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Ke$ha made a smash hit in 2009 with “Tik Tok.” The video went viral and even became a couch gag for The Simpsons. It recounts Ke$ha’s previous night out after waking up in a bathtub and disappointing her family, before going out for a drive and then hitting the clubs again for another round of partying.
These different ways to get your song out there can be that little extra push you need to help generate more revenue. Think of your song like a business by doing research on other revenue avenues to help you get compensated for your work, but always remember to remain the owner of your copyright.
Grants for musicians 2018
“Thank U, Next”: The sustain of that dreamy electric piano in this chord loop solidifies the G♭ chord as a G♭M13 and the F chord is an F7(#9) secondary dominant (V/vi )! Then we have a regular B♭m before returning to the tonic — but not so fast! We haven’t really returned home, since it’s a D♭7, another secondary dominant (V/IV) that sends us back to G♭M13. These secondary dominants act like coal nuggets to fuel a perpetual motion chord-loop machine. Form-wise, you could also call the chorus extensions “post-choruses,” but I already used up my “P” for the pre-chorus sections, so I’ll just call these extensions “variations” and be done with it.
Anyone who wants to create professional-quality mixes of their own music, or who aspires to be a professional mixing engineer and is looking for a way in. In this course, you’ll actively work on mixes in different genres, getting you ready to mix any style of music you’re likely to encounter.
On this day, 57 years ago, James Brown and his Famous Flames recorded what would become one of the most earth-shattering funk and soul albums of all time.
Touring is great. But it can very quickly turn into exhaustive, monotonous work. Here are 10 great tips to keep things interesting and fun on the road.
This pioneering record is a sizzling cauldron of soul, funk, blues, and something electric and ineffable. It’s perfect in almost every way, but it almost didn’t come to be…
National endowment for the arts dance grants
Kickstarter says over 26,000 music projects have been funded through their service from the not so famous to the extremely famous such as Amanda Palmer. It’s also an option for DIY artists who don’t necessarily want to be tied to a record label or music publisher and you don’t have to sign away your rights in exchange for cash. But unless you have a loyal fanbase or are willing to commit yourself to a marketing and publicity campaign to draw attention to your project, the odds of success are variable. And while you can fund new projects, it’s not a platform for raising quick cash. [If you want to improve those odds, check out our free course, Crowdfunding for Musicians.]
The Ray Charles project is called Au Palais des Sports-Live and was recorded in 1961 during his first European tour! The Serge Gainsbourg project, Premiers Tubes-Live, is composed of two live-on-radio sets recorded in 1961 and 1962 and contains an exclusive interview with Juliette Gréco, another French icon from that period. And thirdly, Premières Scènes-Live is a recording of Dalida’s first appearances on stage at the renowned Olympia in 1961 and on the radio show Discoparade in 1962.
But that being said, inspiration isn’t always easy to find, and when you get stuck in your journey to find it, sometimes it’s not clear where to turn to hunt for more. Yet one of the most overlooked places to find fresh new ideas is actually right in front of your face, like right now: blogs!
My production challenge this month was an exercise in adaptivity. Instead of going out and finding outdoor sounds to capture and sample, like we did for April’s monthly challenge, we were tasked with the wonderful opportunity to use sounds from a brand new hip-hop adjacent sample pack that launched recently on Splice. [*Skip ahead to hear my final track.]
And yet, for the most part, it is a foreign way of thinking to our own: Much religious meaning in music today is practiced, and heard, as an all-encompassing, multi-faith spirituality rather than this Baroque-era sense that more specifically imagines “theology heard as sound.”