s 2020 included a peak time set at Golden Plains, where they shared a stage with huge names like The Pixies, Sampa The Great and Hot Chip. They also took part in Conscious 2020, a music program run by Campbelltown Arts Centre, alongside A-Girl, Spvrrow and T-Breezy. They burst onto the Australian rap landscape in 2018 with ‘Cooked’ and ‘Lazy’, which ended 2018 as the #1 and #2 most played songs on FBi Radio. Those singles saw them nominated for three FBi SMAC awards and support international acts including The Streets, Flohio, AJ Tracey and Sir Spyro. They’ve also appeared as guests on Triple J Mixup and taken up the Wednesday Sunset slot on FBi Radio where they pushed the hottest talent out of West and South West Sydney every week.
RELEASES COVER OF NO ROME’S
‘SEVENTEEN’
OUT NOW ON ASTRAL PEOPLE RECORDINGS / [PIAS]
|
|
|
|
|
|
|
|
|
|
Where are you currently based?
Living in Sydney at the moment.
How did you first start playing music?
I’ve been singing all my life, and my mother is a piano teacher. I’d have the occasional lesson, but I didn’t take it too seriously. I liked learning things by ear, rather than reading music. I learned Oboe for 9 years at school, played for my HSC. Towards high school, I was introduced to Logic, where I started producing and recording covers (some of which might be available on Youtube – I warn you, it’s a cringefest.)
What’s been happening recently and how has your Covid experience been so far?
As a result of the lack of gigs and events, I’ve been scheduling writing sessions with new friends! I haven’t done much collaboration in writing and production, I find the process of creating a very personal thing, and I was too afraid to share that with anyone else. What I realize now is how beautiful it is to share that creative energy with someone else, and I love it.
Other than that, the quiet period before this upcoming release has ended, and now the responsibilities have snowballed! I was planning for months, so it’s really quite exciting to finally catch up on all that I had planned for bl!nk!
Your new single BL!NK is on the way, what influenced the sound and songwriting?
I kid you not, my reference track for this song was all I listened to for months. In the week I found this song, I think I’d already listened to it 100 times on day 3 (Spotify literally told me so). I’m A Kid by Jadu Heart was my sole inspiration for bl!nk. I was OBSESSED with its sound and the way it made me feel. I think bl!nk takes a slightly harder turn throughout, a little more of an edge to the lyrics and sound. I’m pretty bitter in this song. Lyrics tell all.
How did you go about writing BL!NK?
I was meeting with Alistair (Alistair Hayes, Sydney drummer, co-writer + producer) to write our first song. After discussing for a while, we decided to write something rebellious and sexy, very self-assuring and assertive. As I mentioned before, I was pretty bitter at this point in my life, so a storyline wasn’t hard to find. We took inspiration in sound and feel from Jadu Heart, Ainslie Wills and Lucky Daye, to name a few.
Where and when did you record/produce/master and who with?
We recorded bl!nk in Alistair’s home studio, a.k.a, his bedroom. Started in November 2020 and finished soon after. We enlisted the help of our friend Oscar to mix the final demos, and I sent the final off to 301Studios for mastering.
What does BL!NK mean to you?
Bl!nk’s purpose actually changed for me, once we’d finished the song. I think that change results in the bridge, it hits pretty hard. It makes me feel alive and fierce and wicked! Originally I think I wanted to write something a little sly and witty. Something polite, but still truthful and a little bit sexy. As we kept writing, a darker attitude formed. The bridge turns into this rude, grungy therapy session. I basically let out everything I know I shouldn’t say, and I don’t care.
You’ll be filming a music video soon, for which track?
The music video coming up is for bl!nk!
How did the concept for the music video come about?
The concept is based very much on the cover for bl!nk. The story of the song also tells itself really, it’s easy to find inspiration in something that actually happened to you. I love dark colours, eerie photos. Picture black and white ghost documentaries… mixed with cute 90’s girls… that’s my aesthetic. OR I just like flash photography in the dark, that’s a safer angle. Let’s stick with that.
Where will you film and who with?
We’re hoping to go back to where I shot the cover artwork, on the way to North Head Lookout, Manly. I’ve asked Sydney Director + Photographer Maya Luana to help me with the project.
What do you like to do away from music?
I love cooking! And I have a problem with buying too many indoor plants.
Who are you listening to at the moment?
I’m eagerly awaiting Snoh Aalegra’s next album! By the time this interview is released, her album will be out! So I’m going to strongly bet that’s what I’ll be listening to. Lost You is a single Aalegra has released in anticipation of the album – it’s a blessing. Remi Wolf’s recent single Liz, Ocean Grove’s 2020 album Flip Phone Fantasy, Easy Life’s latest release skeletons, Mel Blue’s recent album Sanctuary Point, Pt.1 – I could go on! Those are current favourites.
Favourite food and place to hangout?
Usually, I try to eat pretty well… but my favourite cheat meal is at a friends place in Crows Nest, Plan B. They have loaded fries and savage burgers. Hangout locations change according to where the next gig is, as most of my friends are all independent artists.
The bl!nk video is yet to be released! And #spoiler another single is coming! Ending the year with a pretty fun dance track. I’m tying up loose ends for next years releases… stay tuned.
LISTEN HERE
|
|
LIGHTMAN JARVIS ECSTATIC BAND – BANNED
TRACKLIST
1. Olamim
2. Ancient Chain
3. Recurring Theme
4. Red Champa
5. Trillium
6. Nymphea
7. Bone of a Hound
8. Ein Sof
9. Lift My Heart
10. Elastic Band
11. Becoming
12. Mother’s Rope
13. Slick Oil
14. Stomach Pit
15. Tomb of the Patriarchs
|
|||
|
Now with the wind of her debut album beneath her wings, Maple Glider takes flight. Happy Mag has announced that Maple Glider is the winner of the 2021 Needle in the Hay competition – judged from over 3,000 entries. As a result, the goosebumps-inducing album closer ‘Mama It’s Christmas‘ will be pressed to 7” in the coming months. Speaking of vinyl, the first pressing of To Enjoy is the Only Thing is available in pearly green wax. It can be ordered in a bundle with a green tie-dye tee with the LP logo up-titled to To “Fang It” is the Only Thing… a personal saying of Tori’s, inspiring one of her tattoos.
To Enjoy is the Only Thing is out now via Pieater / Partisan Records,
buy/stream it here.
TRACKLIST
As Tradition
Swimming
View From This Side
Friend
Be Mean, It’s Kinder Than Crying
Good Thing
Baby Tiger
Performer
Mama It’s Christmas
TOUR DATES
Thu 23 Sep – Northcote Social Club – Naarm / Melbourne
Thu 30 Sep – The Vanguard – Warrang / Sydney
Tickets available at mapleglider.com
Stay connected with:
Maple Glider: Facebook | Twitter | Instagram | Youtube
Pieater: Pieater.net | Instagram | Twitter | Facebook | YouTube | Tumblr
Title: Expensive Sounds For Nice People
Label: Physical Presents
Download/stream “Expensive Sounds For Nice People”
Platinum producer Felix Cartal releases his 4th studio album “Expensive Sounds For Nice People” via Physical Presents. Also taken from the album are previously released “Mine” with Sophie Simmons, and “Love Me” with Lights; both are certified Platinum in Canada, with the latter one also winning the Dance Recording of the Year at the Junos 2020. Other remarkable tracks on the album include “Only One” with the hit UK singer-songwriter Karen Harding and “My Last Song” with the rebellious Norwegian songstress Hanne Mjøen, “Too Late” with the Juno Award-winning singer and composer KROY (from Quebec duo Milk & Bone), as well as “The Life” with Fjord as well as several solo indie dance anthems from Felix, which find themselves at home on the album. Cartal‘s earlier “Get What You Give” also reached Platinum status, while one of the most recent singles “Happy Hour” with Kiiara was featured on 32 Spotify New Music Friday playlists as well as Billboard’s Best New Dance Tracks.
A release nearly 3 years in the making, “Expensive Sounds For Nice People” covers a range of emotions: from the ecstatic highs of new love to the frustrating lows brought by inevitable heartbreak, all held up by a backbone of unique house music. Felix Cartal lures listeners onto the dancefloor with an array of strong female vocals, showcasing some of the best singers the pop world has to offer one unforgettable track at a time, as each occupies its own sonic realm of indie dance, and none is quite like the other.
Felix Cartal shares the history behind the album: “My fourth album Expensive Sounds For Nice People is part of the second musical chapter in my life. My first two albums were the first chapter of my musical career: a scrappier, undeveloped, experimental phase where a lot of the ideas didn’t quite get executed how I would want from lack of skill or know-how. I’m still fond of that time and those releases, but was ultimately frustrated that I couldn’t make what I wanted come to life exactly how I heard it in my head. The other big problem from that era was consistency, and basically that’s what I’ve become obsessed with. Growing up arguably through one of the worst eras of one-hit-wonders in musical history, I remember constantly being disappointed when I bought an album and there was only one good song. I hated that. And I think remembering that has guided me into this second chapter of my life. Where I’ve just tried to grind it out daily at the studio and work on my skills, and trying to become more consistent. I’m more into the ‘Jiro Dreams of Sushi‘ chef approach nowadays, where I just try to log hours every day to refine my craft. Not too concerned with the result from that specific day but knowing that if I stack those hours I will in fact improve. I want every song to be 100% something I’m proud of, or it’s not coming out.“
He goes on to further elaborate: “The title of the album is a tongue in cheek description of all this. The Sounds, to me, are Expensive because I know time is a valuable commodity and I’ve logged the hours to get there. On the other hand, as an artist, who knows what even gives art value half the time? But for me, the fact that people still to this day take the time to write me heartfelt messages about my music, inspires me to keep going and to keep creating. So this album is for them, the Nice People who take the time to care, and for me, because I care too. I hope the album, from front to back, is enjoyable. I’ve worked very hard on every detail for the past 3 years.“
Vancouver-based Felix Cartal has collaborated with several major artists such as Kaskade, R3HAB, Gallant, and has also created official remixes for the likes of Selena Gomez, Zedd, Galantis, Dillon Francis, MØ, Ellie Goulding, Diplo, Anne-Marie & Doja Cat as well as Daya & Shallou‘s “Older.” He has been featured by major Youtube channels Trap Nation, MrSuicideSheep, MrRevillz, Chill Nation, The Vibe Guide, Selected, xKito, among others, and has earned over 360 million plays across all platforms. He has also seen support from BBC Radio 1’s Danny Howard and Diplo & Friends, and SiriusXM Chill has also heavily supported several singles, while his Weekend Workout radio show is also featured on SiriusXM‘s Diplo’s Revolution.
“Expensive Sounds For Nice People” Tracklist:
01. The Life (feat. Fjord)
02. Over It (feat. Veronica)
03. Harmony
04. Layover
05. Mine (feat. Sophie Simmons)
06. 500 Days (feat. Matilda)
07. Old Self (feat. Ofelia K)
08. We Fall
09. Only One (feat. Karen Harding)
10. My Last Song (feat. Hanne Mjøen)
11. Love Me (feat. Lights)
12. Going Up
13. Happy Hour (feat. Kiiara)
14. Jealous
15. Hygge
16. Too Late (feat. KROY)
“Friday vibes are exemplified on ‘Happy Hour,’ a joyous new collab between Canadian producer Felix Cartal and anti-pop star Kiiara.” – Billboard
“It goes from a cool electro place into some more mellow, halftime vibes during the hook. No earth-shattering drops, no pandering. This is just good music for great people.” – Complex
“Felix Cartal has turned ‘You Get What You Give’ into a full-on EDM blast, the kind of thing you expect to hear at four A.M., as you’re waiting for the sun to rise.” – Popdust
“The platinum-selling producer is back, matching his arena-level electronics to a potent pop touch.” – Clash Magazine
“‘Mine‘ follows the producer and DJ, Taelor Deitcher’s irresistible sonic formula: melting melodic electro-pop sensibilities with slick body-shaking bass lines, this time relaying an ode to lost love with the honey vocals of singer Sophie Simmons” – Wonderland Magazine
Learning music comes naturally to some people, where they can pick it up and have an easy time learning and understanding. Additionally, some have a great ear for music and are able to play songs with ease. However, not everyone is provided such gifts, and even those that have a great ear would benefit from learning the fundamentals of music theory. Here are some basics in a theory guide to help you get started.
Tempo And BPM
Tempo is the pace of a song. It can be either fast or slow, of course in relativity. A beat is a standard unit of time in music. Tempo is measured in beats per minute or BPM. The higher the BPM, the faster the tempo and the faster the song. This is important to consider for pacing when you are trying to play in harmony with others, or in music production where you have different instrument sounds and are trying to match them with each other to create synchronicity. Drummers and other rhythm instruments are often tasked with keeping this consistent tempo, and DJs will need to consistently match BPM on their playlists and mixes to create a seamless transition between songs.
Time Signatures
The concept of time signatures expands on the previously explored concepts of tempo. You will use this in order to determine how to count your music. Utilizing fractions, you will measure the beats that you will find in each individual bar as the top number, while the bottom number in the fraction will signify the length of the note to count. An example of the most common time signature looks like 4/4 and means there are four quarter notes to account for. Keep in mind, this is shown this way specifically for music purposes, and unlike math, would not be reduced to 1. The importance of time signatures breaks down to organization and creating an easy identify the structure for musicians to understand and be able to play.
Frequencies And Notes
A note consists of a pitch of a sound and its duration. A pitch refers to the frequency of the sound, which translates to how high or low the note is. The frequencies are more commonly known and associated with the letters A through G, creating what most musicians will feel familiar with as notes. The notes will then repeat, just in different In a single octave, there are 12 notes to account for. These include sharps and flats as well. Grasping the basics of notes is your first step in musical notations. This is important because you have to be able to read music in its written form in order to properly play music if you cannot reasonably memorize entire songs, and when you also want to create pieces of your own. When you are first learning music and instruments, learning the piano provides a strong foundational basis, as the notes are aligned in order.
Sharps And Flats
Sharps and flats are unique types of notes used to reference when you play certain notes a semitone or a half step higher or lower. For sharps, the semitone is higher, while the flat denotes a lower played half step. When it comes to sheet music, sharp is indicated by the # while a flat is indicated by ♭. On a piano, you will find sharps and flats easy to identify as they are the black keys. Keep in mind, sharps and flats can share the same keys, since they are either one semitone higher or lower than a root note. For example, a C sharp is also known as the D flat. Both are correct and used, depending on the situation or key that a piece or song is in.
Octaves
An octave is used with notes that are of the same frequency but played at different speeds, creating different sounds. They are the distance from one note to the next same note, either lower or higher. Octaves separate the groups of notes by their pitch, as you will notice a significant difference in notes played from different octaves, as they have easily distinguishable pitches from one another.
Chords
Chords are multiple notes played in harmony at the same time. The most common note is composed of three notes, creating what is known as a triad. Triads are often the most common note you will find, hear, and play. A chord is named after its root note or the note that you start with when you are playing your chords.
Before you progress in any learning environment where the material can be complicated, it is important that you always begin with the basics. This is the same for learning music, as the theory and fundamentals are important to build before you proceed to more in-depth learning.
DEBUT AA-SIDE SINGLE FROM
JESSIE WARE / JAMES VINCENT MCMORROW AND THE JOY
OUT NOW ON TRANSGRESSIVE RECORDS
|
|
|
|
|