Podcasts about Locrian

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Play Episode Listen Later Apr 3, 2024 69:37

Terence Hannum, Andre Foisy and Steven Hess of Locrian join us this week to discuss their forthcoming new LP End Terrain. The conversation, naturally, veers off into other territories. Intro: “All of the Dark Things” – Mike Hill Outro: “Excarnate Light” - Locrian

locrian terence hannum

Interview #116 with Locrian (Experimental Drone-Metal , Avantgarde Noise, Profound Lore Records)

Veil of Sound Interviews

Play Episode Listen Later Mar 31, 2024 75:02

Locrian is not your average band, these three guys are some of the most striking genre-hoppers I have ever encountered. So many genres are on here that many different people attach many different tags to it. Many call them Post-Metal, others label them as Avantgarde Noise but when you talk to the guys and get a grasp of their vast musical influences and tastes it becomes clear that they do not care about labels, they do not restrict their listening habits to any specific genre and thus their music should not be seen that way. There is just so much to find out on their upcoming new record "End Terrain" (out on Friday, April 5th, via Profound Lore Records) that if you try to find out all the elements on these songs you might have to start thinking about mindmaps and spreadsheets in order to organize your thoughts and analyses. However, talking with Andre, Steven and Terence about the record then shows a trio that is not dead serious but really easy to talk to. We hear about their love for Shoegaze, Post-Punk, Experimental sounds and so much more! Enjoy our interview! Band links Locrian Facebook: https://www.facebook.com/LocrianOfficial Bandcamp: https://locrian.bandcamp.com/ Instagram: https://www.instagram.com/locrianofficial/ Spotify: https://open.spotify.com/intl-de/artist/3qg85LFImCJ1zIefm6urwC?si=tdEGlaRvThOi45xAfbwgvQ Profound Lore: Bandcamp: http://profoundlorerecords.bandcamp.com/ Facebook: https://www.facebook.com/profoundlorerecords Instagram: https://instagram.com/profoundlorerecords/ Website: https://profoundlorerecords.com/products-page/ YouTube: https://www.youtube.com/channel/UC_JwJlkjw7aeCSoYb3okn2w

spotify metal drones experimental terence avantgarde post punk shoegaze post metal locrian profound lore records

Locrian (Terence Hannum)

Getting It Out

Play Episode Listen Later Mar 27, 2024 61:55

LOCRIAN is a critically acclaimed experimental metal trio that's hard to define. Multi-instrumentalist Terence Hannum gets into detail on the bands upcoming album End Terrain to be released April 5th on Profound Lore Records. Music by:L'appel Du VideLocrianCoilgunsIntro music by:Hot ZonePatreon: https://www.patreon.com/GettingitoutpodcastEmail: dan@gettingitout.netWebsite: http://gettingitout.net/Instagram: @getting_it_out_podcastFacebook: www.facebook.com/gettingitoutpodcastX: @GettingItOutPod Get bonus content on PatreonSupport this show http://supporter.acast.com/getting-it-out. Hosted on Acast. See acast.com/privacy for more information.

music acast hot zone locrian profound lore records terence hannum

Rough Terrain With ANDRE, TERENCE & STEVEN From LOCRIAN

HEAVY Music Interviews

Play Episode Listen Later Mar 23, 2024 21:45

Interview by Kris PetersExperimental metal outfit Locrian are counting down the days until the release of their new album End Terrain on April 5.Officially endorsed as the proper follow-up to 2015's Infinite Dissolution, End Terrain sees Locrian return to the sounds that defined the earlier part of their music, more experimental and forthright than previous album New Catastrophism while still managing to weave a common thread of musicality that is the band's lifeblood.More complex and layered than ever before, Locrian have struck a powerful balance between metal genres, creating a sonic tapestry of epic proportions that encompasses the band's continued growth.HEAVY recently spoke with André Foisy (electric, 12-string, acoustic guitars), Terence Hannum (synthesizers, vocals, tape loops) and Steven Hess (drums, electronics) recently, reflecting on their evolution as songwriters, their experimentation with different sounds and effects, and their approach to creating new music, emphasizing their experimental and collaborative process. The band members also discussed their influences from genres like death metal and thrash, and how they incorporate these elements into their music to create a cohesive body of work that blends different styles.

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Locrian

Performance Anxiety

Play Episode Listen Later Feb 14, 2024 78:02

Today's guests make me appreciate the patience of others. Please welcome, for the third attempt, Andre and Terence from Locrian. What you're listening to is our third attempt at this episode. The first was scrapped due to a computer malfunction. The second had an iphone issue. So take three was the final attempt! And it was worth it. Locrian has a new album set to release so the timing couldn't have been better. Terence and Andre tell me about their early bands and sounds and how they met at a “metal night” party. They tell me about their first gig and the band name. But they also reveal their early band philosophy of saying yes to everything and how that got them booked at a birthday party. We create a new genre just for Locrian. I call it Aggressive Atmospheric. And it makes sense when you consider their influences are artists like Popol Vuh, Emperor, Twisted Sister, and Bert Jansch. So you kind of expect sound shifts when you hear how the band has evolved over the years. They keep their fans on their toes, but the reverse is also true. Fans are behind their recent release of archive recordings (keep messaging them about Setting Yr Jetta On Fire). The latest release is titled End Terrain and it's a pretty heavy dose of reality. The themes are pretty dark but the musical palette expands with more synths and more structure. Order Locrian's End Terrain on Bandcamp, stream it, check it out on Profound Lore Records. Check out the show's stuff at performanceanx.threadless.com and ko-fi.com/performanceanxiety. Reach out @PerformanceAnx on socials. And buckle in for Take 3 of Locrian on Performance Anxiety on the Pantheon Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

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The Road to Modes for Guitar - Part 2: Chords

Guitar Serious Fun

Play Episode Listen Later Nov 8, 2023 13:58

Pro tip: please watch the short video version of this post that I link to www.guitarsuccess4u.com/modes2. It will give you a much clearer grasp of what I'm sharing here.Transcript and diagrams included below…Welcome to the next level of our discussion of modes. If you have some familiarity with modes on the guitar with individual notes and you're ready to learn how to leverage modes with chords, you're in the right place. Now, if you're not quite ready for this step because you need a little bit of an introduction to modes themselves, I've got good news for you. I've created a mini-lesson that sets up today's lesson perfectly. I encourage you to experience that one first from Guitar Serious Fun Episode 76, “The Road to Modes – Part 1: Notes.” On the other hand, if you're ready to tackle modes with chords, then let's jump in with today's mini-lesson!Last time, we talked about the 7 diatonic modes. For your review, the names of the modes are: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. The modes with the Major quality are the Ionian, Lydian and Mixolydian, and the modes with the minor quality are the Dorian, Phrygian, Aeolian and Locrian.Last time, we played all the modes in the key center of C Major. Just to illustrate that modes can be found based on any key signature, today, let's use the very guitar-friendly key of G Major. The seven notes we'll use to tackle everything we need today are: G, A, B, C, D, E, and F#. One of the useful tools I've created for harmonizing a scale, especially in open position, is something I call the Skipping Scale. (And if you want to check out Guitar Serious Fun Episode 16, “The Art of the Skipping Scale,” please do.)Basically, we walk up the scale from the lowest version of each note, and skip back down once we hit the open 4th string D.So, if I play a G Major scale in this way, I'd play the notes G, A, B, C, D, then I'd SKIP down to open E, F#, and finish on G. What's another name for the G Major scale? That's right – the G Ionian mode. All the other modes can be achieved in this manner. I'll supply a table for the G Major Skipping Scale with my diagram.These seven notes can then be used for what purpose? To harmonize the scale with chords. We can latch the chords onto these degrees – and with seven notes, how many chords will we use? Wait for it – just seven chords.Keep them in the same order, and these modes will unfold right before your eyes and ears.Now, to be fully transparent, I will say that there are two chords in the key of G that are less commonly used, at least by those who are newer to the guitar. The first one is the minor iii chord, B minor, which is commonly articulated as a bar chord. The other chord which could make things a bit more difficult – but not impossible – is the diminished vii° chord, which is F# diminished. This is not a bar chord, but it may be less familiar to you. (I unpack both of these chords in the video.)I'm providing a multi-colored table for you that shows all seven of these modes lined up in such a way that the identical chords and qualities are in columns, even though their contexts are different. I've captured in blue the chords that depart from the Major key, and I've captured in pink the chords that depart from a natural minor key. Note that every mode has Roman numerals I through VII, but that they are each different, depending on the mode. The upper-case Roman numerals are Major, and the lower case are minor and on one occasion, diminished. But see how they all line up, as we survey the entire collection of modes in a key signature of one sharp.I invite you to play through each of the modes, starting and ending on the first chord. For example, A Dorian mode starts and ends on A minor. Ok, are you ready for some practical application? Let me ask you a question. When I play a song in a key, do I always play all the chords in that key? Usually, no. But there are distinct chords I can use that fall where the modal scale has been altered, which can add the flavors I need.Let's say I'm in the more major-quality D Mixolydian mode, here in the key signature of one sharp, and I want to play the chords on degrees I, V, VII and IV. Normally, in a D Major scale with two sharps, those would be I, V, vii° and IV. But in the D Mixolydian Mode, we only have one sharp, and the two middle chords in this progression that will be impacted by this difference will be the minor v chord and the Major VII chord, which will be totally transformed. We instead have I, v, VII, and IV with D, A minor, C Major, and G. Very different. Much more epic. Much more refreshing. Much more…modal!What about a minor-quality mode like A Dorian? Normally, A minor has zero sharps, so if I played i, III, iv, I'd end up with A minor, C Major, and the minor iv chord, D minor, which is fine. But what about deriving a mode from this key signature of one sharp? What does that F# do to a D minor chord? It makes it a D Major chord. Now, we have A minor, C Major, and D Major. Much more mysterious. Much more hauntingly beautiful…and again, more modal!So, as you can see, modes can really come alive with chords as well. And modal melodies can sound beautiful over modal chord progressions, again in multiple styles of music.Thanks for journeying with me today on the road to modes. If you want to go deeper, we dedicate a concise but thorough module to discovering all the modes in multiple guitar-friendly keys with scales and chords, inside GuitarSuccess4U. Talk about equipping you for artistry! Please check out what we've got going on at www.GuitarSuccess4U.com.Keep showing up to raise the bar with your mental and motor skills on the guitar!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

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The Road to Modes for Guitar - Part 1: Notes

Guitar Serious Fun

Play Episode Listen Later Oct 11, 2023 11:24

Pro tip: please watch the short video version of this post that I link to here: www.guitarsuccess4u.com/Modes1. It will give you a much clearer grasp of what I'm sharing here.Transcript and diagrams included below…Have you always wanted to experiment with modes on your guitar?Welcome to a clear, concise discussion that will light the path for you on “The Road to Modes.” I'm here to show you some important first steps towards claiming all 7 modes on your guitar. So, what's a mode in music? Well, basically it's a 7-note scale.Even if you're not a lead guitarist, it's super helpful to understand the 7 modes and how they differ from each other, because there's a very real chance that you might sing a modal melody. And…spoiler alert – Part 2 of this 2-part mini-series will focus on modes with chords. The good news is that each mode is based on 7 notes. The better news is that they can all be played with the same 7 notes. All we need to do is start on a different note, as we keep them in the same order.In a nutshell, the 7 modes, which can be derived from the Major scale in this order, are: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. The modes with the Major quality are the Ionian, Lydian and Mixolydian, and the modes with the minor quality are the Dorian, Phrygian, Aeolian and Locrian.How in the wide world of sports do we memorize these names? Well, I've got two fun mnemonic memory devices for you. Choose the one you like better. The first one is: I Don't Punch Like Muhammad A-Li. The second one is: I Don't Play Loud Music Any Longer. Today, we'll just be focusing on the notes C, D, E, F, G, A, and B, starting and ending on each of the 7 notes. I'm providing some handy fretboard diagrams of all 7 modes in open position, but the video has much more.Here are some unique descriptions of the 7 modes, each of which is built on sequential degrees of the Major scale.The Ionian Mode is actually the Major scale. Next is the Dorian Mode, which is like a natural minor scale with a raised 6th degree. Then we have the Phrygian Mode, which is like a natural minor scale with a lowered 2nd degree. After that, we have the Lydian Mode, which is like a Major scale with a raised 4th degree.Then we have the Mixolydian Mode, which is like a Major scale with a lowered 7th degree. Following this, we have the Aeolian Mode, which is better known as the natural minor scale. Finally, we have the Locrian Mode, which is the most unstable of all the modes, and which is like a natural minor scale with a lowered 2nd degree AND a lowered 5th degree.As you can see, each mode is slightly different. All it takes is one small change to one mode to transform it into a different mode. To use an analogy, if I'm trying to call someone on the phone using a 7-digit number, but I change just one of those digits as I dial, I'll call someone else, right?To demonstrate how each of the modes sounds different, I encourage you to watch the accompanying video where I take the well-known public domain melody “Joy to the World” (which is a descending Major scale) and I bring it through each of the 7 modes.Now, just for the sake of argument, what if I ignore the rules of the mode? Well, things won't sound quite right.Here's a quintessential example: the traditional melody for Scarborough Fair. It belongs in D Dorian, but if I changed one note – the raised 6th degree of the scale – the B natural, as and lower it to B flat, changing the D Dorian mode back to the D natural minor scale you'd recognize the change instantly. (I do this in the video as well.)So now you're a bit more familiar with modes. (Watching the video will help you see and hear them too.)The next step is to familiarize yourself with how they feel on the fretboard as you play them, whether in open position, or inside any moveable scale form. I recommend starting with the key center of C Major, but you can play any mode in any key signature. Where do we find modes, especially the ones that aren't simply Major or minor? Everywhere. They're hiding in plain sight in classic rock, modern rock, electronica, classical music, Spanish guitar music, pop music, film scores, Celtic music, jazz music, folk tunes, and of course, worship music. We just need to know what to look for, and especially what to listen for. Once we have command of these modes, we can use them for our own arranging and composing.We cover a lot more ground and go much deeper with modes and many other relevant artistic and musical concepts for guitar inside GuitarSuccess4U. I encourage you to check it out even now, while you're thinking about it. It could change the game for you. P.S. Be on the lookout for part 2 of this 2-part series where we leverage modes with chords. See you then!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

ShaOne & Slick | The Seven Scales of Creation: Universal Harmonic Patterns In Musical Modes

InnerVerse

Play Episode Listen Later Oct 9, 2023 112:22

In this epic episode, I'm joined by lifelong musician and InnerVersal acolyte, Sean Clarke, aka shaOne. Along for the ride is our favorite syncromystic sensei, Slick Dissident, as the three of us embark on an incredible esoteric exploration of the seven modes of music: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. To emphasize the character of each mode, Sean came equipped with his celestial Multiac guitar to improvise scales and riffs in each. Sit back and close your eyes for this auditory journey, and feel into the personality signature of each sonic touchstone! In the 2 hour Plus+ Extension, we continue with the modes we didn't get to in part one, and begin fleshing out the deeper pattern contained in this mystery, that reveals the created nature of this realm and the fractal micro/macrocosm contained within musical science. This unique and inspired episode is not one to miss! Support InnerVerse Rokfin and Patreon for extended episodes!https://rokfin.com/stream/39943https://www.patreon.com/posts/90669099 EPISODE LINKSVIDEO - https://youtu.be/dMAK9t-6VEcSean Clarke - https://shaone.com/Slick Dissident (Gabriel) on Youtube - https://www.youtube.com/channel/UCSSMh4fE7dAdhPcdtP0rW2ADonate to Slick via Cashapp: $SlickDissidenthttps://www.innerversepodcast.com/season-9/shaone-musical-modes TELEGRAM LINKShttps://t.me/innerversepodcasthttps://t.me/innerversepodcastchat GET TUNEDhttps://www.innerversepodcast.com/sound-healing SUPPORT INNERVERSEInnerVerse Merch - https://www.innerversemerch.comTippecanoe Herbs - Use INNERVERSE code at checkout - https://tippecanoeherbs.com/Spirit Whirled: July's End) - https://tinyurl.com/2dhsarasSpirit Whirled: The Holy Sailors - https://tinyurl.com/4wyd5ecsA Godsacre For Winds of the Soul - https://tinyurl.com/2p9xpdn3Buy from Clive de Carle with this link to support InnerVerse with your purchase - https://clivedecarle.ositracker.com/197164/11489The Aquacure AC50 (Use "innerverse" as a coupon code for a 15% discount) - https://eagle-research.com/product/ac50TT Hosted on Acast. See acast.com/privacy for more information.

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194. How Good It Was, To Have A Toe

Topic Lords

Play Episode Listen Later Jul 10, 2023 79:15

Lords: * Danny * Danny Topics: * Most Song Lyrics are redundant * Perfect fourths and fifths are named wrong * It's almost summer and that means it's time for Mark Salud's "Forever in Summer" * https://www.youtube.com/watch?v=ip_K5DHZlfg * Who wants to do a smutty poem?? We haven't done one of those * https://www.poetryfoundation.org/poems/47339/upon-julias-clothes * Oh yes * Celebrity Deaths are getting out of control * ZZT has achievements now Microtopics: * Which Danny should go first. * The Noclip Archive. * Night Brunch. * Plugging before demonstrating your plugworthiness. * Whatever happened to MySpace. * The gnarliest weirdest thing you can get away with. * Stop making weird things! * Feeling passionately about individual words without considering their actual message. * Writing lyrics by stringing together abstract vowel sounds and then filling in the rest of the word later. * The native language of rock and roll. * Prisencolinensinainciusol. * Irish rap. * All the ways music is redundant. * A very inefficient way to communicate factual information. * The Mentos jingle. * Spoonman: a famous guy who played the spoons. * Music's ability to convey ideas that shouldn't be conveyed. * Teaching kids to love it. * What's perfect about a perfect fifth. * Music theory homework that calls it a "perfect unison." * Lydian to Locrian. * An extremely popular nostalgic songwriting device. * Trying to bring up topics out in the wild. * Even majorer then major. * What it means to be far from A. * A thing that happened on Public Access TV in San Diego. * Keyjazzing. * Weirdos making weirdo outsider art. * The tradition of using an Amiga 500 as a musical instrument. * Watching a musical performance by looking at the back of the performer's head. * Something to watch. * Economy of movement. * Playing drums so as to take up the most possible space. * The kind of singing that the Rock Band scoring system encourages. * Pre-singing the note so you're getting points as soon as the note starts. * Smutty poetry. * Whether singer songwriters have parentheses. * The Diamond Fleece. * Whether liquefaction is a Bay Area word. * Brave Vibrations. * What people thought was sexy in the 1600s. * Talking about a topic because people can hear you. * The 80s-90s thing of saying "as if" * America's Whitest City. * A phrase that Zoomers use to mean that they don't believe what they just said. * Investigating the Cool S for ten years. * Finding the Cool S in ancient Sumeria. * People in Latvia who don't know who Marilyn Manson is but they know he had a rib surgically removed. * The first celebrity. * Increasing numbers of celebrities. * Industrialized celebrity. * Adopting a future grief machine. * Practicing grief. * Several generations of digital fish. * Trugoy the Dove. * Disembodied consciousnesses living on a Dyson Sphere simulating Tina Turner's music. * Downsides of everyone living forever. * This is a mistake. (Here I go.) * Pre-dead. * Questions that will not be answered on this show because they are not topics. * Fish swimming in the background of someone's Zoom call. * What a time to not want to be alive! * Doing squats so you can get out of a chair. * Maximizing broken limbs while minimizing brain trauma. * Renaming Potomac Computer Systems to Epic Megagames. * ZZT: an Epic Game Store exclusive. * Caverns of Kroz. * An Amiga platformer sponsored by Chupa-Chups. * Retro Achievements. * Modding emulators to add achievements to old games. * Adding achievements to the Fairchild Channel F. * Achievements as a ludological device. * Assigning a point value to all the things your lizard brain needs an extra incentive for. * Citizen Game. * A game design trope that can be deployed with taste or not.

E01.56: Lumbering in Locrian

Everyday Musicality: Unlocking the Inner Musician Through MLT

Play Episode Listen Later Jun 20, 2023 35:01

In this episode, we focus on building audiation in Locrian tonality. Mentioned in this episode…

locrian lumbering

How to Write Locrian BASS Lines • Music Theory from Rezz "Suffer in Silence"

Play Episode Listen Later May 28, 2023 3:04

How to Write Locrian BASS Lines Step 1. BasicSet up four bars with an 1/8 note grid, and your tempo at 97 BPM. You're gonna start by writing a basic bass line that plays every 1/8 note. This creates momentum. We're in B Locrian here, which is just all the white notes from B to B. The Locrian mode is exceptionally dark, and what makes it so dark is the ♭2 (which is C in this example) and the ♭5 (which is F in this example). Now, because those two notes are what make Locrian sound so dark, you wanna be sure to use both of them in your basic bass line. But, start by playing the root note (which is B in this example) for the whole of your first bar, as that anchors it into the key. And by the way, if you find modes confusing, just read the mode hack in our Songwriting & Producing PDF (link opens in new tab). Step 2. EnergyNext, change your grid to 1/16 notes. You're gonna create some syncopation now, which is when you accent an off-beat. This will pump energy into your rigid sounding basic bass line and bring it to life. You can add syncopation however you want, but here's an easy method: shorten an 1/8 note to a 1/16 note, then lengthen the note next to it to fill the gap. Add a couple of these to each of your four bars. And a shoutout to fellow Canadian producer Rezz, as this lesson is based on her recent single “Suffer in Silence”. Free BookJust before we jump into the next step. If there's an artist you want us to hack, drop us a comment on YouTube.Also, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you'll have a solid theory foundation that you can instantly apply to your songwriting and producing. Step 3. Next LevelBy now your bass line will already be sounding good, but to take it to the next level, you're gonna add some octaves. Rezz does something really cool here. She moves some of the notes that fall on the backbeat snare, up an octave. This accentuates those backbeats, and adds even more energy to the bass line. However, don't do this on every backbeat snare, as that will actually lessen its impact. Also, somewhere in your bass line, move one syncopated note up an octave. This keeps your bass line fresh and unpredictable. Lastly, here's a bonus step. Use a rest somewhere. This gives your bass line space to breathe. Rezz used a rest at the very end of her bass line, so we'll do the same thing by deleting our last two notes. PODCASTListen below, or on any podcast app.

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How to Write a Locrian RIFF • Music Theory from Metallica "72 Seasons"

write metallica riff bpm free book music theory phrygian 72 seasons too far gone locrian

Play Episode Listen Later Apr 23, 2023 3:13

How to Write a Locrian RIFF Step 1. OctavesSet your grid to 1/16 notes and your tempo to 97 BPM. You're gonna start by writing a creative pattern using only octaves. If you're writing this on guitar, use your low open E string and the E one octave higher. And be sure to play every 1/16 note, as that's what gives the riff that heavy momentum. At the very end of the riff, though, play four 1/8 notes. That creates variation, and gives the circle pit a few seconds to breathe!Quick shoutout to Metallica, as this lesson is based on their song “Too Far Gone?” from the new album “72 Seasons”. Step 2. ModeNow that you've got an outline of your riff, it's time to start thinking about the melodic element. For this, we're gonna use the Locrian mode, like Metallica. So, to get the E Locrian mode, which is what they use, start with the E natural minor scale.Now, flatten the 2nd and 5th notes. And “flattening” just means lowering the note by one semitone - or one fret, if you're on the guitar. So the 2 (which is F♯), becomes a ♭2 (which is F). And the 5 (which is B), becomes a ♭5 (which is B♭). That's E Locrian! And if all these numbers and flats are confusing, just read hack 8 in our free book. Free BookJust before we jump into the next step. If there's an artist you want us to hack, drop us a comment on YouTube.Also, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you'll have a solid theory foundation that you can instantly apply to your songwriting and producing. Step 3. MelodyFinally it's time to add the melodic element to your riff. Now, you're not actually going to move any of your low E's, they're gonna chug away down there. You're only gonna move the high E's. So, have some fun playing around with where you can move those high E's to.However, be sure to play the notes that make the Locrian mode different to the natural minor scale, as those are the really dark heavy notes. In other words, play F and B♭. Also be sure to play G, as that's the ♭3, which is a relatively dark note too.Lastly, here's a quick bonus for my fellow theory nerds. At the end of their riff, Metallica plays some 5ths, which guitarists call “power chords”. What's interesting about this is that the 5th of the root note E, is B. But, in E Locrian there's a B♭ not a B. So theoretically that B pushes the riff into Phrygian for a split second. However, because our ears only pay attention to the root note of each power chord, that end part of the riff still sounds like it's in Locrian. PODCASTListen below, or on any podcast app.

Veil of Sound - Interview #42 - Locrian

Veil of Sound Interviews

Play Episode Listen Later Sep 10, 2022 52:52

Guess who's back, back again - VoS is back, tell your friend! Yeah, that's right, we are back from our little summer break with another interview we are really proud of: Terence Hannum from Locrian gave us a lot of interesting and thoughful insight into how the band works, why there was such a long break and much more! Who would have guessed that the way the band works is pretty visual, or that Terence has a lot to say about Florida Hardcore, or what is a good reason for him to have moved away from Chicago. Terence is a highly knowledgeable person with lots of interests and things for sure, and if you have Locrian for a while you should be aware that the band surely has a certain way of looking at things, social developments and our evolution as a society. Of course we spent a lot of time talking about their latest record New Catastrophism, which our own Dan reviewed here. Enjoy this mighty entertaining podcast episode and be sure to check out all the other awesome interviews we already have online for you and in the upcoming weeks for more high-quality content!

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Episode 89- Andre Foisy (Husk, Break of Dawn, Locrian)

Enterprise Hardcore Podcast

Play Episode Listen Later Aug 19, 2022 91:02

For Episode 89 my guest is Andre Foisy. Andre connects a few dots to some recent episodes. Andre grew up with Travis Hance in the small area of Brasher Falls-Winthrop, NY. When I first met Andre, he was playing in the band Husk. Eventually, this band would help introduce him to the members of the band Break of Dawn. Andre ended up playing guitar for Break of Dawn for a few years. We talked about these bands, as well as Andre's current project Locrian. Locrian has a very extensive catalog, including their new release "New Catastrophism." https://profoundlorerecords.com/products-page/plr-items/locrian-new-catastrophism-2xcd/ https://www.gofundme.com/f/enterprise-hardcore-podcast-video-equipment https://www.patreon.com/EnterpriseHardcorePodcast https://www.instagram.com/enterprisehardcorepodcast https://www.facebook.com/EnterpriseHardcorePodcast https://mobile.twitter.com/podcasthardcore --- Support this podcast: https://anchor.fm/enterprise-hardcore-podcast/support

ny husk locrian foisy

Episode 588: August 14, 2022

Brainwashed Radio - The Podcast Edition

Play Episode Listen Later Aug 14, 2022 55:10

Episode 588: August 14, 2022 playlist: The Veldt, "Electric Revolution" (Entropy Is The Mainline To God) 2022 Little Cloud Hagop Tchaparian, "Round" (Bolts) 2022 Text Four Tet, "Mango Feedback" (Mango Feedback) 2022 Text Bailey Miller, "222" (Still Water) 2022 Whited Sepulchre Bonnie 'Prince' Billy, "Outsider" (Outsider) 2022 Drag City Elaine Howley, "To The Test" (The Distance Between Heart And Mouth) 2022 Touch Sensitive Jabu, "Us Alone (Time Cow Remix)" (Us Alone / Slow Down Remixes) 2022 Do You Have Peace? Sofie Birch and Antonina Nowacka, "Sudany" (Languoria) 2022 Mondoj/Unsound Ami Dang, "Sensations" (The Living World's Demands) 2022 Leaving Records Ellen Arkbro and Johan Graden, "Never near" (I get along without you very well) 2022 Thrill Jockey Courtesy, "Night Journeys II (Jesse Lanza remix)" (Night Journeys Remix EP) 2022 Kulør Locrian, "Cenotaph to the Final Glacier part 1: At the Ablation's Edge Devoid of Absolution 2" (New Catastrophism) 2022 Profound Lore Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

demands courtesy stillwater brainwashed absolution four tet ablation veldt cenotaph jabu locrian

JLTP 041: How to improvise on “I’ll Remember April”-Chord theory and scale analysis

The Jeff Lewis Trumpet Podcast

Play Episode Listen Later Aug 9, 2022 9:15

In this session of The Jeff Lewis Trumpet Podcast, I go over how to improvise on the jazz standard "I'll Remember April" using six different major scales. I also discuss chord theory, scale analysis, and modes used for improvisation. In this particular episode, you will learn; The six major scales you can use to improvise over the entire song. How using major scale modes is one of the easiest ways to navigate jazz theory and chord changes. What Dorian, Mixolydian, Aeolian, and Locrian scale modes are. An easy way to practice jazz improvisation if you are just starting, or a grizzled veteran! For maximum benefit, download the FREE worksheet to podcast 041 and follow along here; Download my FREE ebook "Major Scale Patterns for Jazz Improvisation" in the key of C here You can use these patterns to play over the Bridge section to "I'll Remember April". My YouTube play-along for "I'll Remember April" (created with Band In A Box) Get this edition of "The Bb Real Book" (in trumpet, tenor, and clarinet key) that contains "I'll Remember April" and many other jazz standards here. DISCLAIMER: This description contains affiliate links, which means that if you click on one of the product links, I'll receive a small commission. It will not cost you more money but it will support the channel and allows me to continue to make podcasts like this. Thank you for the support!

theory bridge scale chord improvise aeolian mixolydian locrian jazz improvisation

Episode 134 - Terence Hannum

Third Gear Scratch

Play Episode Listen Later Aug 8, 2022 85:19

Terrance Hannum, synth-ist and keyboardist in his darkly beautiful drone-core band Locrian, doesn't set out everyday to be the most creative human on earth, but more often than not, something does indeed get made. Between his job as a professor of 3D Printing and digital fabrication and his life in Locrian, he also manages to write award-winning fiction, pulls haunting images out of his soul for his oil paintings and sculptures of dead flowers, and uses cassette tape to powerful effect of structured minimalism. Locrian has a new record called New Catastrphisms out August 12th (Profound Lore) produced and recorded mostly live by none other than J Robbins (Jawbox/Burning Airlines) to profound results. It continues with their string of celebrated records in a vein of music not unlike the beautifully disturbing and heavily weighted pieces of Hildur Guðnadóttir and the Chernobyl soundtrack.

chernobyl 3d printing hildur gu locrian profound lore terence hannum

JLTP 040: iib5-V7b9-i Chords/Three Levels of Improv (Step 3)

The Jeff Lewis Trumpet Podcast

Play Episode Listen Later Jul 24, 2022 5:54

In this session of The Jeff Lewis Trumpet Podcast, I review the third step on navigating through minor iib5-V7b9-i chord changes using three different scales. My YouTube tutorial on "Diminished scales and Theory" My YouTube Play-along for "Minor iib5-V7b9-i Chord Changes in All 12 Keys". Download the free PDFs for "harmonic minor scales" and " ii7b5-V7b9-i Pattern #3 Locrian/Diminished/Dorian". In this particular episode, you will learn; What a Locrian scale is and how to use it over the iib5 chord. How to use a half step/whole step diminished scale over the V7b9 chord. How to use the Dorian scale over the minor i chord. An "easy" iib5-V7b9-i jazz lick in all 12 keys.

keys theory pattern improv minor pdfs chords diminished three levels locrian

Episode 256-Andre from LOCRIAN talks with C Squared

C²

Play Episode Listen Later Jul 5, 2022 23:57

For today's episode Aliyah and Curtis got to speak with Andre Foisy of LOCRAIN who are getting ready to release a new album via Profound Lore next month! Work with C Squared Music: https://business.facebook.com/csquaredmusicandmarketing Follow Cori: https://twitter.com/CoriWestbrook Follow Holly: https://twitter.com/HollyRoyle Follow Aliyah: https://twitter.com/ShieldMaiden07 Follow Effy: https://twitter.com/theeffigymusic Follow Curtis: https://twitter.com/dewarpr

work squared locrian profound lore

EWB 257 LOCRIAN

blues minor scales must know phrygian mixolydian locrian

Play Episode Listen Later Jun 29, 2022 102:44

The last time I tried to have this many guests on a single episode, it turned out to be total chaos. Luckily, Locrian are three composed, articulate gentlemen. All three members, Terence Hannum, Andre Foisy and Steven Hess joined me to discuss their forthcoming LP New Catastophisms, the value of getting a good sweat and a myriad of other fascinating subjects. Intro: “All of the Dark Things” – Mike Hill Outro: “Augury in an Evaporating Tower” - Locrian

augury locrian terence hannum

070 - 5 Scales You Must Know

Beginner Guitar Academy

Play Episode Listen Later Mar 25, 2022 25294:22

Major, Minor, Blues, Mixolydian, super Locrian, Phrygian dominant there are so many guitar scales it can be overwhelming knowing where to begin. So in this episode, I'm going through the five scales you must know.

D Locrian

Harmony&Improvisation

Play Episode Listen Later Jan 25, 2022 6:03

- explanation of D locrian - minor 7 flat 5 - listen to Doub play simply over D locrian sounds - time to practice on your own in D locrian - final note on modes - all of the chords for the major note set being used also applies to the mode you are targeting Episode Image Link - https://harmonyimprovisati.wixsite.com/harmonyimprov/downloads YouTube Channel - https://www.youtube.com/user/tpfbb Podcast Link - https://open.spotify.com/show/3s7KQqOZlrbk0vZkoe4buC?si=jk14dlxoQJ-V4jhpNeU6sA Website - https://harmonyimprovisati.wixsite.com/harmonyimprov

music education theory improv improvisation pearce triads locrian diatonic

Episode 139: “Eight Miles High” by the Byrds

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Dec 22, 2021

Episode one hundred and thirty-nine of A History of Rock Music in Five Hundred Songs looks at “Eight Miles High” by the Byrds, and the influence of jazz and Indian music on psychedelic rock. This is a long one... Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Winchester Cathedral" by the New Vaudeville Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, as there were multiple artists with too many songs. Information on John Coltrane came from Coltrane by Ben Ratliffe, while information on Ravi Shankar came from Indian Sun: The Life and Music of Ravi Shankar by Oliver Craske. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. This dissertation looks at the influence of Slonimsky on Coltrane. All Coltrane's music is worth getting, but this 5-CD set containing Impressions is the most relevant cheap selection of his material for these purposes. This collection has the Shankar material released in the West up to 1962. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript This episode is the second part of a loose trilogy of episodes set in LA in 1966. We're going to be spending a *lot* of time around LA and Hollywood for the next few months -- seven of the next thirteen episodes are based there, and there'll be more after that. But it's going to take a while to get there. This is going to be an absurdly long episode, because in order to get to LA in 1966 again, we're going to have to start off in the 1940s in New York, and take a brief detour to India. Because in order to explain this: [Excerpt: The Byrds, "Eight Miles High"] We're first going to have to explain this: [Excerpt: John Coltrane, "India (#3)"] Before we begin this, I just want to say something. This episode runs long, and covers a *lot* of musical ground, and as part of that it covers several of the most important musicians of the twentieth century -- but musicians in the fields of jazz, which is a music I know something about, but am not an expert in, and Hindustani classical music, which is very much not even close to my area of expertise. It also contains a chunk of music theory, which again, I know a little about -- but only really enough to know how much I don't know. I am going to try to get the information about these musicians right, but I want to emphasise that at times I will be straying *vastly* out of my lane, in ways that may well seem like they're minimising these musicians. I am trying to give just enough information about them to tell the story, and I would urge anyone who becomes interested in the music I talk about in the early parts of this episode to go out and find more expert sources to fill in the gap. And conversely, if you know more about these musics than I do, please forgive any inaccuracies. I am going to do my best to get all of this right, because accuracy is important, but I suspect that every single sentence in the first hour or so of this episode could be footnoted with something pointing out all the places where what I've said is only somewhat true. Also, I apologise if I mispronounce any names or words in this episode, though I've tried my best to get it right -- I've been unable to find recordings of some words and names being spoken, while with others I've heard multiple versions. To tell today's story, we're going to have to go right back to some things we looked at in the first episode, on "Flying Home". For those of you who don't remember -- which is fair enough, since that episode was more than three years ago -- in that episode we looked at a jazz record by the Benny Goodman Sextet, which was one of the earliest popular recordings to feature electric guitar: [Excerpt: The Benny Goodman Sextet, "Flying Home"] Now, we talked about quite a lot of things in that episode which have played out in later episodes, but one thing we only mentioned in passing, there or later, was a style of music called bebop. We did talk about how Charlie Christian, the guitarist on that record, was one of the innovators of that style, but we didn't really go into what it was properly. Indeed, I deliberately did not mention in that episode something that I was saving until now, because we actually heard *two* hugely influential bebop musicians in that episode, and I was leaving the other one to talk about here. In that episode we saw how Lionel Hampton, the Benny Goodman band's vibraphone player, went on to form his own band, and how that band became one of the foundational influences for the genres that became known as jump blues and R&B. And we especially noted the saxophone solo on Hampton's remake of "Flying Home", played by Illinois Jacquet: [Excerpt: Lionel Hampton, "Flying Home"] We mentioned in that episode how Illinois Jacquet's saxophone solo there set the template for all tenor sax playing in R&B and rock and roll music for decades to come -- his honking style became quite simply how you play rock and roll or R&B saxophone, and without that solo you don't have any of the records by Fats Domino, Little Richard, the Coasters, or a dozen other acts that we discussed. But what we didn't look at in that episode is that that is a big band record, so of course there is more than just one saxophone player on it. And one of the other saxophone players on that recording is Dexter Gordon, a musician who was originally from LA. Those of you with long memories will remember that back in the first year or so of the podcast we talked a lot about the music programme at Jefferson High School in LA, and about Samuel Browne, the music teacher whose music programme gave the world the Coasters, the Penguins, the Platters, Etta James, Art Farmer, Richard Berry, Big Jay McNeely, Barry White, and more other important musicians than I can possibly name here. Gordon was yet another of Browne's students -- one who Browne regularly gave detention to, just to make him practice his scales. Gordon didn't get much chance to shine in the Lionel Hampton band, because he was only second tenor, with Jacquet taking many of the solos. But he was learning from playing in a band with Jacquet, and while Gordon didn't ever develop a honk like Jacquet's, he did adopt some of Jacquet's full tone in his own sound. There aren't many recordings of Gordon playing solos in his early years, because they coincided with the American Federation of Musicians' recording strike that we talked about in those early episodes, but he did record a few sessions in 1943 for a label small enough not to be covered by the ban, and you can hear something of Jacquet's tone in those recordings, along with the influence of Lester Young, who influenced all tenor sax players at this time: [Excerpt: Nat "King" Cole with Dexter Gordon, "I've Found a New Baby"] The piano player on that session, incidentally, is Nat "King" Cole, when he was still one of the most respected jazz pianists on the scene, before he switched primarily to vocals. And Gordon took this Jacquet-influenced tone, and used it to become the second great saxophone hero of bebop music, after Charlie Parker -- and the first great tenor sax hero of the music. I've mentioned bebop before on several occasions, but never really got into it in detail. It was a style that developed in New York in the mid to late forties, and a lot of the earliest examples of it went unrecorded thanks to that musicians' strike, but the style emphasised small groups improvising together, and expanding their sense of melody and harmony. The music prized virtuosity and musical intelligence over everything else, and was fast and jittery-sounding. The musicians would go on long, extended, improvisations, incorporating ideas both from the blues and from the modern classical music of people like Bartok and Stravinsky, which challenged conventional tonality. In particular, one aspect which became prominent in bebop music was a type of scale known as the bebop scale. In most of the music we've looked at in this podcast to this point, the scales used have been seven-note scales -- do-re-mi-fa-so-la-ti- which make an octave with a second, higher, do tone. So in the scale of C major we have C, D, E, F, G, A, B, and then another C: [demonstrates] Bebop scales, on the other hand, would generally have an extra note in, making an eight-note scale, by adding in what is called a chromatic passing note. For example, a typical bebop C major scale might add in the note G#, so the scale would go C,D,E,F,G,G#, A, B, C: [demonstrates] You'd play this extra note for the most part, when moving between the two notes it's between, so in that scale you'd mostly use it when moving from G to A, or from A to G. Now I'm far from a bebop player, so this won't sound like bebop, but I can demonstrate the kind of thing if I first noodle a little scalar melody in the key of C major: [demonstrates] And then play the same thing, but adding in a G# every time I go between the G and the A in either direction: [demonstrates] That is not bebop music, but I hope you can see what a difference that chromatic passing tone makes to the melody. But again, that's not bebop, because I'm not a bebop player. Dexter Gordon, though, *was* a bebop player. He moved to New York while playing with Louis Armstrong's band, and soon became part of the bebop scene, which at the time centred around Charlie Christian, the trumpet player Dizzy Gillespie, and the alto sax player Charlie Parker, sometimes nicknamed "bird" or "Yardbird", who is often regarded as the greatest of them all. Gillespie, Parker, and Gordon also played in Billy Eckstine's big band, which gave many of the leading bebop musicians the opportunity to play in what was still the most popular idiom at the time -- you can hear Gordon have a saxophone battle with Gene Ammons on "Blowing the Blues Away" in a lineup of the band that also included Art Blakey on drums and Dizzy Gillespie on trumpet: [Excerpt: Billy Eckstine, "Blowing the Blues Away"] But Gordon was soon leading his own small band sessions, and making records for labels like Savoy, on which you can definitely hear the influence of Illinois Jacquet on his tone, even as he's playing music that's more melodically experimental by far than the jump band music of the Hampton band: [Excerpt: Dexter Gordon, "Dexter Digs In"] Basically, in the late 1940s, if you were wanting to play bebop on the saxophone, you had two models to follow -- Charlie Parker, the great alto saxophonist with his angular, atonal, melodic sense and fast, virtuosic, playing, or Dexter Gordon, the tenor saxophonist, whose style had more R&B grease and wit to it, who would quote popular melodies in his own improvisations. And John Coltrane followed both. Coltrane's first instrument was the alto sax, and when he was primarily an alto player he would copy Charlie Parker's style. When he switched to being primarily a tenor player -- though he would always continue playing both instruments, and later in his career would also play soprano sax -- he took up much of Gordon's mellower tone, though he was also influenced by other tenor players, like Lester Young, the great player with Count Basie's band, and Johnny Hodges, who played with Duke Ellington. Now, it is important to note here that John Coltrane is a very, very, big deal. Depending on your opinion of Ornette Coleman's playing, Coltrane is by most accounts either the last or penultimate truly great innovator in jazz saxophone, and arguably the single foremost figure in the music in the last half of the twentieth century. In this podcast I'm only able to tell you enough about him to give you the information you need to understand the material about the Byrds, but were I to do a similar history of jazz in five hundred songs, Coltrane would have a similar position to someone like the Beatles -- he's such a major figure that he is literally venerated as a saint by the African Orthodox Church, and a couple of other Episcopal churches have at least made the case for his sainthood. So anything I say here about him is not even beginning to scratch the surface of his towering importance to jazz music, but it will, I hope, give some idea of his importance to the development of the Byrds -- a group of whom he was almost certainly totally unaware. Coltrane started out playing as a teenager, and his earliest recordings were when he was nineteen and in the armed forces, just after the end of World War II. At that time, he was very much a beginner, although a talented one, and on his early amateur recordings you can hear him trying to imitate Parker without really knowing what it was that Parker was doing that made him so great. But as well as having some natural talent, he had one big attribute that made him stand out -- his utter devotion to his music. He was so uninterested in anything other than mastering his instrument that one day a friend was telling him about a baseball game he'd watched, and all Coltrane could do was ask in confusion "Who's Willie Mays?" Coltrane would regularly practice his saxophone until his reed was red with blood, but he would also study other musicians. And not just in jazz. He knew that Charlie Parker had intensely studied Stravinsky's Firebird Suite, and so Coltrane would study that too: [Excerpt: Stravinsky, "Firebird Suite"] Coltrane joined the band of Eddie "Cleanhead" Vinson, who was one of those figures like Johnny Otis, with whom Vinson would later perform for many years, who straddled the worlds of jazz and R&B. Vinson was a blues shouter in the style of Big Joe Turner, but he was also a bebop sax player, and what he wanted was a tenor sax player who could play tenor the way Charlie Parker played alto, but do it in an R&B setting. Coltrane switched from alto to tenor, and spent a year or so playing with Vinson's band. No recordings exist of Coltrane with Vinson that I'm aware of, but you can get an idea of what he sounded like from his next band. By this point, Dizzy Gillespie had graduated from small bebop groups to leading a big band, and he got Coltrane in as one of his alto players, though Coltrane would often also play tenor with Gillespie, as on this recording from 1951, which has Coltrane on tenor, Gillespie on trumpet, with Kenny Burrell and two of the future Modern Jazz Quartet, Milt Jackson and Percy Heath, showing that the roots of modern jazz were not very far at all from the roots of rock and roll: [Excerpt: Dizzy Gillespie, "We Love to Boogie"] After leaving Gillespie's band, Coltrane played with a lot of important musicians over the next four or five years, like Johnny Hodges, Earl Bostic, and Jimmy Smith, and occasionally sat in with Miles Davis, but at this point he was still not a major musician in the genre. He was a competent, working, sideman, but he was also struggling with alcohol and heroin, and hadn't really found his own voice. But then Miles Davis asked Coltrane to join his band full-time. Coltrane was actually Davis' second choice -- he really wanted Sonny Rollins, who was widely considered the best new tenor player around, but he was eventually persuaded to take Coltrane. During his first period with Davis, Coltrane grew rapidly as a musician, and also played on a *lot* of other people's sessions. In a three year period Coltrane went from Davis to Thelonius Monk's group then back to Davis' group, and also recorded as both a sideman and a band leader on a ton of sessions. You can get a box set of his recordings from May 1956 through December 1958 that comes to nineteen CDs -- and that's not counting the recordings with Miles Davis, which aren't included on that set. Unsurprisingly, just through playing this much, Coltrane had grown enormously as a player, and he was particularly fascinated by harmonics, playing with the notes of a chord, in arpeggios, and pushing music to its harmonic limits, as you can hear in his solo on Davis' "Straight, No Chaser", which pushes the limits of the jazz solo as far as they'd gone to that point: [Excerpt: Miles Davis, "Straight, No Chaser"] But on the same album as that, "Milestones", we also have the first appearance of a new style, modal jazz. Now, to explain this, we have to go back to the scales again. We looked at the normal Western scale, do-re-mi-fa-so-la-ti-do, but you can start a scale on any of those notes, and which note you start on creates what is called a different mode. The modes are given Greek names, and each mode has a different feel to it. If you start on do, we call this the major scale or the Ionian mode. This is the normal scale we heard before -- C,D,E,F,G,A,B,C: [demonstrates] Most music – about seventy percent of the melodies you're likely to have heard, uses that mode. If you start on re, it would go re-mi-fa-so-la-ti-do-re, or D,E,F,G,A,B,C,D, the Dorian mode: [demonstrates] Melodies with this mode tend to have a sort of wistful feel, like "Scarborough Fair": [Excerpt: Simon and Garfunkel, "Scarborough Fair"] or many of George Harrison's songs: [Excerpt: The Beatles, "I Me Mine"] Starting on mi, you have the Phrygian mode, mi-fa-so-la-ti-do-re-mi: [demonstrates] The Phrygian mode is not especially widely used, but does turn up in some popular works like Barber's Adagio for Strings: [Excerpt: Barber, "Adagio for Strings"] Then there's the Lydian mode, fa-so-la-ti-do-re-mi-fa: [demonstrates] This mode isn't used much at all in pop music -- the most prominent example I can think of is "Pretty Ballerina" by the Left Banke: [Excerpt: The Left Banke, "Pretty Ballerina"] Starting on so, we have so-la-ti-do-re-mi-fa-so -- the Mixolydian mode: [demonstrates] That mode has a sort of bluesy or folky tone to it, and you also find it in a lot of traditional tunes, like "She Moves Through the Fair": [Excerpt: Davey Graham, "She Moved Thru' The Bizarre/Blue Raga"] And in things like "Norwegian Wood" by the Beatles: [Excerpt: The Beatles, "Norwegian Wood"] Though that goes into Dorian for the middle section. Starting on la, we have the Aeolian mode, which is also known as the natural minor scale, and is often just talked about as “the minor scale”: [demonstrates] That's obviously used in innumerable songs, for example "Losing My Religion" by REM: [Excerpt: REM, "Losing My Religion"] And finally you have the Locrian mode ti-do-re-mi-fa-so-la-ti: [demonstrates] That basically doesn't get used, unless someone wants to show off that they know the Locrian mode. The only vaguely familiar example I can think of is "Army of Me" by Bjork: [Excerpt: Bjork, "Army of Me"] I hope that brief excursion through the seven most common modes in Western diatonic music gives you some idea of the difference that musical modes can make to a piece. Anyway, as I was saying, on the "Milestones" album, we get some of the first examples of a form that became known as modal jazz. Now, the ideas of modal jazz had been around for a few years at that point -- oddly, it seems to be one of the first types of popular music to have existed in theory before existing in practice. George Russell, an acquaintance of Davis who was a self-taught music theorist, had written a book in 1953 titled The Lydian Chromatic Concept of Tonal Organization. That book argues that rather than looking at the diatonic scale as the basis for music, one should instead look at a chord progression called the circle of fifths. The circle of fifths is exactly what it sounds like -- you change chords to one a fifth away from it, and then do that again and again, either going up, so you'd have chords with the roots C-G-D-A-E-B-F# and so on: [demonstrates] Or, more commonly, going down, though usually when going downwards you tend to cheat a bit and sharpen one of the notes so you can stay in one key, so you'd get chords with roots C-F-B-E-A-D-G, usually the chords C, F, B diminished, Em, Am, Dm, G: [demonstrates] That descending cycle of fifths is used in all sorts of music, everything from "You Never Give Me Your Money" by the Beatles: [Excerpt: The Beatles, "You Never Give Me Your Money"] to "I Will Survive" by Gloria Gaynor: [Excerpt: Gloria Gaynor, "I Will Survive"] But what Russell pointed out is that if you do the upwards cycle of fifths, and you *don't* change any of the notes, the first seven root notes you get are the same seven notes you'd find in the Lydian mode, just reordered -- C-D-E-F#-G-A-B . Russell then argued that much of the way harmony and melody work in jazz could be thought of as people experimenting with the way the Lydian mode works, and the way the cycle of fifths leads you further and further away from the tonal centre. Now, you could probably do an entire podcast series as long as this one on the implications of this, and I am honestly just trying to summarise enough information here that you can get a vague gist, but Russell's book had a profound effect on how jazz musicians started to think about harmony and melody. Instead of improvising around the chord changes to songs, they were now basing improvisations and compositions around modes and the notes in them. Rather than having a lot of chord changes, you might just play a single root note that stays the same throughout, or only changes a couple of times in the whole piece, and just imply changes with the clash between the root note and whatever modal note the solo instrument is playing. The track "Milestones" on the Milestones album shows this kind of thinking in full effect -- the song consists of a section in G Dorian, followed by a section in A Aeolian (or E Phrygian depending on how you look at it). Each section has only one implied chord -- a Gm7 for the G Dorian section, and an Am7(b13) for the A Aeolian section -- over which Davis, Cannonball Adderley on alto sax, and Coltrane on tenor, all solo: [Excerpt: Miles Davis, "Milestones"] (For the pedants among you, that track was originally titled "Miles" on the first pressings of the album, but it was retitled "Milestones" on subsequent pressings). The modal form would be taken even further on Davis' next album to be recorded, Porgy and Bess, which featured much fuller orchestrations and didn't have Coltrane on it. Davis later said that when the arranger Gil Evans wrote the arrangements for that album, he didn't write any chords at all, just a scale, which Davis could improvise around. But it was on the album after that, Kind of Blue, which again featured Coltrane on saxophone, that modal jazz made its big breakthrough to becoming the dominant form of jazz music. As with what Evans had done on Porgy and Bess, Davis gave the other instrumentalists modes to play, rather than a chord sequence to improvise over or a melody line to play with. He explained his thinking behind this in an interview with Nat Hentoff, saying "When you're based on chords, you know at the end of 32 bars that the chords have run out and there's nothing to do but repeat what you've just done—with variations. I think a movement in jazz is beginning away from the conventional string of chords ... there will be fewer chords but infinite possibilities as to what to do with them." This style shows up in "So What", the opening track on the album, which is in some ways a very conventional song structure -- it's a thirty-two bar AABA structure. But instead of a chord sequence, it's based on modes in two keys -- the A section is in D Dorian, while the B section is in E-flat Dorian: [Excerpt: Miles Davis, "So What"] Kind of Blue would become one of the contenders for greatest jazz album of all time, and one of the most influential records ever made in any genre -- and it could be argued that that track we just heard, "So What", inspired a whole other genre we'll be looking at in a future episode -- but Coltrane still felt the need to explore more ideas, and to branch out on his own. In particular, while he was interested in modal music, he was also interested in exploring more kinds of scales than just modes, and to do this he had to, at least for the moment, reintroduce chord changes into what he was doing. He was inspired in particular by reading Nicolas Slonimsky's classic Thesaurus of Scales and Melodic Patterns. Coltrane had recently signed a new contract as a solo artist with Atlantic Records, and recorded what is generally considered his first true masterpiece album as a solo artist, Giant Steps, with several members of the Davis band, just two weeks after recording Kind of Blue. The title track to Giant Steps is the most prominent example of what are known in jazz as the Coltrane changes -- a cycle of thirds, similar to the cycle of fifths we talked about earlier. The track itself seems to have two sources. The first is the bridge of the old standard "Have You Met Miss Jones?", as famously played by Coleman Hawkins: [Excerpt: Coleman Hawkins, "Have You Met Miss Jones?" And the second is an exercise from Slonimsky's book: [Excerpt: Pattern #286 from Thesaurus of Scales and Melodic Patterns] Coltrane combined these ideas to come up with "Giant Steps", which is based entirely around these cycles of thirds, and Slonimsky's example: [Excerpt: John Coltrane, "Giant Steps"] Now, I realise that this is meant to be a history of rock music, not jazz musicology theory time, so I promise you I am just hitting the high points here. And only the points that affect Coltrane's development as far as it influenced the music we're looking at in this episode. And so we're actually going to skip over Coltrane's commercial high-point, My Favourite Things, and most of the rest of his work for Atlantic, even though that music is some of the most important jazz music ever recorded. Instead, I'm going to summarise a whole lot of very important music by simply saying that while Coltrane was very interested in this musical idea of the cycle of thirds, he did not like being tied to precise chord changes, and liked the freedom that modal jazz gave to him. By 1960, when his contract with Atlantic was ending and his contract with Impulse was beginning, and he recorded the two albums Olé and Africa/Brass pretty much back to back, he had hit on a new style with the help of Eric Dolphy, a flute, clarinet, and alto sax player who would become an important figure in Coltrane's life. Dolphy died far too young -- he went into a diabetic coma and doctors assumed that because he was a Black jazz musician he must have overdosed, even though he was actually a teetotal abstainer, so he didn't get the treatment he needed -- but he made such a profound influence on Coltrane's life that Coltrane would carry Dolphy's picture with him after his death. Dolphy was even more of a theorist than Coltrane, and another devotee of Slonimsky's book, and he was someone who had studied a great deal of twentieth-century classical music, particularly people like Bartok, Messiaen, Stravinsky, Charles Ives, and Edgard Varese. Dolphy even performed Varese's piece Density 21.5 in concert, an extremely demanding piece for solo flute. I don't know of a recording of Dolphy performing it, sadly, but this version should give some idea: [Excerpt: Edgard Varese, "Density 21.5"] Encouraged by Dolphy, Coltrane started making music based around no changes at all, with any changes being implied by the melody. The title song of Africa/Brass, "Africa", takes up an entire side of one album, and doesn't have a single actual chord change on it, with Dolphy and pianist McCoy Tyner coming up with a brass-heavy arrangement for Coltrane to improvise over a single chord: [Excerpt: The John Coltrane Quartet: "Africa"] This was a return to the idea of modal jazz, based on scales rather than chord changes, but by implying chord changes, often changes based on thirds, Coltrane was often using different scales than the modes that had been used in modal jazz. And while, as the title suggested, "Africa" was inspired by the music of Africa, the use of a single drone chord underneath solos based on a scale was inspired by the music of another continent altogether. Since at least the mid-1950s, both Coltrane and Dolphy had been interested in Indian music. They appear to have first become interested in a record released by Folkways, Music Of India, Morning And Evening Ragas by Ali Akbar Khan: [Excerpt: Ali Akbar Khan, "Rag Sindhi Bhairavi"] But the musician they ended up being most inspired by was a friend of Khan's, Ravi Shankar, who like Khan had been taught by the great sarod player Alauddin Khan, Ali Akbar Khan's father. The elder Khan, who was generally known as "Baba", meaning "father", was possibly *the* most influential Indian musician of the first half of the twentieth century, and was a big part of the revitalisation of Indian music that went hand in hand with the growth of Indian nationalism. He was an ascetic who lived for music and nothing else, and would write five to ten new compositions every day, telling Shankar "Do one thing well and you can achieve everything. Do everything and you achieve nothing". Alauddin Khan was a very religious Muslim, but one who saw music as the ultimate way to God and could find truths in other faiths. When Shankar first got to know him, they were both touring as musicians in a dance troupe run by Shankar's elder brother, which was promoting Indian arts in the West, and he talked about taking Khan to hear the organ playing at Notre Dame cathedral, and Khan bursting into tears and saying "here is God". Khan was not alone in this view. The classical music of Northern India, the music that Khan played and taught, had been very influenced by Sufism, which was for most of Muslim history the dominant intellectual and theological tradition in Islam. Now, I am going to sum up a thousand years of theology and practice, of a religion I don't belong to, in a couple of sentences here, so just assume that what I'm saying is wrong, and *please* don't take offence if you are Sufi yourself and believe I am misrepresenting you. But my understanding of Sufism is that Sufis are extremely devoted to attaining knowledge and understanding of God, and believe that strict adherence to Muslim law is the best way to attain that knowledge -- that it is the way that God himself has prescribed for humans to know him -- but that such knowledge can be reached by people of other faiths if they approach their own traditions with enough devotion. Sufi ideas infuse much of Northern Indian classical music, and so for example it has been considered acceptable for Muslims to sing Hindu religious music and Hindus to sing songs of praise to Allah. So while Ravi Shankar was Hindu and Alauddin Khan was Muslim, Khan was able to become Shankar's guru in what both men regarded as a religious observance, and even to marry Khan's daughter. Khan was a famously cruel disciplinarian -- once hospitalising a student after hitting him with a tuning hammer -- but he earned the devotion of his students by enforcing the same discipline on himself. He abstained from sex so he could put all his energies into music, and was known to tie his hair to the ceiling while he practiced, so he could not fall asleep no matter how long he kept playing. Both Khan and his son Ali Akhbar Khan played the sarod, while Shankar played the sitar, but they all played the same kind of music, which is based on the concept of the raga. Now, in some ways, a raga can be considered equivalent to a mode in Western music: [Excerpt: Ali Akbar Khan, "Rag Sindhi Bhairavi"] But a raga is not *just* a mode -- it sits somewhere between Western conceptions of a mode and a melody. It has a scale, like a mode, but it can have different scales going up or down, and rules about which notes can be moved to from which other notes. So for example (and using Western tones so as not to confuse things further), a raga might say that it's possible to move up from the note G to D, but not down from D to G. Ragas are essentially a very restrictive set of rules which allow the musician playing them to improvise freely within those rules. In the late 1940s and early 1950s, the violinist Yehudi Mehuin, at the time the most well-known classical musician in the world, had become fascinated by Indian music as part of a wider programme of his to learn more music outside what he regarded as the overly-constricting scope of the Western classical tradition in which he had been trained. He had become a particular fan of Shankar, and had invited him over to the US to perform. Shankar had refused to come at that point, sending his brother-in-law Ali Akbar Khan over, as he was in the middle of a difficult divorce, and that had been when Khan had recorded that album which had fascinated Coltrane and Dolphy. But Shankar soon followed himself, and made his own records: [Excerpt: Ravi Shankar, "Raga Hamsadhwani"] The music that both Khan and Shankar played was a particular style of Hindustani classical music, which has three elements -- there's a melody instrument, in Shankar's case the sitar and in Khan's the sarod, both of them fretted stringed instruments which have additional strings that resonate along with the main melody string, giving their unique sound. These are the most distinctive Indian instruments, but the melody can be played on all sorts of other instruments, whether Indian instruments like the bansuri and shehnai, which are very similar to the flute and oboe respectively, or Western instruments like the violin. Historically, the melody has also often been sung rather than played, but Indian instrumental music has had much more influence on Western popular music than Indian vocal music has, so we're mostly looking at that here. Along with the melody instrument there's a percussion instrument, usually the tabla, which is a pair of hand drums. Rather than keep a steady, simple, beat like the drum kit in rock music, the percussion has its own patterns and cycles, called talas, which like ragas are heavily formalised but leave a great amount of room for improvisation. The percussion and the melody are in a sort of dialogue with each other, and play off each other in a variety of ways. And finally there's the drone instrument, usually a stringed instrument called a tamboura. The drone is what it sounds like -- a single note, sustained and repeated throughout the piece, providing a harmonic grounding for the improvisations of the melody instrument. Sometimes, rather than just a single root note, it will be a root and fifth, providing a single chord to improvise over, but as often it will be just one note. Often that note will be doubled at the octave, so you might have a drone on both low E and high E. The result provides a very strict, precise, formal, structure for an infinitely varied form of expression, and Shankar was a master of it: [Excerpt: Ravi Shankar, "Raga Hamsadhwani"] Dolphy and, especially, Coltrane became fascinated by Indian music, and Coltrane desperately wanted to record with Shankar -- he even later named his son Ravi in honour of the great musician. It wasn't just the music as music, but music as spiritual practice, that Coltrane was engaged with. He was a deeply religious man but one who was open to multiple faith traditions -- he had been brought up as a Methodist, and both his grandfathers were ministers in the African Methodist Episcopal Zion Church, but his first wife, Naima, who inspired his personal favourite of his own compositions, was a Muslim, while his second wife, Swamini Turiyasangitananda (who he married after leaving Naima in 1963 and who continued to perform as Alice Coltrane even after she took that name, and was herself an extraordinarily accomplished jazz musician on both piano and harp), was a Hindu, and both of them profoundly influenced Coltrane's own spirituality. Some have even suggested that Coltrane's fascination with a cycle of thirds came from the idea that the third could represent both the Christian Trinity and the Hindu trimurti -- the three major forms of Brahman in Hinduism, Brahma, Vishnu, and Shiva. So a music which was a religious discipline for more than one religion, and which worked well with the harmonic and melodic ideas that Coltrane had been exploring in jazz and learning about through his studies of modern classical music, was bound to appeal to Coltrane, and he started using the idea of having two basses provide an octave drone similar to that of the tamboura, leading to tracks like "Africa" and "Olé": [Excerpt: John Coltrane, "Olé"] Several sources have stated that that song was an influence on "Light My Fire" by the Doors, and I can sort of see that, though most of the interviews I've seen with Ray Manzarek have him talking about Coltrane's earlier version of "My Favourite Things" as the main influence there. Coltrane finally managed to meet with Shankar in December 1961, and spent a lot of time with him -- the two discussed recording an album together with McCoy Tyner, though nothing came of it. Shankar said of their several meetings that month: "The music was fantastic. I was much impressed, but one thing distressed me. There was turbulence in the music that gave me a negative feeling at times, but I could not quite put my finger on the trouble … Here was a creative person who had become a vegetarian, who was studying yoga, and reading the Bhagavad-Gita, yet in whose music I still heard much turmoil. I could not understand it." Coltrane said in turn "I like Ravi Shankar very much. When I hear his music, I want to copy it – not note for note of course, but in his spirit. What brings me closest to Ravi is the modal aspect of his art. Currently, at the particular stage I find myself in, I seem to be going through a modal phase … There's a lot of modal music that is played every day throughout the world. It is particularly evident in Africa, but if you look at Spain or Scotland, India or China, you'll discover this again in each case … It's this universal aspect of music that interests me and attracts me; that's what I'm aiming for." And the month before Coltrane met Shankar, Coltrane had had a now-legendary residency at the Village Vanguard in New York with his band, including Dolphy, which had resulted not only in the famous Live at the Village Vanguard album, but in two tracks on Coltrane's studio album Impressions. Those shows were among the most controversial in the history of jazz, though the Village Vanguard album is now often included in lists of the most important records in jazz. Downbeat magazine, the leading magazine for jazz fans at the time, described those shows as "musical nonsense" and "a horrifying demonstration of what appears to be a growing anti-jazz trend" -- though by the time Impressions came out in 1963, that opinion had been revised somewhat. Harvey Pekar, the comic writer and jazz critic, also writing in DownBeat, gave Impressions five stars, saying "Not all the music on this album is excellent (which is what a five-star rating signifies,) but some is more than excellent". And while among Coltrane fans the piece from these Village Vanguard shows that is of most interest is the extended blues masterpiece "Chasin' the Trane" which takes up a whole side of the Village Vanguard LP, for our purposes we're most interested in one of the two tracks that was held over for Impressions. This was another of Coltrane's experiments in using the drones he'd found in Indian musical forms, like "Africa" and "Olé". This time it was also inspired by a specific piece of music, though not an instrumental one. Rather it was a vocal performance -- a recording on a Folkways album of Pandita Ramji Shastri Dravida chanting one of the Vedas, the religious texts which are among the oldest texts sacred to any surviving religion: [Excerpt: Pandita Ramji Shastri Dravida, "Vedic Chanting"] Coltrane took that basic melodic idea, and combined it with his own modal approach to jazz, and the inspiration he was taking from Shankar's music, and came up with a piece called "India": [Excerpt: John Coltrane, "India"] Which is where we came in, isn't it? [Excerpt: The Byrds, "Eight Miles High"] So now, finally, we get to the Byrds. Even before "Mr. Tambourine Man" went to number one in the charts, the Byrds were facing problems with their sound being co-opted as the latest hip thing. Their location in LA, at the centre of the entertainment world, was obviously a huge advantage to them in many ways, but it also made them incredibly visible to people who wanted to hop onto a bandwagon. The group built up much of their fanbase playing at Ciro's -- the nightclub on the Sunset Strip that we mentioned in the previous episode which later reopened as It's Boss -- and among those in the crowd were Sonny and Cher. And Sonny brought along his tape recorder. The Byrds' follow-up single to "Mr. Tambourine Man", released while that song was still going up the charts, was another Dylan song, "All I Really Want to Do". But it had to contend with this: [Excerpt: Cher, "All I Really Want to Do"] Cher's single, produced by Sonny, was her first solo single since the duo had become successful, and came out before the Byrds' version, and the Byrds were convinced that elements of the arrangement, especially the guitar part, came from the version they'd been performing live – though of course Sonny was no stranger to jangly guitars himself, having co-written “Needles and Pins”, the song that pretty much invented the jangle. Cher made number fifteen on the charts, while the Byrds only made number forty. Their version did beat Cher's in the UK charts, though. The record company was so worried about the competition that for a while they started promoting the B-side as the A-side. That B-side was an original by Gene Clark, though one that very clearly showed the group's debt to the Searchers: [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] While it was very obviously derived from the Searchers' version of "Needles and Pins", especially the riff, it was still a very strong, original, piece of work in its own right. It was the song that convinced the group's producer, Terry Melcher, that they were a serious proposition as artists in their own right, rather than just as performers of Dylan's material, and it was also a favourite of the group's co-manager, Jim Dickson, who picked out Clark's use of the word "probably" in the chorus as particularly telling -- the singer thinks he will feel better when the subject of the song is gone, but only probably. He's not certain. "I'll Feel a Whole Lot Better", after being promoted as the A-side for a short time, reached number one hundred and two on the charts, but the label quickly decided to re-flip it and concentrate on promoting the Dylan song as the single. The group themselves weren't too bothered about their thunder having been stolen by Sonny and Cher, but their new publicist was incandescent. Derek Taylor had been a journalist for the Daily Express, which at that time was a respectable enough newspaper (though that is very much no longer the case). He'd become involved in the music industry after writing an early profile on the Beatles, at which point he had been taken on by the Beatles' organisation first to ghostwrite George Harrison's newspaper column and Brian Epstein's autobiography, and then as their full-time publicist and liner-note writer. He'd left the organisation at the end of 1964, and had moved to the US, where he had set up as an independent music publicist, working for the Byrds, the Beach Boys, and various other acts in their overlapping social circles, such as Paul Revere and the Raiders. Taylor was absolutely furious on the group's behalf, saying "I was not only disappointed, I was disgusted. Sonny and Cher went to Ciro's and ripped off the Byrds and, being obsessive, I could not get this out of my mind that Sonny and Cher had done this terrible thing. I didn't know that much about the record business and, in my experience with the Beatles, cover versions didn't make any difference. But by covering the Byrds, it seemed that you could knock them off the perch. And Sonny and Cher, in my opinion, stole that song at Ciro's and interfered with the Byrds' career and very nearly blew them out of the game." But while the single was a comparative flop, the Mr. Tambourine Man album, which came out shortly after, was much more successful. It contained the A and B sides of both the group's first two singles, although a different vocal take of "All I Really Want to Do" was used from the single release, along with two more Dylan covers, and a couple more originals -- five of the twelve songs on the album were original in total, three of them Gene Clark solo compositions and the other two co-written by Clark and Roger McGuinn. To round it out there was a version of the 1939 song "We'll Meet Again", made famous by Vera Lynn, which you may remember us discussing in episode ninety as an example of early synthesiser use, but which had recently become popular in a rerecorded version from the 1950s, thanks to its use at the end of Dr. Strangelove; there was a song written by Jackie DeShannon; and "The Bells of Rhymney", a song in which Pete Seeger set a poem about a mining disaster in Wales to music. So a fairly standard repertoire for early folk-rock, though slightly heavier on Dylan than most. While the group's Hollywood notoriety caused them problems like the Sonny and Cher one, it did also give them advantages. For example, they got to play at the fourth of July party hosted by Jane Fonda, to guests including her father Henry and brother Peter, Louis Jordan, Steve McQueen, Warren Beatty, and Sidney Poitier. Derek Taylor, who was used to the Beatles' formal dress and politeness at important events, imposed on them by Brian Epstein, was shocked when the Byrds turned up informally dressed, and even more shocked when Vito Paulekas and Carl Franzoni showed up. Vito (who was always known by his first name) and Franzoni are both important but marginal figures in the LA scene. Neither were musicians, though Vito did make one record, produced by Kim Fowley: [Excerpt: Vito and the Hands, "Vito and the Hands"] Rather Vito was a sculptor in his fifties, who had become part of the rock and roll scene and had gathered around him a dance troupe consisting largely of much younger women, and also of himself and Franzoni. Their circle, which also included Arthur Lee and Bryan MacLean, who weren't part of their dance troupe but were definitely part of their crowd, will be talked about much more in future episodes, but for now we'll just say that they are often considered proto-hippies, though they would have disputed that characterisation themselves quite vigorously; that they were regular dancers at Ciro's and became regular parts of the act of both the Byrds and the Mothers of Invention; and we'll give this rather explicit description of their performances from Frank Zappa: "The high point of the performance was Carl Franzoni, our 'go-go boy.' He was wearing ballet tights, frugging violently. Carl has testicles which are bigger than a breadbox. Much bigger than a breadbox. The looks on the faces of the Baptist teens experiencing their grandeur is a treasured memory." Paints a vivid picture, doesn't it? So you can possibly imagine why Derek Taylor later said "When Carl Franzoni and Vito came, I got into a terrible panic". But Jim Dickson explained to him that it was Hollywood and people were used to that kind of thing, and even though Taylor described seeing Henry Fonda and his wife pinned against the wall by the writhing Franzoni and the other dancers, apparently everyone had a good time. And then the next month, the group went on their first UK tour. On which nobody had a good time: [Excerpt: The Byrds, "Eight Miles High"] Even before the tour, Derek Taylor had reservations. Obviously the Byrds should tour the UK -- London, in particular, was the centre of the cultural world at that time, and Taylor wanted the group to meet his old friends the Beatles and visit Carnaby Street. But at the same time, there seemed to be something a little... off... about the promoters they were dealing with, Joe Collins, the father of Joan and Jackie Collins, and a man named Mervyn Conn. As Taylor said later "All I did know was that the correspondence from Mervyn Conn didn't assure me. I kept expressing doubts about the contents of the letters. There was something about the grammar. You know, 'I'll give you a deal', and 'We'll get you some good gigs'. The whole thing was very much showbusiness. Almost pantomime showbusiness." But still, it seemed like it was worth making the trip, even when Musicians Union problems nearly derailed the whole thing. We've talked previously about how disagreements between the unions in the US and UK meant that musicians from one country couldn't tour the other for decades, and about how that slightly changed in the late fifties. But the new system required a one-in, one-out system where tours had to be set up as exchanges so nobody was taking anyone's job, and nobody had bothered to find a five-piece group of equivalent popularity to the Byrds to tour America in return. Luckily, the Dave Clark Five stepped into the breach, and were able to do a US tour on short notice, so that problem was solved. And then, as soon as they landed, the group were confronted with a lawsuit. From the Birds: [Excerpt: The Birds, "No Good Without You Baby"] These Birds, spelled with an "i", not a "y", were a Mod group from London, who had started out as the Thunderbirds, but had had to shorten their name when the London R&B singer Chris Farlowe and his band the Thunderbirds had started to have some success. They'd become the Birds, and released a couple of unsuccessful singles, but had slowly built up a reasonable following and had a couple of TV appearances. Then they'd started to receive complaints from their fans that when they went into the record shops to ask for the new record by the Birds, they were being sold some jangly folky stuff about tambourines, rather than Bo Diddley inspired R&B. So the first thing the American Byrds saw in England, after a long and difficult flight which had left them very tired and depressed, especially Gene Clark, who hated flying, was someone suing them for loss of earnings. The lawsuit never progressed any further, and the British group changed their name to Birds Birds, and quickly disappeared from music history -- apart from their guitarist, Ronnie Wood, who we'll be hearing from again. But the experience was not exactly the welcome the group had been hoping for, and is reflected in one of the lines that Gene Clark wrote in the song he later came up with about the trip -- "Nowhere is there love to be found among those afraid of losing their ground". And the rest of the tour was not much of an improvement. Chris Hillman came down with bronchitis on the first night, David Crosby kept turning his amp up too high, resulting in the other members copying him and the sound in the venues they were playing seeming distorted, and most of all they just seemed, to the British crowds, to be unprofessional. British audiences were used to groups running on, seeming excited, talking to the crowd between songs, and generally putting on a show. The Byrds, on the other hand, sauntered on stage, and didn't even look at the audience, much less talk to them. What seemed to the LA audience as studied cool seemed to the UK audience like the group were rude, unprofessional, and big-headed. At one show, towards the end of the set, one girl in the audience cried out "Aren't you even going to say anything?", to which Crosby responded "Goodbye" and the group walked off, without any of them having said another word. When they played the Flamingo Club, the biggest cheer of the night came when their short set ended and the manager said that the club was now going to play records for dancing until the support act, Geno Washington and the Ramjam Band, were ready to do another set. Michael Clarke and Roger McGuinn also came down with bronchitis, the group were miserable and sick, and they were getting absolutely panned in the reviews. The closest thing they got to a positive review was when Paul Jones of Manfred Mann was asked about them, and he praised some of their act -- perceptively pointing to their version of "We'll Meet Again" as being in the Pop Art tradition of recontextualising something familiar so it could be looked at freshly -- but even he ended up also criticising several aspects of the show and ended by saying "I think they're going to be a lot better in the future". And then, just to rub salt in the wound, Sonny and Cher turned up in the UK. The Byrds' version of "All I Really Want to Do" massively outsold theirs in the UK, but their big hit became omnipresent: [Excerpt: Sonny and Cher, "I Got You Babe"] And the press seemed to think that Sonny and Cher, rather than the Byrds, were the true representatives of the American youth culture. The Byrds were already yesterday's news. The tour wasn't all bad -- it did boost sales of the group's records, and they became friendly with the Beatles, Stones, and Donovan. So much so that when later in the month the Beatles returned to the US, the Byrds were invited to join them at a party they were holding in Benedict Canyon, and it was thanks to the Byrds attending that party that two things happened to influence the Beatles' songwriting. The first was that Crosby brought his Hollywood friend Peter Fonda along. Fonda kept insisting on telling people that he knew what it was like to actually be dead, in a misguided attempt to reassure George Harrison, who he wrongly believed was scared of dying, and insisted on showing them his self-inflicted bullet wounds. This did not go down well with John Lennon and George Harrison, both of whom were on acid at the time. As Lennon later said, "We didn't want to hear about that! We were on an acid trip and the sun was shining and the girls were dancing and the whole thing was beautiful and Sixties, and this guy – who I really didn't know; he hadn't made Easy Rider or anything – kept coming over, wearing shades, saying, "I know what it's like to be dead," and we kept leaving him because he was so boring! ... It was scary. You know ... when you're flying high and [whispers] "I know what it's like to be dead, man" Eventually they asked Fonda to get out, and the experience later inspired Lennon to write this: [Excerpt: The Beatles, "She Said, She Said"] Incidentally, like all the Beatles songs of that period, that was adapted for the cartoon TV series based on the group, in this case as a follow-the-bouncing-ball animation. There are few things which sum up the oddness of mid-sixties culture more vividly than the fact that there was a massively popular kids' cartoon with a cheery singalong version of a song about a bad acid trip and knowing what it's like to be dead. But there was another, more positive, influence on the Beatles to come out of them having invited the Byrds to the party. Once Fonda had been kicked out, Crosby and Harrison became chatty, and started talking about the sitar, an instrument that Harrison had recently become interested in. Crosby showed Harrison some ragas on the guitar, and suggested he start listening to Ravi Shankar, who Crosby had recently become a fan of. And we'll be tracking Shankar's influence on Harrison, and through him the Beatles, and through them the whole course of twentieth century culture, in future episodes. Crosby's admiration both of Ravi Shankar and of John Coltrane was soon to show in the Byrds' records, but first they needed a new single. They'd made attempts at a version of "The Times They Are A-Changin'", and had even tried to get both George Harrison and Paul McCartney to add harmonica to that track, but that didn't work out. Then just before the UK tour, Terry Melcher had got Jack Nitzsche to come up with an arrangement of Dylan's "It's All Over Now, Baby Blue": [Excerpt: The Byrds, "It's All Over Now, Baby Blue (version 1)"] Nitzsche's arrangement was designed to sound as much like a Sonny and Cher record as possible, and at first the intention was just to overdub McGuinn's guitar and vocals onto a track by the Wrecking Crew. The group weren't happy at this, and even McGuinn, who was the friendliest of the group with Melcher and who the record was meant to spotlight, disliked it. The eventual track was cut by the group, with Jim Dickson producing, to show they could do a good job of the song by themselves, with the intention that Melcher would then polish it and finish it in the studio, but Melcher dropped the idea of doing the song at all. There was a growing factionalism in the group by this point, with McGuinn and to a lesser extent Michael Clarke being friendly with Melcher. Crosby disliked Melcher and was pushing for Jim Dickson to replace him as producer, largely because he thought that Melcher was vetoing Crosby's songs and giving Gene Clark and Roger McGuinn free run of the songwriting. Dickson on the other hand was friendliest with Crosby, but wasn't much keener on Crosby's songwriting than Melcher was, thinking Gene Clark was the real writing talent in the group. It didn't help that Crosby's songs tended to be things like harmonically complex pieces based on science fiction novels -- Crosby was a big fan of the writer Robert Heinlein, and in particular of the novel Stranger in a Strange Land, and brought in at least two songs inspired by that novel, which were left off albums -- his song "Stranger in a Strange Land" was eventually recorded by the San Francisco group Blackburn & Snow: [Excerpt: Blackburn & Snow, "Stranger in a Strange Land"] Oddly, Jim Dickson objected to what became the Byrds' next single for reasons that come from the same roots as the Heinlein novel. A short while earlier, McGuinn had worked as a guitarist and arranger on an album by the folk singer Judy Collins, and one of the songs she had recorded on that album was a song written by Pete Seeger, setting the first eight verses of chapter three of the Biblical book of Ecclesiastes to music: [Excerpt: Judy Collins, "Turn Turn Turn (To Everything There is a Season"] McGuinn wanted to do an electric version of that song as the Byrds' next single, and Melcher sided with him, but Dickson was against the idea, citing the philosopher Alfred Korzybski, who was a big influence both on the counterculture and on Heinlein. Korzybski, in his book Science and Sanity, argued that many of the problems with the world are caused by the practice in Aristotelean logic of excluding the middle and only talking about things and their opposites, saying that things could be either A or Not-A, which in his view excluded most of actual reality. Dickson's argument was that the lyrics to “Turn! Turn! Turn!” with their inflexible Aristotelianism, were hopelessly outmoded and would make the group a laughing stock among anyone who had paid attention to the intellectual revolutions of the previous few decades. "A time of love, a time of hate"? What about all the times that are neither for loving or hating, and all the emotions that are complex mixtures of love and hate? In his eyes, this was going to make the group look like lightweights. Terry Melcher disagreed, and forced the group through take after take, until they got what became the group's second number one hit: [Excerpt: The Byrds, "Turn! Turn! Turn!"] After the single was released and became a hit, the battle lines in the group hardened. It was McGuinn and Melcher on one side, Crosby and Dickson on the other, with Chris Hillman, Michael Clarke, and Gene Clark more or less neutral in the middle, but tending to side more and more with the two Ms largely because of Crosby's ability to rub everyone up the wrong way. At one point during the sessions for the next album, tempers flared so much that Michael Clarke actually got up, went over to Crosby, and punched Crosby so hard that he fell off his seat. Crosby, being Hollywood to the bone, yelled at Clarke "You'll never work in this town again!", but the others tended to agree that on that occasion Crosby had it coming. Clarke, when asked about it later, said "I slapped him because he was being an asshole. He wasn't productive. It was necessary." Things came to a head in the filming for a video for the next single, Gene Clark's "Set You Free This Time". Michael Clarke was taller than the other Byrds, and to get the shot right, so the angles would line up, he had to stand further from the camera than the rest of them. David Crosby -- the member with most knowledge of the film industry, whose father was an Academy Award-winning cinematographer, so who definitely understood the reasoning for this -- was sulking that once again a Gene Clark song had been chosen for promotion rather than one of his songs, and started manipulating Michael Clarke, telling him that he was being moved backwards because the others were jealous of his good looks, and that he needed to move forward to be with the rest of them. Multiple takes were ruined because Clarke listened to Crosby, and eventually Jim Dickson got furious at Clarke and went over and slapped him on the face. All hell broke loose. Michael Clarke wasn't particularly bothered by being slapped by Dickson, but Crosby took that as an excuse to leave, walking off before the first shot of the day had been completed. Dickson ran after Crosby, who turned round and punched Dickson in the mouth. Dickson grabbed hold of Crosby and held him in a chokehold. Gene Clark came up and pulled Dickson off Crosby, trying to break up the fight, and then Crosby yelled "Yeah, that's right, Gene! Hold him so I can hit him again!" At this point if Clark let Dickson go, Dickson would have attacked Crosby again. If he held Dickson, Crosby would have taken it as an invitation to hit him more. Clark's dilemma was eventually relieved by Barry Feinstein, the cameraman, who came in and broke everything up. It may seem odd that Crosby and Dickson, who were on the same side, were the ones who got into a fight, while Michael Clarke, who had previously hit Crosby, was listening to Crosby over Dickson, but that's indicative of how everyone felt about Crosby. As Dickson later put it, "People have stronger feelings about David Crosby. I love David more than the rest and I hate him more than the rest. I love McGuinn the least, and I hate him the least, because he doesn't give you emotional feedback. You don't get a chance. The hate is in equal proportion to how much you love them." McGuinn was finding all this deeply distressing -- Dickson and Crosby were violent men, and Michael Clarke and Hillman could be provoked to violence, but McGuinn was a pacifist both by conviction and temperament. Everything was conspiring to push the camps further apart. For example, Gene Clark made more money than the rest because of his songwriting royalties, and so got himself a good car. McGuinn had problems with his car, and knowing that the other members were jealous of Clark, Melcher offered to lend McGuinn one of his own Cadillacs, partly in an attempt to be friendly, and partly to make sure the jealousy over Clark's car didn't cause further problems in the group. But, of course, now Gene Clark had a Ferrarri and Roger McGuinn had a Cadillac, where was David Crosby's car? He stormed into Dickson's office and told him that if by the end of the tour the group were going on, Crosby didn't have a Bentley, he was quitting the group. There was only one thing for it. Terry Melcher had to go. The group had recorded their second album, and if they couldn't fix the problems within the band, they would have to deal with the problems from outside. While the group were on tour, Jim Dickson told Melcher they would no longer be working with him as their producer. On the tour bus, the group listened over and over to a tape McGuinn had made of Crosby's favourite music. On one side was a collection of recordings of Ravi Shankar, and on the other was two Coltrane albums -- Africa/Brass and Impressions: [Excerpt: John Coltrane, "India"] The group listened to this, and basically no other music, on the tour, and while they were touring Gene Clark was working on what he hoped would be the group's next single -- an impressionistic song about their trip to the UK, which started "Six miles high and when you touch down, you'll find that it's stranger than known". After he had it half complete, he showed it to Crosby, who helped him out with the lyrics, coming up with lines like "Rain, grey town, known for its sound" to describe London. The song talked about the crowds that followed them, about the music -- namechecking the Small Faces, who at the time had only released two single

america god tv music american new york live history black hollywood starting uk china science england british san francisco west africa ms western dm army spain hands greek indian scotland biblical world war ii boss rain birds atlantic muslims straight mothers beatles snow islam columbia cd notre dame academy awards doors wales raiders rock and roll ecclesiastes evans stones depending baptist barbers found khan impressions musicians cds clarke invention john lennon goodbye paul mccartney historically impulse hindu bells milestones allah sanity penguins encouraged beach boys blowing hampton scales cadillac baba hinduism miles davis shiva ravi george harrison blackburn mod jane fonda methodist tilt browne frank zappa steve mcqueen pins louis armstrong vito little richard needles dickson gillespie density bhagavad gita strangelove we love sufi episcopal rock music garfunkel sixties john coltrane duke ellington hindus melodies sidney poitier willie mays ciro atlantic records barry white thunderbirds savoy paints nat king cole sunset strip bebop american federation david crosby byrds platters paul revere vishnu warren beatty etta james vedas she said charlie parker shankar hillman easy rider columbia records brahma sufism adagio losing my religion searchers pop art pete seeger stravinsky vinson fonda stranger in a strange land dizzy gillespie george russell coltrane jimmy smith wrecking crew brahman yardbirds count basie coasters henry fonda bo diddley naima porgy peter fonda judy collins benny goodman downbeat paul jones fats domino heinlein chasin baby blue art blakey ravi shankar sonny rollins robert heinlein manfred mann varese northern india eight days bartok ornette coleman alice coltrane daily express ronnie wood i will survive brian epstein hindustani light my fire small faces sufis michael clarke giant steps mccoy tyner lionel hampton no chaser trane sonny bono melcher lester young messiaen cannonball adderley dexter gordon norwegian wood jacquet ron wood ray manzarek jackie collins louis jordan joe collins charles ives vera lynn roger mcguinn village vanguard gil evans thelonius monk eric dolphy derek taylor harvey pekar lydian kenny burrell dave clark five phrygian arthur lee ragas aeolian ionian milt jackson scarborough fair gene clark franzoni richard berry big joe turner jackie deshannon chris hillman charlie christian carnaby street flying home kim fowley times they are a changin modern jazz quartet art farmer folkways blues away johnny hodges billy eckstine uk london jack nitzsche winchester cathedral jefferson high school mixolydian aristotelianism musicians union locrian johnny otis dolphy mcguinn illinois jacquet ali akbar khan benedict canyon miles high terry melcher nat hentoff all i really want you never give me your money aristotelean northern indian aaba have you met miss jones big jay mcneely edgard varese am7 tilt araiza

【音樂人間觀察室62：誰說天蠍沒有正面性格？】夫妻好星琴41：正面到你會怕！｜夫妻純聊天S2 EP122

夫妻純聊天

Play Episode Listen Later Dec 15, 2021 35:42

❤️「夫妻純聊天」有IG囉！❤️ 快追蹤起來！@ooxxtalk . 這集全球首播描寫天蠍座正面性格的原創演奏曲，算是冠豪近期最滿意的一首！結合大航海時代歷史、天蠍與老鷹的意象，真的堪稱波瀾壯闊、直逼「神鬼傳奇」！歡迎收聽！ . 【本集重點】＊如何以音樂表現天蠍的執著堅忍？＊如何以音樂表現天蠍的魅惑神秘？＊如何以音樂表現天蠍冰冷低調背後的溫暖？＊如何以音樂表現天蠍的追求卓絕的爆發力？～都在天蠍的正面即興創作曲「蟄伏的鷹」 . 【延伸欣賞】 -夫妻純聊天Ep050：【音樂人間觀察室08-化外之境的音程：增五度】從海巿蜃樓到奇幻星空，你曾做過哪些白日夢？ -夫妻純聊天Ep100：【音樂人間觀察室18-調式音階Phrygian & Locrian】暗黑也能眉飛色舞／慶祝100集夫妻聲「笑」作品 -（Podcast）海苔熊的心理話 . 「夫妻純聊天❤️podcast❤️官方社群」 reurl.cc/4aWXd3 . 「夫妻純聊天官方line@帳號」 lin.ee/F1ziWxt

phrygian locrian

BONUS: Breaking Down the Sound of the 7 Major Modes with Examples

Songwriter Theory Podcast

Play Episode Listen Later Nov 15, 2021 31:56

Music Theory Free Guide Link: http://songwritertheory.com/musictheoryguide/ Love the content and want to support Songwriter Theory? Feel free to buy me a coffee: https://www.buymeacoffee.com/josephvadala In this Bonus episode, Joseph dives into each mode from the brightest (Lydian) all the way to the darkest (Locrian), doing a bit of improvisation in each mode to give you an idea of what each sounds like!

love sound breaking down modes lydian locrian

Quick Win: How to Play Scales Over Jazz Chords (Without Sounding Like Scales)

Learn Jazz Standards Podcast

Play Episode Listen Later Nov 12, 2021 9:42

How do you play scales over jazz chords so that you are playing the right notes but not making it sound like you are just playing scales? Well, today I'm going to show you a melodic approach to making scales musical. Listen to episode 299 In this episode: 1. The Big Problem with Scales 2. Taking Scales into Context 3. The Right Way to Think About Scales in Jazz 4. First Step to Making Scales Musical 5. Using Scales to "Fill In The Gaps" 6. The Locrian #2 Lick 7. Identifying Chord Tones in the Lick 8. Filling in the Gaps With Scales in the Lick Important Links 1. Subscribe to the Podcast - Apple Podcasts - Spotify 2. Learn Jazz Standards the Smart Way 3. LJS Inner Circle Membership

jazz context filling right way first step scales lick big problem smart ways chords quick wins sounding like locrian learn jazz standards

EWB216 TERENCE HANNUM ERICA

The APsolute RecAP: Music Theory Edition

Play Episode Listen Later Aug 25, 2021 104:51

Terence Hannum and Erica Burgner-Hannum join us this week. They actually RETURN for another episode. Terence does plays synth and vocals in Locrian and they both are the creative force behind the Holy Circle. This time around I wanted to talk about their new collaboration, Mother of Sighs. There is an interesting story behind it so check it out! Intro: “Everything Went Black Theme” – composed and recorded by Mike Hill Outro: “Anxia Corda” – Mother of Sighs

mother terence sighs locrian terence hannum

Are you there Pelor? It's me Locrian...

Dungeons & Flagons

Play Episode Listen Later May 24, 2021 61:03

After the total party kill...what is going to happen? Will they roll new characters? Will they start a new game? What will become of Stephen? --- Send in a voice message: https://anchor.fm/acadia/message

locrian pelor

Modes Sounding 1

Harmony&Improvisation

Play Episode Listen Later May 12, 2021 24:08

- What to expect this episode - C Ionian, D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian, B Locrian, all using the C major note set - All modal sounds explored starting on the C note - C Major Ionioan (Key of C), C Minor Dorian (Key of Bb), C Minor Phrygian (Key of Ab), C Major Lydian (Key of G), C Major Mixolydian (Key of F), C Minor Aeolian (Key of Eb), C Minor Locrian (Key of Dd) Episode Image Link - https://harmonyimprovisati.wixsite.com/harmonyimprov/downloads YouTube Channel - https://www.youtube.com/user/tpfbb Podcast Link - https://open.spotify.com/show/3s7KQqOZlrbk0vZkoe4buC?si=jk14dlxoQJ-V4jhpNeU6sA Website - https://harmonyimprovisati.wixsite.com/harmonyimprov

music education theory ab improv bb d d improvisation pearce sounding modes eb triads lydian phrygian aeolian ionian mixolydian locrian diatonic

The APsolute RecAP: Music Theory Edition - Modes

Play Episode Listen Later Apr 22, 2021 8:33

Episode 33 leads you through all seven modes with listening examples. Ionian (1:04), Dorian (1:49), Phrygian (2:26), Lydian (3:16), Mixolydian (5:24), Aeolian (6:10), and Locrian. (6:45)Question of the day: What mode starts on ti? (7:44)Thank you for listening to The APsolute RecAP: Music Theory Edition!(AP is a registered trademark of the College Board and is not affiliated with The APsolute RecAP. Copyright 2021 - The APsolute RecAP, LLC. All rights reserved.)Website:www.theapsoluterecap.comEMAIL:TheAPsoluteRecAP@gmail.comFollow Us:INSTAGRAMTWITTERFACEBOOKYOUTUBE

llc copyright modes music theory college board lydian phrygian ionian aeolian mixolydian locrian

Cell Block Tango

Dungeons & Flagons

Play Episode Listen Later Mar 14, 2021 71:14

Locrian is in jail...he had it coming. --- Send in a voice message: https://anchor.fm/acadia/message

locrian cell block tango

Locrian V Substitute {McCoy Tyner/Mclaughlin/Liebman] Chord

Music Theory: Jazz, Classical, Pop, Rock, World Music: Discussions and Lessons

Play Episode Listen Later Mar 8, 2021 6:43

Ideas, musical concepts and theory for the Locrian V Substitute chord as employed by McCoy Tyner John Mclaughlin and Dave Liebman etc. Analysis and examples. More info at https://www.jazzimproviser.com --- Send in a voice message: https://anchor.fm/clifford-martin/message

ideas analysis substitute mclaughlin chord mccoy tyner liebman dave liebman locrian

夫妻純聊天Ep100：【音樂人間觀察室18-調式音階Phrygian & Locrian】暗黑也能眉飛色舞／慶祝100集夫妻聲「笑」作品

夫妻純聊天

Play Episode Listen Later Jan 8, 2021 46:20

灑花！煙火！狂賀！《夫妻純聊天》節目邁入100集啦！累積了50多小時的聊天！是不是超扯，扯得有點詭譎呢？ . 所以，今天來聽聽「調式音階」系列的最終回～暗黑詭異風的 Phrygian 與 Locrian！ . 為了歡慶百集里程碑，更為了感謝聽眾們對我們節目的支持，本集最後有個深具紀念性的「聲效作品」，呃….應該說是聲「笑」作品才對⋯⋯ 快快快！隨著音樂和魔性笑聲，一起眉飛色舞、群魔亂舞吧！XD . 【本集重點】＊調式音階也像顏色一樣有「明暗度」？ . ＊ Phrygian：最有西班牙佛朗明哥色彩的調式音階 E-phrygian：Mi-Fa(特徵音)-Sol-La-Si-Do-Re-Mi A-phrygian：La-降Si (特徵音) -Do-Re-Mi -Fa-Sol-La . ＊ Phrygian Dominant：衝吧！鬥牛士！（將Phrygian音階第三音升半音） Ex1：Bizet（比才）「Carmen Suite No. 1, Aragonaise: Prelude to Act IV（《卡門組曲》序曲－阿拉貢舞曲）」 Ex2：久石讓「狂氣飛行（Madness）」（選自電影《紅豬》） . ＊Locrian：懸疑詭異第一名，公司業績是有多不好？ B- locrian ： Si-Do(特徵音)-Re-Mi-Fa(特徵音)-Sol-La-Si A- locrian ： La-降Si (特徵音) -Do-Re-降Mi(特徵音)-Fa-Sol-La . ＊Locrian 延伸至強調減五度的日本陰音階（都節調式）： La-Si-Do-Mi-Fa（從Si開始彈像 Locrian ） Ex3：喜多郎（Kitaro）「創造（Sozo）」（選自專輯《古事記》） Ex4：日本民謠「櫻花」 . ＊Locrian 在流行音樂中的應用： C - Bm7(-5) - E - Am Ex5、6：平井堅「Gaining Through Losing」、「瞳をとじて（輕閉雙眼）」前奏 . ＊鄭秀文「眉飛色舞」 Phrygian、 Phrygian Dominant、 Locrian版 . ＊Bonus：慶祝100集夫妻聲「笑」作品 . 【延伸欣賞】以上曲目可以自行查詢。 . ※《夫妻純聊天》 100集年度鉅獻「聲笑」作品 #Podcast

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夫妻純聊天Ep080：【音樂人間觀察室14-小調音階三模式】地下教主怎麼那麼難搞？／O Come, O Come Emmanuel

夫妻純聊天

Play Episode Listen Later Dec 11, 2020 47:35

如果說大調音階（以C大調為例：Do-Re-Mi-Fa-Sol-La-Ti）是正派公司，洋溢著正面、快樂的情緒，那立萍選擇以「La」為起頭的「小調音階」就是「打悲情牌」的「地下福委會組織」，但「La」（下中音，大調音階的第六個音），其實不是個單純角色哦！在檯面上一副不安於室的模樣，沒想到成為地下教主後，不但搞「雙標」，開始霸佔位子不放，還超難搞地頒布新的行政命令：「從今起，要呈報給我的一律用三種SOP流程！」 . 哪招啊？ＸＤ . 【本集重點】＊立萍！妳的La，根本雙面人啊！＊小調音階三模式之一：自然小音階－平凡無奇的中世紀風－ Ex：迪士尼《美女與野獸》序曲、迪士尼《鐘樓怪人》開場曲「The Bells of Notre Dame（聖母院之鐘）」、聖誕歌謠「God Rest Ye Gentlemen（天賜歡樂）」 . ＊小調音階三模式之二：和聲小音階－居然拉閨密搞起邪教組織？－ Ex：Dulce Pontes（邦蒂絲）葡萄牙法朵（Fado）名曲《Canção do Mar （大海之歌）》、 Borne（伯恩）改編Bizet（比才）「Fantaisie Brilliante Sur Carmen（卡門幻想曲）」迪士尼《阿拉丁》中東風配樂主題 . ＊小調音階三模式之三：旋律小音階－好啦！給你們好做事、好唱歌！－ Ex：聖誕歌謠「Carol of The Bells（鐘聲頌歌）」 . ＊小調音階模式混用版－不只哦！給我混著用，用得好壞看我心情！－ Ex：古典吉他名曲，電影《Jeux interdits（禁忌的遊戲）》主題曲「Romance D'Amour（愛的羅曼史）」、動畫短片《Snowman（雪人）》主題曲「Walking in the Air（漫步在雲端）」 . ＊小調音階開外掛版－不是說有外包廠商嗎？全部給老娘召回來開趴！－ Ex：Bizet（比才）歌劇《 Carmen（卡門）》的「Habanera（哈巴奈拉舞曲）」（蕩婦版）、爵士經典「Nature Boy」（純真版）、張惠妹「Bad Boy」（壞壞版） . ＊小調音階的豐富幽微（難搞）其來有自？探討「損失規避」心理＊接下來，大調音階其他員工竟也各自出走單飛創業？預告「調式音階（Mode Scale）」時代來臨！－以C大調為例： 1.Do開頭：Ionian（自然大調音階，上週節目Ep075主角） 2.Re開頭：Dorian（下週節目Ep085主角） 3.Mi開頭：Phrygian 4.Fa開頭：Lydian 5.Sol開頭：Mixolydian 6.La開頭：Aeolian（自然小調音階，本週節目Ep080主角） 7.Ti開頭：Locrian . ＊Bonus Music：即興改編演奏聖誕經典歌謠「 O Come, O Come Emmanuel（降臨吧！以馬內利）」不妨仔細聽聽看，用了哪幾種小調音階模式哦！ . 【延伸欣賞】以上曲目可以自行查詢。

#28-Aeolian/Locrian mode-Why transcription and theory go together

The Jazz Lines & More Podcast

Play Episode Listen Later Dec 8, 2020 27:22

Enjoy this weeks line using the Locrian mode, I talk about how the aeolian and locrian mode are related and how they function by themselves. I also stress the importance of why transcription and theory should coexist. Enjoy.

theory transcription go together aeolian locrian

The Tour 1.9 Hamilton - Act II: What'd I Miss?, Cabinet Battle #1, Take a Break

The Tour

Play Episode Listen Later Oct 28, 2020 53:35

In this episode we'll talk briefly about modes before diving into the second act of Hamilton and breaking down What'd I Miss?, Cabinet Battle #1 and Take a Break

96: Halloween Episode with Terence Hannum (Locrian)

Metal Matters

Play Episode Listen Later Oct 27, 2020 57:16

Like many of you, Halloween is my favorite time of the year. To celebrate the spookiest time of the year, I've invited Terence Hannum of Locrian to run us through some of his favorite horror movie films scores. For anyone who is familiar with Locrian's cinematic approach to extreme music, they won't be surprised to learn that he is a bit an aficionado when it comes to movie scores and soundtracks. We had a blast talking about horror movies, their scores and why we dig them.Intro:"Eternal Return" - LocrianRundown of Film Score Selections:"Mandy Love Theme" - Mandy - Johan Johannson"Andrew Void" - Under the Skin - Mica Levi"Mantra 1" - Nosferatu - Popol Vuh"Darkbeats" - Inside - Francois-Eudes Chanfrault"Burial Ground" - Burial Ground - Berto Pisano / Elsio Mancuso"Voci Dal Nulla" - The Beyond - Fabio Frizzi See acast.com/privacy for privacy and opt-out information.

halloween locrian terence hannum

The Diatonic Modes (Part 2 - Lydian, Mixolydian, and Locrian)

The Ear Training Podcast

Play Episode Listen Later Sep 29, 2020 18:06

Here is the other half of the Greek Mode exploration.

modes mixolydian locrian diatonic

Echo Drills - Episode 12

Echo Drills - Ear Training Podcast

Play Episode Listen Later Sep 2, 2020 62:10

In this episode we're continuing to add more descending intervals with the perfect 4th. There's a new mode as well as a new arpeggio - the Locrian and Major 7th respectively. As for chords we're going to cover the 6, and we'll be adding more 7 chords to our minor chord progressions.

echo drills locrian

90B-Music Students' Q&A Pt.2

Music Student 101

Play Episode Listen Later Aug 11, 2020 61:31

Continuing our “shelter in place video series”, the content of this 2nd video is now available for our good podcast listeners. We will find some good acronyms for the diatonic modes. We will discuss some of these modes and we might pick on Locrian for a bit. We will give also show a little more love to the minor diatonic chords and dissect a classic rock favorite. We hope you enjoy!

music education training students student natural theory burns phillips minor ear modes melodic harmonic modulation locrian

[Ep.026] Mixolydian 和 Locrian 調式！

NiceChord 好和弦 (Audio)

Play Episode Listen Later Jul 30, 2020 6:17

今天我們要來介紹 Mixolydian 和 Locrian 調式。

mixolydian locrian

Episode 15 - Modes

The B Section

Play Episode Listen Later May 21, 2020 17:38

Do you know your modes? If so, do you know how to apply them to your playing? In this episode, Brett gives you a couple of ways to think about modes and how to apply that knowledge to your improvisation.

jazz rhythm improv scales improvisation modes lydian phrygian ionian aeolian mixolydian locrian

Pandemic Producing: Covid Chords

Play Episode Listen Later May 1, 2020 9:40

Pandemic Producing: Covid Chords In this tutorial you'll learn how to write chord progressions for the Covid-19 era (and beyond), using our 6-step success formula. But first… Tea! Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes. Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download. There was an error submitting your subscription. Please try again. “The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder We use this field to detect spam bots. If you fill this in, you will be marked as a spammer. DOWNLOAD FREE BOOK /* Layout */ .ck_form { /* divider image */ background: #EAE9EA url(data:image/gif;base64,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) repeat-y center top; font-family: 'Montserrat'; line-height: 1.5em; overflow: hidden; color: #000000; font-size: 16px; border-top: none; border-top-color: #666666; border-bottom: none; border-bottom-color: #3d3d3d; -webkit-box-shadow: none; -moz-box-shadow: none; box-shadow: none; clear: both; margin: 0px 0px; } .ck_form, .ck_form * { -webkit-box-sizing: border-box; -moz-box-sizing: border-box; box-sizing: border-box; } #ck_subscribe_form { clear: both; } /* Element Queries — uses JS */ .ck_form_content, .ck_form_fields { width: 50%; float: left; padding: 5%; } .ck_form.ck_horizontal { } .ck_form_content { border-bottom: none; } .ck_form.ck_vertical { background: #fff; } .ck_vertical .ck_form_content, .ck_vertical .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_vertical .ck_form_content { border-bottom: 1px dotted #aaa; overflow: hidden; } /* Trigger the vertical layout with media queries as well */ @media all and (max-width: 499px) { .ck_form { background: #fff; } .ck_form_content, .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_form_content { border-bottom: 1px dotted #aaa; } } /* Content */ .ck_form_content h3 { margin: 0px 0px 0px; font-size: 0px; padding: 0px; } .ck_form_content p { font-size: 14px; } .ck_image { float: left; margin-right: 5px; } /* Form fields */ .ck_errorArea { display: none; } #ck_success_msg { padding: 10px 10px 0px; border: solid 1px #ddd; background: #eee; } .ck_label { font-size: 14px; font-weight: bold; } .ck_form input[type="text"] { font-size: 16px; text-align: center; margin-top: 20px; margin-bottom: 0px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="email"] { font-size: 16px; text-align: center; margin-top: 0px; margin-bottom: 15px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="text"]:focus, .ck_form input[type="email"]:focus { outline: none; border-color: #aaa; } .ck_checkbox { padding: 10px 0px 10px 20px; display: block; clear: both; } .ck_checkbox input.optIn { margin-left: -20px; margin-top: 0; } .ck_form .ck_opt_in_prompt { margin-left: 4px; } .ck_form .ck_opt_in_prompt p { display: inline; } .ck_form .ck_subscribe_button { width: 100%; color: #fff; margin: 0px 0px 0px; padding: 8px 8px; font-size: 18px; background: #d74128; -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ cursor: pointer; border: none; text-shadow: none; } .ck_form .ck_guarantee { color: #626262; font-size: 12px; text-align: center; padding: 5px 0px; display: block; } .ck_form .ck_powered_by { display: block; color: #aaa; } .ck_form .ck_powered_by:hover { display: block; color: #444; } .ck_converted_content { display: none; padding: 5%; background: #fff; } /* v6 */ .ck_form_v6 #ck_success_msg { padding: 0px 10px; } @media all and (max-width: 403px) { .ck_form_v6.ck_modal .ck_close_link { top: 30px; } } @media all and (min-width: 404px) and (max-width: 499px) { .ck_form_v6.ck_modal .ck_close_link { top: 57px; } } Scroll down to listen to the podcast episode of this tutorial. Right, let’s talk about success. First things first, though. We measure “success” in terms of how helpful your work is to the world. Measuring success in terms of fame and fortune is so last millenium! And seeing as you’re here, we know that you’re a forward-thinker, so here’s how you can succeed in this Covid-19 era, and beyond. Listening to music is arguably the easiest and quickest way for someone to transform their psychological state, which in turn transforms their physiological state. So, in these stressful times we’re all living in, it’s vital that us songwriters and producers write and release music that can calm anxious minds and relax tense bodies. This is a very real way that we can all help, because when people calm down, they trigger their parasympathetic nervous system, which then upregulates their immune system. So, a calmer world is literally a healthier world! And in stressful times, people intuitively listen to music that calms them, which is like self-medicating, except there are no side-effects! And this explains why streams in the classical genre have gone up during the Covid-19 era, while streams in almost every other genre have gone down. Now, in order to write calming music, you need to choose a calming scale. We chose D Dorian, which is all the white notes from D to D. We used the Dorian mode because it conveys a sad-but-hopeful emotion, and sharing hope in these sad times is life-changing. And by the way, if you wanna learn everything you need to know about the modes, their emotions, and how to use them, then download our Songwriting & Producing PDF. It also contains all our other essential music making hacks. Alright, now that you’ve chosen your scale/mode, it’s time to choose your chords. There are no rules here, you can play any chords in your key, but remember this: When you’re writing music to help people chill out, you need to think differently. For once, you actually don’t wanna make music that stands out, as that would stimulate the listener’s mind, instead of relaxing it. Having said that though, if you write something that totally blends into the background, then you’ll lose the listener’s attention and their mind will wander back into a place of fear and anxiety. Also, you don’t wanna lose your artistic voice, just cos you’re making musical medicine. So, the magic happens on the middle path between “background music” and “art music”! We created this balance by doing the following. On the “background” side of things, we started by choosing four chords, which is the most common number of chords in a progression. That familiarity is very calming for listeners. Our chords are: Dm→Cmaj→Fmaj→Gmaj. Next, we reinforced that familiarity by using a predictable harmonic rhythm. Harmonic rhythm is simply where each chord begins and ends. We play each chord for exactly two bars. And that brings us to the most important element of writing calming music: Pace. Most songwriters and producers think of a song’s pace as its tempo, but the BPM is only half the story. Lots of songwriters and producers use slow BPMs and think they’re making chillout music, but then they change chords every couple beats, and that faster-paced harmonic rhythm prevents their music (and their listeners) from relaxing. So remember, chillout music needs a slow BPM and a slow harmonic rhythm! MIDI Screenshot: Calming chord progression written using our 6-step success formula (see below) Okay, so now that you’ve ensured your song is gonna sound calming and comforting to your listeners, you need to prevent it from blending into the background. So, on the “art” side of things, we did the following. We started by using the odd time signature 3/4. This time signature is probably the most common of the odd times, so that makes it feel a little different but without being weird. Also, it’s worth noting here that our chord progression already sounded a bit different because it’s in the Dorian mode, not the usual major or minor scale. Next, we created even more interest by playing our chords in a slightly unusual way. Instead of playing them as regular block chords (where the notes are played together), or arpeggios (where the notes are played one at a time), we used a combination of these two techniques. We play our root note first, then follow it with two higher notes that are played together. This allows for lots of space (i.e. rests), which makes the progression sound even more chill. We actually used this way of playing the chord as a motif, by playing the rest of the chords this way too. And if you’re new to motifs, they’re short ideas you repeat to give your music structure and make it more memorable. Lastly, to make our progression extra calming, we started it with a dreamy add9 chord, which we then used as a motif as well. And if you’re new to add9 chords, you can make them by simply adding the 2 to a triad. For example, our first chord is Dm(add9), which is the Dm triad (D, F, A) plus the 2 (E). Now, add9 chords are obviously four-note chords, which create a thicker texture. And while that’s great in some songs, we wanted to keep our texture thin and spacious here, so we left out the 5 of our Dm(add9) chord. When you use chords with four or more notes, leaving out the 5 is a great way of keeping your texture thin. Because, and no disrespect to the 5 here, it doesn’t bring anything special to the chord, it merely fills it out. So, to summarise everything, here’s our success formula for chord progressions in the Covid-19 era: Choose a consonant scale (i.e. avoid Phrygian, Locrian, etc.) Write a somewhat predictable chord progression Use a slow and predictable harmonic rhythm Incorporate at least two elements that are slightly unusual Create a motif, and repeat it regularly Optional extras: rests, add9 chords Alright, now it’s your turn to step up! So, we’ve got a chillout challenge for you: Write a calming chord progression using this formula, then stay tuned for next time, when you’ll learn how to add a relaxing melody. For now though, let’s have a listen to our calming chords that upregulate the immune system. And that is true success! Just before the playthrough though, we’d love to share one more thing with you. Next Regarding the current situation around the world. As music teachers, we can’t offer much help through this difficult time. However, as most people are now stuck at home, what we can offer, is a meaningful and productive timeout from the difficulties. It’s with that intention in our hearts that we offer you 50% OFF our online course Apprenticeship #1. It contains 17 hours of video that teach every step of the writing process, from blank screen to finished song. You will literally learn everything you need to know in order to write great songs, and finish them! We know that most people are sadly on unpaid leave right now, so we hope this half-price offer helps alleviate some suffering, and we truly hope you and your families are all safe and healthy. Lastly, please remember that music is magic, so keep pumping those uplifting tunes! Thanks for being here, and until next time, happy songwriting and producing. Want More? Sign up for our newsletter, and get tutorials like this delivered to your inbox. Wooohooo!!! You're now one small step away from joining the Hack Music Theory revolution. Just head on over to your inbox, open the email we've sent you, click the link to confirm, and you're in! There was an error submitting your subscription. Please try again. Email Address SUBSCRIBE /* Layout */ .ck_form.ck_naked { /* divider image */ background: transparent; line-height: 1.5em; overflow: hidden; color: #666; font-size: 16px; border: none; -webkit-box-shadow: none; -moz-box-shadow: none; box-shadow: none; clear: both; margin: 0px 0px; text-align: center; } .ck_form.ck_naked p { padding: 0px; } .ck_form, .ck_form * { -webkit-box-sizing: border-box; -moz-box-sizing: border-box; box-sizing: border-box; } .ck_form.ck_naked .ck_form_fields { width: 100%; float: left; padding: 3%; } /* Form fields */ .ck_errorArea { display: none; /* temporary */ } #ck_success_msg { padding: 10px 10px 0px; border: solid 1px #ddd; background: #eee; } .ck_form.ck_naked input[type="text"], .ck_form.ck_naked input[type="email"] { font-size: 16px; font-family: Montserrat; text-align: center; padding: 10px 8px; width: 34%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 0px; -webkit-border-radius: 0px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ margin-bottom: 5px; height: auto; float: left; margin: 0px; margin-right: 1%; height: 42px; } .ck_form input[type="text"]:focus, .ck_form input[type="email"]:focus { outline: none; border-color: #aaa; } .ck_form.ck_naked .ck_subscribe_button { width: 100%; color: #fff; margin: 0px; padding: 9px 0px; font-size: 16px; background: #d6432c; -moz-border-radius: 0px; -webkit-border-radius: 0px; border-radius: 30px; /* border radius */ cursor: pointer; border: none; text-shadow: none; width: 30%; float: left; height: 42px; } .ck_converted_content { display: none; padding: 5%; background: #fff; } /* max width 500 */ .ck_form.ck_naked.width500 .ck_subscribe_button { width: 100%; float: none; margin-top: 5px; } .ck_form.ck_naked.width500 input[type="text"], .ck_form.ck_naked.width500 input[type="email"] { width: 49%; } .ck_form.ck_naked.width500 input[type="email"] { margin-right: 0px; width: 50%; } /* max width 400 */ .ck_form.ck_naked.width400 .ck_subscribe_button, .ck_form.ck_naked.width400 input[type="text"], .ck_form.ck_naked.width400 input[type="email"] { width: 100%; float: none; margin-top: 5px; } .ck_slide_up, .ck_modal, .ck_slide_up .ck_naked, .ck_modal .ck_naked { min-width: 400px; } .page .ck_form.ck_naked { margin: 50px auto; max-width: 700px; } /* v6 */ .ck_slide_up.ck_form_v6, .ck_modal.ck_form_v6, .ck_slide_up.ck_form_v6 .ck_naked, .ck_modal.ck_form_v6 .ck_naked { min-width: 0 !important; } .ck_form_v6 #ck_success_msg { padding: 0px 10px; } @media all and (max-width: 403px) { .ck_form_v6.ck_modal .ck_naked { padding-top: 0px; } } @media all and (max-width: 499px) { .ck_form_v6.ck_modal .ck_naked + .ck_close_link { color: #fff; top: 10px; } } .ck_form_v6.ck_slide_up .ck_naked + .ck_close_link { right: 10px; top: -5px; } @media all and (min-width: 600px) { .ck_form_v6.ck_slide_up .ck_naked + .ck_close_link { right: 35px; } } Podcast Listen below, or on any podcast app.

covid-19 pandemic dm write trigger pace tea measuring producing songwriting incorporate optional bpm js montserrat chords harmonic derek sivers bpms optin phrygian locrian errorarea element queries

Chillout Chords

Play Episode Listen Later May 1, 2020 9:40

How to Write Chillout Chord Progressions In this tutorial you'll learn how to write chord progressions for the Covid-19 era (and beyond), using our 6-step success formula. But first… Tea! Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you're new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It'll give you a super solid theory foundation in just 30 minutes. Wooohooo!!! You're a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download. There was an error submitting your subscription. Please try again. “The most brilliant, fast, easy & fun music theory book I've ever seen!” DEREK SIVERS, CD Baby founder We use this field to detect spam bots. If you fill this in, you will be marked as a spammer. DOWNLOAD FREE BOOK /* Layout */ .ck_form { /* divider image */ background: #EAE9EA url(data:image/gif;base64,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) repeat-y center top; font-family: 'Montserrat'; line-height: 1.5em; overflow: hidden; color: #000000; font-size: 16px; border-top: none; border-top-color: #666666; border-bottom: none; border-bottom-color: #3d3d3d; -webkit-box-shadow: none; -moz-box-shadow: none; box-shadow: none; clear: both; margin: 0px 0px; } .ck_form, .ck_form * { -webkit-box-sizing: border-box; -moz-box-sizing: border-box; box-sizing: border-box; } #ck_subscribe_form { clear: both; } /* Element Queries — uses JS */ .ck_form_content, .ck_form_fields { width: 50%; float: left; padding: 5%; } .ck_form.ck_horizontal { } .ck_form_content { border-bottom: none; } .ck_form.ck_vertical { background: #fff; } .ck_vertical .ck_form_content, .ck_vertical .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_vertical .ck_form_content { border-bottom: 1px dotted #aaa; overflow: hidden; } /* Trigger the vertical layout with media queries as well */ @media all and (max-width: 499px) { .ck_form { background: #fff; } .ck_form_content, .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_form_content { border-bottom: 1px dotted #aaa; } } /* Content */ .ck_form_content h3 { margin: 0px 0px 0px; font-size: 0px; padding: 0px; } .ck_form_content p { font-size: 14px; } .ck_image { float: left; margin-right: 5px; } /* Form fields */ .ck_errorArea { display: none; } #ck_success_msg { padding: 10px 10px 0px; border: solid 1px #ddd; background: #eee; } .ck_label { font-size: 14px; font-weight: bold; } .ck_form input[type="text"] { font-size: 16px; text-align: center; margin-top: 20px; margin-bottom: 0px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="email"] { font-size: 16px; text-align: center; margin-top: 0px; margin-bottom: 15px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="text"]:focus, .ck_form input[type="email"]:focus { outline: none; border-color: #aaa; } .ck_checkbox { padding: 10px 0px 10px 20px; display: block; clear: both; } .ck_checkbox input.optIn { margin-left: -20px; margin-top: 0; } .ck_form .ck_opt_in_prompt { margin-left: 4px; } .ck_form .ck_opt_in_prompt p { display: inline; } .ck_form .ck_subscribe_button { width: 100%; color: #fff; margin: 0px 0px 0px; padding: 8px 8px; font-size: 18px; background: #d74128; -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ cursor: pointer; border: none; text-shadow: none; } .ck_form .ck_guarantee { color: #626262; font-size: 12px; text-align: center; padding: 5px 0px; display: block; } .ck_form .ck_powered_by { display: block; color: #aaa; } .ck_form .ck_powered_by:hover { display: block; color: #444; } .ck_converted_content { display: none; padding: 5%; background: #fff; } /* v6 */ .ck_form_v6 #ck_success_msg { padding: 0px 10px; } @media all and (max-width: 403px) { .ck_form_v6.ck_modal .ck_close_link { top: 30px; } } @media all and (min-width: 404px) and (max-width: 499px) { .ck_form_v6.ck_modal .ck_close_link { top: 57px; } } Scroll down to listen to the podcast episode of this tutorial. Right, let's talk about success. First things first, though. We measure “success” in terms of how helpful your work is to the world. Measuring success in terms of fame and fortune is so last millenium! And seeing as you're here, we know that you're a forward-thinker, so here's how you can succeed in this Covid-19 era, and beyond. Listening to music is arguably the easiest and quickest way for someone to transform their psychological state, which in turn transforms their physiological state. So, in these stressful times we're all living in, it's vital that us songwriters and producers write and release music that can calm anxious minds and relax tense bodies. This is a very real way that we can all help, because when people calm down, they trigger their parasympathetic nervous system, which then upregulates their immune system. So, a calmer world is literally a healthier world! And in stressful times, people intuitively listen to music that calms them, which is like self-medicating, except there are no side-effects! And this explains why streams in the classical genre have gone up during the Covid-19 era, while streams in almost every other genre have gone down. Now, in order to write calming music, you need to choose a calming scale. We chose D Dorian, which is all the white notes from D to D. We used the Dorian mode because it conveys a sad-but-hopeful emotion, and sharing hope in these sad times is life-changing. And by the way, if you wanna learn everything you need to know about the modes, their emotions, and how to use them, then download our Songwriting & Producing PDF. It also contains all our other essential music making hacks. Alright, now that you've chosen your scale/mode, it's time to choose your chords. There are no rules here, you can play any chords in your key, but remember this: When you're writing music to help people chill out, you need to think differently. For once, you actually don't wanna make music that stands out, as that would stimulate the listener's mind, instead of relaxing it. Having said that though, if you write something that totally blends into the background, then you'll lose the listener's attention and their mind will wander back into a place of fear and anxiety. Also, you don't wanna lose your artistic voice, just cos you're making musical medicine. So, the magic happens on the middle path between “background music” and “art music”! We created this balance by doing the following. On the “background” side of things, we started by choosing four chords, which is the most common number of chords in a progression. That familiarity is very calming for listeners. Our chords are: Dm→Cmaj→Fmaj→Gmaj. Next, we reinforced that familiarity by using a predictable harmonic rhythm. Harmonic rhythm is simply where each chord begins and ends. We play each chord for exactly two bars. And that brings us to the most important element of writing calming music: Pace. Most songwriters and producers think of a song's pace as its tempo, but the BPM is only half the story. Lots of songwriters and producers use slow BPMs and think they're making chillout music, but then they change chords every couple beats, and that faster-paced harmonic rhythm prevents their music (and their listeners) from relaxing. So remember, chillout music needs a slow BPM and a slow harmonic rhythm! MIDI Screenshot: Calming chord progression written using our 6-step success formula (see below) Okay, so now that you've ensured your song is gonna sound calming and comforting to your listeners, you need to prevent it from blending into the background. So, on the “art” side of things, we did the following. We started by using the odd time signature 3/4. This time signature is probably the most common of the odd times, so that makes it feel a little different but without being weird. Also, it's worth noting here that our chord progression already sounded a bit different because it's in the Dorian mode, not the usual major or minor scale. Next, we created even more interest by playing our chords in a slightly unusual way. Instead of playing them as regular block chords (where the notes are played together), or arpeggios (where the notes are played one at a time), we used a combination of these two techniques. We play our root note first, then follow it with two higher notes that are played together. This allows for lots of space (i.e. rests), which makes the progression sound even more chill. We actually used this way of playing the chord as a motif, by playing the rest of the chords this way too. And if you're new to motifs, they're short ideas you repeat to give your music structure and make it more memorable. Lastly, to make our progression extra calming, we started it with a dreamy add9 chord, which we then used as a motif as well. And if you're new to add9 chords, you can make them by simply adding the 2 to a triad. For example, our first chord is Dm(add9), which is the Dm triad (D, F, A) plus the 2 (E). Now, add9 chords are obviously four-note chords, which create a thicker texture. And while that's great in some songs, we wanted to keep our texture thin and spacious here, so we left out the 5 of our Dm(add9) chord. When you use chords with four or more notes, leaving out the 5 is a great way of keeping your texture thin. Because, and no disrespect to the 5 here, it doesn't bring anything special to the chord, it merely fills it out. So, to summarise everything, here's our success formula for chord progressions in the Covid-19 era: Choose a consonant scale (i.e. avoid Phrygian, Locrian, etc.) Write a somewhat predictable chord progression Use a slow and predictable harmonic rhythm Incorporate at least two elements that are slightly unusual Create a motif, and repeat it regularly Optional extras: rests, add9 chords Alright, now it's your turn to step up! So, we've got a chillout challenge for you: Write a calming chord progression using this formula, then stay tuned for next time, when you'll learn how to add a relaxing melody. For now though, let's have a listen to our calming chords that upregulate the immune system. And that is true success! Just before the playthrough though, we'd love to share one more thing with you. Next Regarding the current situation around the world. As music teachers, we can't offer much help through this difficult time. However, as most people are now stuck at home, what we can offer, is a meaningful and productive timeout from the difficulties. It's with that intention in our hearts that we offer you 50% OFF our online course Apprenticeship #1. It contains 17 hours of video that teach every step of the writing process, from blank screen to finished song. You will literally learn everything you need to know in order to write great songs, and finish them! We know that most people are sadly on unpaid leave right now, so we hope this half-price offer helps alleviate some suffering, and we truly hope you and your families are all safe and healthy. Lastly, please remember that music is magic, so keep pumping those uplifting tunes! Thanks for being here, and until next time, happy songwriting and producing. Want More? Sign up for our newsletter, and get tutorials like this delivered to your inbox. Wooohooo!!! You're now one small step away from joining the Hack Music Theory revolution. Just head on over to your inbox, open the email we've sent you, click the link to confirm, and you're in! There was an error submitting your subscription. Please try again. 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covid-19 dm write trigger pace tea measuring songwriting incorporate optional bpm js chillout montserrat chords harmonic derek sivers bpms optin phrygian locrian errorarea element queries

Chillout Chords

Learn Jazz Standards Podcast

Play Episode Listen Later May 1, 2020 9:40

How to Write Chillout Chord Progressions In this tutorial you'll learn how to write chord progressions for the Covid-19 era (and beyond), using our 6-step success formula. But first… Tea! Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes. Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download. There was an error submitting your subscription. Please try again. “The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder We use this field to detect spam bots. If you fill this in, you will be marked as a spammer. DOWNLOAD FREE BOOK /* Layout */ .ck_form { /* divider image */ background: #EAE9EA url(data:image/gif;base64,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) repeat-y center top; font-family: 'Montserrat'; line-height: 1.5em; overflow: hidden; color: #000000; font-size: 16px; border-top: none; border-top-color: #666666; border-bottom: none; border-bottom-color: #3d3d3d; -webkit-box-shadow: none; -moz-box-shadow: none; box-shadow: none; clear: both; margin: 0px 0px; } .ck_form, .ck_form * { -webkit-box-sizing: border-box; -moz-box-sizing: border-box; box-sizing: border-box; } #ck_subscribe_form { clear: both; } /* Element Queries — uses JS */ .ck_form_content, .ck_form_fields { width: 50%; float: left; padding: 5%; } .ck_form.ck_horizontal { } .ck_form_content { border-bottom: none; } .ck_form.ck_vertical { background: #fff; } .ck_vertical .ck_form_content, .ck_vertical .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_vertical .ck_form_content { border-bottom: 1px dotted #aaa; overflow: hidden; } /* Trigger the vertical layout with media queries as well */ @media all and (max-width: 499px) { .ck_form { background: #fff; } .ck_form_content, .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_form_content { border-bottom: 1px dotted #aaa; } } /* Content */ .ck_form_content h3 { margin: 0px 0px 0px; font-size: 0px; padding: 0px; } .ck_form_content p { font-size: 14px; } .ck_image { float: left; margin-right: 5px; } /* Form fields */ .ck_errorArea { display: none; } #ck_success_msg { padding: 10px 10px 0px; border: solid 1px #ddd; background: #eee; } .ck_label { font-size: 14px; font-weight: bold; } .ck_form input[type="text"] { font-size: 16px; text-align: center; margin-top: 20px; margin-bottom: 0px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="email"] { font-size: 16px; text-align: center; margin-top: 0px; margin-bottom: 15px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="text"]:focus, .ck_form input[type="email"]:focus { outline: none; border-color: #aaa; } .ck_checkbox { padding: 10px 0px 10px 20px; display: block; clear: both; } .ck_checkbox input.optIn { margin-left: -20px; margin-top: 0; } .ck_form .ck_opt_in_prompt { margin-left: 4px; } .ck_form .ck_opt_in_prompt p { display: inline; } .ck_form .ck_subscribe_button { width: 100%; color: #fff; margin: 0px 0px 0px; padding: 8px 8px; font-size: 18px; background: #d74128; -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ cursor: pointer; border: none; text-shadow: none; } .ck_form .ck_guarantee { color: #626262; font-size: 12px; text-align: center; padding: 5px 0px; display: block; } .ck_form .ck_powered_by { display: block; color: #aaa; } .ck_form .ck_powered_by:hover { display: block; color: #444; } .ck_converted_content { display: none; padding: 5%; background: #fff; } /* v6 */ .ck_form_v6 #ck_success_msg { padding: 0px 10px; } @media all and (max-width: 403px) { .ck_form_v6.ck_modal .ck_close_link { top: 30px; } } @media all and (min-width: 404px) and (max-width: 499px) { .ck_form_v6.ck_modal .ck_close_link { top: 57px; } } Scroll down to listen to the podcast episode of this tutorial. Right, let’s talk about success. First things first, though. We measure “success” in terms of how helpful your work is to the world. Measuring success in terms of fame and fortune is so last millenium! And seeing as you’re here, we know that you’re a forward-thinker, so here’s how you can succeed in this Covid-19 era, and beyond. Listening to music is arguably the easiest and quickest way for someone to transform their psychological state, which in turn transforms their physiological state. So, in these stressful times we’re all living in, it’s vital that us songwriters and producers write and release music that can calm anxious minds and relax tense bodies. This is a very real way that we can all help, because when people calm down, they trigger their parasympathetic nervous system, which then upregulates their immune system. So, a calmer world is literally a healthier world! And in stressful times, people intuitively listen to music that calms them, which is like self-medicating, except there are no side-effects! And this explains why streams in the classical genre have gone up during the Covid-19 era, while streams in almost every other genre have gone down. Now, in order to write calming music, you need to choose a calming scale. We chose D Dorian, which is all the white notes from D to D. We used the Dorian mode because it conveys a sad-but-hopeful emotion, and sharing hope in these sad times is life-changing. And by the way, if you wanna learn everything you need to know about the modes, their emotions, and how to use them, then download our Songwriting & Producing PDF. It also contains all our other essential music making hacks. Alright, now that you’ve chosen your scale/mode, it’s time to choose your chords. There are no rules here, you can play any chords in your key, but remember this: When you’re writing music to help people chill out, you need to think differently. For once, you actually don’t wanna make music that stands out, as that would stimulate the listener’s mind, instead of relaxing it. Having said that though, if you write something that totally blends into the background, then you’ll lose the listener’s attention and their mind will wander back into a place of fear and anxiety. Also, you don’t wanna lose your artistic voice, just cos you’re making musical medicine. So, the magic happens on the middle path between “background music” and “art music”! We created this balance by doing the following. On the “background” side of things, we started by choosing four chords, which is the most common number of chords in a progression. That familiarity is very calming for listeners. Our chords are: Dm→Cmaj→Fmaj→Gmaj. Next, we reinforced that familiarity by using a predictable harmonic rhythm. Harmonic rhythm is simply where each chord begins and ends. We play each chord for exactly two bars. And that brings us to the most important element of writing calming music: Pace. Most songwriters and producers think of a song’s pace as its tempo, but the BPM is only half the story. Lots of songwriters and producers use slow BPMs and think they’re making chillout music, but then they change chords every couple beats, and that faster-paced harmonic rhythm prevents their music (and their listeners) from relaxing. So remember, chillout music needs a slow BPM and a slow harmonic rhythm! MIDI Screenshot: Calming chord progression written using our 6-step success formula (see below) Okay, so now that you’ve ensured your song is gonna sound calming and comforting to your listeners, you need to prevent it from blending into the background. So, on the “art” side of things, we did the following. We started by using the odd time signature 3/4. This time signature is probably the most common of the odd times, so that makes it feel a little different but without being weird. Also, it’s worth noting here that our chord progression already sounded a bit different because it’s in the Dorian mode, not the usual major or minor scale. Next, we created even more interest by playing our chords in a slightly unusual way. Instead of playing them as regular block chords (where the notes are played together), or arpeggios (where the notes are played one at a time), we used a combination of these two techniques. We play our root note first, then follow it with two higher notes that are played together. This allows for lots of space (i.e. rests), which makes the progression sound even more chill. We actually used this way of playing the chord as a motif, by playing the rest of the chords this way too. And if you’re new to motifs, they’re short ideas you repeat to give your music structure and make it more memorable. Lastly, to make our progression extra calming, we started it with a dreamy add9 chord, which we then used as a motif as well. And if you’re new to add9 chords, you can make them by simply adding the 2 to a triad. For example, our first chord is Dm(add9), which is the Dm triad (D, F, A) plus the 2 (E). Now, add9 chords are obviously four-note chords, which create a thicker texture. And while that’s great in some songs, we wanted to keep our texture thin and spacious here, so we left out the 5 of our Dm(add9) chord. When you use chords with four or more notes, leaving out the 5 is a great way of keeping your texture thin. Because, and no disrespect to the 5 here, it doesn’t bring anything special to the chord, it merely fills it out. So, to summarise everything, here’s our success formula for chord progressions in the Covid-19 era: Choose a consonant scale (i.e. avoid Phrygian, Locrian, etc.) Write a somewhat predictable chord progression Use a slow and predictable harmonic rhythm Incorporate at least two elements that are slightly unusual Create a motif, and repeat it regularly Optional extras: rests, add9 chords Alright, now it’s your turn to step up! So, we’ve got a chillout challenge for you: Write a calming chord progression using this formula, then stay tuned for next time, when you’ll learn how to add a relaxing melody. For now though, let’s have a listen to our calming chords that upregulate the immune system. And that is true success! Just before the playthrough though, we’d love to share one more thing with you. Next Regarding the current situation around the world. As music teachers, we can’t offer much help through this difficult time. However, as most people are now stuck at home, what we can offer, is a meaningful and productive timeout from the difficulties. It’s with that intention in our hearts that we offer you 50% OFF our online course Apprenticeship #1. It contains 17 hours of video that teach every step of the writing process, from blank screen to finished song. You will literally learn everything you need to know in order to write great songs, and finish them! We know that most people are sadly on unpaid leave right now, so we hope this half-price offer helps alleviate some suffering, and we truly hope you and your families are all safe and healthy. Lastly, please remember that music is magic, so keep pumping those uplifting tunes! Thanks for being here, and until next time, happy songwriting and producing. Want More? Sign up for our newsletter, and get tutorials like this delivered to your inbox. Wooohooo!!! You're now one small step away from joining the Hack Music Theory revolution. Just head on over to your inbox, open the email we've sent you, click the link to confirm, and you're in! There was an error submitting your subscription. Please try again. 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covid-19 dm write trigger pace tea measuring songwriting incorporate optional bpm js chillout montserrat chords harmonic derek sivers bpms optin phrygian locrian errorarea element queries

LJS 214: 16 Scales to Know for Jazz

Play Episode Listen Later Apr 13, 2020 33:03

Welcome to episode 214 of the LJS Podcast where today I go over 16 scales that can be useful when it comes to conceptualizing jazz improv. Scales are never to be used exclusively to improvise, but the 16 I cover in this episode can be helpful to map out note choices over many different chords you will come across in jazz standards. Listen to episode 214 When it comes to jazz improvisation, scales can be really great ways to organize pitches or note choices over top of chords in chord progressions. Now, I don't think scales should be used exclusively by any means to improvise. If we do that, they often become crutches and not tools, and it sounds more like you are playing scales than actual musical melodic lines. But that doesn't mean we should throw out scales altogether. Not at all. We need to know them in order to know our instruments better, to explore them, to navigate them, and they can also be super helpful for helping us identify those note choices. So, in today's episode, I'm going to be going over the 16 most important scales that I think you should know for jazz. In this episode: 1. Ionian or Major 2. Dorian 3. Phrygian 4. Lydian 5. Mixolydian 6. Aeolian 7. Locrian and Locrian #2 8. Half Whole Diminished 9. Whole Half Diminished 10. Altered scale 11. Whole Tone Scale 12. Minor Pentatonic and Blues Scale 13. Lydian Dominant 14. Major Bebop Scale 15. Minor Bebop Scale 16. Mixolydian Bebop Scale Important Links Blog Post: 16 Most Important Scales in Jazz LJS 67: How to Use Pentatonics Over Any Chord

jazz scales altered lydian phrygian ionian aeolian mixolydian locrian

63: Terence Hannum Locrian / Holy Circle

Metal Matters

Play Episode Listen Later Mar 9, 2020 54:19

My good friend Terence Hannun joins us this week. Terence is a man of many talents: electronic musician, visual artist, author…just to name of few of his talents. He is mostly known for his involvement with longstanding electronic, drone, dark soundscape entity Locrian. Additionally, he has been busy with a relatively new project with his wife Erica Burgner-Hannum called Holy Circle. Erica also joins us for the second part of the conversation to talk about the formation of the band and the collaborative process.Intro: “Augury in an Evaporating Tower” - LocrianOutro: “Paris” – Holy Circle See acast.com/privacy for privacy and opt-out information.

holy circle terence locrian terence hannum

Episode #31 - Songwriting with Modal Scales and Keys - Mixolydian

keys beatles bob dylan songwriter coldplay songwriting grateful dead scales modes modal lydian phrygian aeolian ionian mixolydian locrian

Play Episode Listen Later Sep 18, 2019 11:04

In this episode Joe continues discussing the construction of Modal Scales and Keys along with the use of the Mixolydian Key in creating chord progressions for use in modern songwriting as well as in all forms of musical composition.

Episode #30 - Songwriting with Modal Scales and Keys - Lydian

Play Episode Listen Later Sep 14, 2019 9:53

In this episode Joe continues discussing the construction of Modal Scales and Keys along with the use of the Lydian Key in creating chord progressions for use in modern songwriting as well as in all forms of musical composition.

keys jazz songwriter songwriting scales modes modal bill evans lydian phrygian ionian aeolian mixolydian locrian

Episode #29 - Songwriting with Modal Scales and Keys - Phrygian

keys songwriter songwriting scales modes debussy modal impressionism lydian phrygian ionian aeolian mixolydian locrian

Play Episode Listen Later Sep 11, 2019 7:28

In this episode Joe continues discussing the construction of Modal Scales and Keys along with the use of the Phrygian Key in creating chord progressions for use in modern songwriting as well as in all forms of musical composition.

Episode #28 - Songwriting with Modal Scales and Keys - Dorian

keys songwriter songwriting scales modes debussy modal impressionism lydian phrygian ionian aeolian mixolydian locrian

Play Episode Listen Later Sep 6, 2019 13:40

In this episode Joe discusses the construction of Modal Scales and Keys along with the use of the Dorian Key in creating chord progressions for use in modern songwriting as well as in all forms of musical composition.

Initiation : Le BLACK NOISE ☩ épisode du 24 mai 2018

Hurlements sur la toundra

Play Episode Listen Later Jul 17, 2019 77:37

Initiez-vous au Black ou Blackened Noise, indubitablement l'expression du Black Métal la plus terrifiante et angoissante qui n'a jamais été mis au monde, un avorton rejeté et méprisé par même la majorité de la scène. Les adeptes de cette lignée excentrique et cancéreuse ont poussé et poussent toujours le Black et ses principes au-delà ses propres conventions établies, ramenant pour autant notre culte dans le domaine du danger véritable, même physique. Une noire expression réservée à l'élite : donc gare à vous, les poseurs! Que la vaniteuse conscience de chacun soit bouleversée, étonnée, insultée, injuriée et surtout blesséepar ce viol nécrophagique sonore… ☩ LISTE LITURGIQUE ☩ 1. ABRUPTUM (Norvège) - De Profundis Mors Vas Cousumet 2. ENBILULUGUGAL (États-Unis) - Return to Hellrokken Goat Sex 3. V.I.T.R.I.O.L. (inconnu) - Somnimum 4. AŠRVOÆL (États-Unis) - shuddernight 5. SATANIC ABORTION (États-Unis) - War Magick 6. VEGAS MARTYRS (États-Unis) - Memantine / Stranger 7. EMIT (Royaume-Uni) - Communications with Shadows 8. ALPHA DRONE (Allemagne) - To Take Back the Earth from Man 9. ZARACH ‘BAAL' THARAGH (France) - El Borak Pact 10. TOTAL GENOCIDE (Allemagne) - Satan 11. T.O.M.B. (États-Unis) - Fog Ritual 12. SATANIC CEREMONY (États-Unis) - Harvest (Scythe Death) 13. ROPES OF OUR FATHER (États-Unis) - Garden of Malice Machines 14. PYFYXFYRU (États-Unis) - Satan of Lakes' Water in Hell 15. LOCRIAN (États-Unis) - At Night's End 16. WOLD (Alberta) - Final Offering (extrait)

black earth man water hell shadows unis lakes initiation black m black noise locrian

29: Night Time Stories and Cold Hope Trevor Shelley DeBrauw of Pelican

Metal Matters

Play Episode Listen Later May 27, 2019 48:00

Some of my favorite episodes are the ones where creative admiration and friendship meet and the episode is more on par with two friends catching up as opposed to an interview to promote a new album. This week’s episode is one of those; I had the opportunity to catch up with my friend Trevor Shelley-De Brauw of Pelican, a band that has been performing and releasing great records for nearly twenty years.Trevor and I talk a bit about the new Pelican record, “Midnight Stories” on Southern Lord available June 7, 2019 as well as RLYR, his other project with Locrian drummer Steven Hess. We also get philosophical and at times inspirational.Intro: “Midnight and Mescaline”Outro: ”Final Breath” See acast.com/privacy for privacy and opt-out information.

cold nighttime pelican time stories locrian southern lord rlyr

Video Guitar Lesson 9: Usable Ideas For The Melodic And Harmonic Minor Scales And Selected Modes

Guitar Lessons with Tune in, Tone up!

Play Episode Listen Later Mar 22, 2019 49:11

Video Guitar Lesson 9: Usable ideas for the melodic and harmonic minor scales and selected modes YouTube version = https://www.youtube.com/watch?v=8LnRYVsaA3g&feature=youtu.be Guitar Gear Mentions: Wrist Grips Website: http://www.wrist-grips.com Sure Grip Guitar Picks Website: http://suregripguitarpicks.com Curt Mangan Strings Website: https://www.curtmangan.com/ In this lesson Dan helps me to develop what we began to look at last lesson by taking the theory and looking at how we can actually use and implement it. As always, there is plenty of demonstration and guitar playing throughout including over some ideas like the progression in Stairway to Heaven and California Dreaming. Covering quite a few genres and concepts, we hope you get a lot out of this lesson, whether you want to shred or are aiming for some new strategies to add interest to the melody of your improvisation. All the best, Gary and Dan https://tunein-toneup.com/ https://soundcloud.com/tunein-toneup/ Timings for the SoundCloud audio version 00:06:23 The first scale we look at is the melodic minor 00:11:48 The first use is a descending bass line progression like: Stairway to Heaven 00:16:20 Dan's example over Stairway to Heaven progression 00:17:27 Funkier ‘Stairway’ backing demo 00:19:41 Using melodic minor in a horror movie soundtrack for tension 00:21:41 Using in tune where you use an [i IV ii V] progression like Am D Bm E 00:23:42 Considering the mode: Locrian #4 00:24:32 Locrian #4 over the E of Blues in A 00:26:19 Droning an E7#5 for a melodic minor feel 00:28:31 Using over a rock song that sits in a static place 00:35:17 The second scale we look at is the harmonic minor 00:36:56 California Dreaming - using the major chord instead of the v (minor 5th) chord of the minor scale 00:37:29 Demo of this use of the harmonic minor 00:39:45 Metal backing track and the phrygian dominant mode 00:42:58 Using diminished arpeggios

ideas blues soundcloud metal iv covering demo minor scales modes stairway melodic harmonic california dreaming usable timings droning locrian

Want Exotic Melodies? Use These Notes...

Play Episode Listen Later Feb 21, 2019 5:25

Most popular music is made using the two most common western scales: the major, and the natural minor. So the best way to make your melodies stand out is to use a non-western scale (like the one we'll reveal in this lesson). But first… tea! DOWNLOAD PDF + WAV + MIDI FROM THIS VIDEO Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let's jump in... THEORYItalian-Iranian crossover group NAVA just dropped their new Persian-inspired electronic track “Ritual”. This song jumps out at you from the hundreds of new releases, because those were made using the major or minor scale, whereas this song was made using a non-western scale. This scale is common in the traditional music of many non-western countries, like Iran and India, but it's exceptionally rare in the West. When we do use this scale though, we call it the Phrygian dominant (or Phrygian major), but it has many non-Western names that predate these. Now, there's a couple characteristics that make this scale sound exotic (which we'll get to in a minute), but the main characteristic is the combination of the ♭2 and the 3. For example, in C Phrygian dominant, to get that exotic sound, you need to play the ♭2 (D♭), the 3 (E), and obviously the root (C). On the other hand, if you want a melody that stands out but does not sound too exotic, then change the chord under the D♭ in your melody to a B♭m, for example. This results in your listeners not hearing the D♭ as a dissonant ♭2, but instead as a beautiful ♭3 in the context of that B♭m chord. This is actually the method we used in our Grime Bass lesson, so check out that PDF if you wanna learn how to use the Phrygian dominant in a Western style. You'll love how versatile this scale is! SETUPAlright, now you're gonna learn how to use this theory to make your own version, and what you see below is our version that we made earlier. So, start by setting up two bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 120 BPM. NAVA uses C Phrygian dominant, so we'll use it too. STEP 1. THE SCALESo, what notes are in this exotic scale? Well, in C Phrygian dominant, the notes are: C D♭ E F G A♭ B♭. Now as we mentioned earlier, there's a couple reasons this scale sounds exotic to Western ears. Firstly, there's a super rare three-semitone interval between adjacent degrees of the scale (D♭ and E), whereas in the standard Western scales and modes, there's usually one or two semitones between the degrees. Having said that though, there is one relatively standard Western scale that does contain a three-semitone interval between adjacent degrees, but, you hardly ever hear it outside of classical music (and metal), so it's super rare in popular music. The scale we're talking about is the harmonic minor*, and we love it, cos it's another great way to make your music stand out. In fact, we teach you how to make standout music using the harmonic minor scale (and its cousin, the melodic minor) in our online course Apprenticeship #1, where you'll also learn how to write new sections for existing sections, how to transition between sections in different keys, and a bunch more! Now, the second reason Phrygian dominant sounds exotic to Western ears, is that it has a ♭2, which only occurs twice in the Western modes (in Phrygian and Locrian), so that's already rare. But, that's only half the story. Both Phrygian and Locrian are minor (i.e. they contain a ♭3), whereas Phrygian dominant is major (i.e. it contains a 3), and as you now know, that magic combination of ♭2 and 3 is exactly what makes this scale sound so exotic. *The West actually came across the Phrygian dominant by starting on the 5th degree of the harmonic minor scale. Therefore, these two scales are related, which means they share the exact same notes, but have a different root. For more on relative scales, read Hack 5 in our free ebook. STEP 2. THE MELODYRight, now that you're familiar with this exotic scale, it's time to use it to write your melody. So, start your first phrase by playing the root note (C) to establish the home, then play around with all those beautiful semitone steps that naturally occur in this scale, in other words: C to D♭, E to F, and G to A♭. And for your melody's second phrase, start on the root note again, but an octave higher this time (for variation, and to extend your melody's range). Then, cascade down through the scale, perhaps ending with that exotic combo of ♭2 and 3. And for the rhythm of your melody, use a wide variety of note values to keep it fresh, and don't be scared to throw in a 1/32 note for some extra spice. And if you need more help writing melodies, then use the Melody Checklist in our Songwriting & Producing PDF (click & scroll down), it's the ultimate list of dos and don'ts for writing great melodies! Lastly, for maximum exoticness, we're playing our melody over a bass line that's inspired by a drone, which is when you play one note continuously. However, we added some other notes to our bass line, for extra interest (see MIDI file). WANT MORE?Right, now that you've got one section down, how do you write more sections for it, and then, how do you transition between those sections, and turn 'em into a song? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you'll literally learn every step of the music making process, and most importantly, you'll learn how to finish your songs! You'll also gain access to our private network, which is a safe online space (i.e. social media platform) exclusively for our 600+ apprentices from 50+ countries. Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and collaborate! If all this sounds useful to you, then head on over to our Online Apprenticeship page now. Kate & Ray Harmony (AKA Revolution Harmony)Music Teachers & Producers in Vancouver BC, Canada LEVELSLevel 1 - Read our free book (below) & watch our YouTube videosLevel 2 - Read our "Part 1" book & "Songwriting & Producing" PDFLevel 3 - Practice making music using our lessons (PDF+MIDI+WAV)Level 4 - Learn our secret art of song-whispering & finish your music ABOUTHack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!). COPYRIGHT© 2019 Revolution HarmonyRevolution Harmony is Ray Harmony & Kate HarmonyAll content (script & music) in video by Revolution HarmonyNAVA photo courtesy of Rolling Stone (Italy) Wooohooo!!! You're a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download. There was an error submitting your subscription. Please try again. “The most brilliant, fast, easy & fun music theory book I've ever seen!” DEREK SIVERS, CD Baby founder We use this field to detect spam bots. If you fill this in, you will be marked as a spammer. 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music canada west practice western iran hack trigger ritual copyright edm producers persian songwriting exotic apprenticeships midi bpm js melodies nava daw vancouver bc derek sivers london college want more optin phrygian locrian serj tankian system errorarea element queries

Want Exotic Melodies? Use These Notes...

Play Episode Listen Later Feb 21, 2019 5:25

Most popular music is made using the two most common western scales: the major, and the natural minor. So the best way to make your melodies stand out is to use a non-western scale (like the one we’ll reveal in this lesson). But first… tea! DOWNLOAD PDF + WAV + MIDI FROM THIS VIDEO Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let’s jump in... THEORYItalian-Iranian crossover group NAVA just dropped their new Persian-inspired electronic track “Ritual”. This song jumps out at you from the hundreds of new releases, because those were made using the major or minor scale, whereas this song was made using a non-western scale. This scale is common in the traditional music of many non-western countries, like Iran and India, but it’s exceptionally rare in the West. When we do use this scale though, we call it the Phrygian dominant (or Phrygian major), but it has many non-Western names that predate these. Now, there’s a couple characteristics that make this scale sound exotic (which we’ll get to in a minute), but the main characteristic is the combination of the ♭2 and the 3. For example, in C Phrygian dominant, to get that exotic sound, you need to play the ♭2 (D♭), the 3 (E), and obviously the root (C). On the other hand, if you want a melody that stands out but does not sound too exotic, then change the chord under the D♭ in your melody to a B♭m, for example. This results in your listeners not hearing the D♭ as a dissonant ♭2, but instead as a beautiful ♭3 in the context of that B♭m chord. This is actually the method we used in our Grime Bass lesson, so check out that PDF if you wanna learn how to use the Phrygian dominant in a Western style. You’ll love how versatile this scale is! SETUPAlright, now you’re gonna learn how to use this theory to make your own version, and what you see below is our version that we made earlier. So, start by setting up two bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 120 BPM. NAVA uses C Phrygian dominant, so we’ll use it too. STEP 1. THE SCALESo, what notes are in this exotic scale? Well, in C Phrygian dominant, the notes are: C D♭ E F G A♭ B♭. Now as we mentioned earlier, there’s a couple reasons this scale sounds exotic to Western ears. Firstly, there’s a super rare three-semitone interval between adjacent degrees of the scale (D♭ and E), whereas in the standard Western scales and modes, there’s usually one or two semitones between the degrees. Having said that though, there is one relatively standard Western scale that does contain a three-semitone interval between adjacent degrees, but, you hardly ever hear it outside of classical music (and metal), so it’s super rare in popular music. The scale we’re talking about is the harmonic minor*, and we love it, cos it’s another great way to make your music stand out. In fact, we teach you how to make standout music using the harmonic minor scale (and its cousin, the melodic minor) in our online course Apprenticeship #1, where you’ll also learn how to write new sections for existing sections, how to transition between sections in different keys, and a bunch more! Now, the second reason Phrygian dominant sounds exotic to Western ears, is that it has a ♭2, which only occurs twice in the Western modes (in Phrygian and Locrian), so that’s already rare. But, that’s only half the story. Both Phrygian and Locrian are minor (i.e. they contain a ♭3), whereas Phrygian dominant is major (i.e. it contains a 3), and as you now know, that magic combination of ♭2 and 3 is exactly what makes this scale sound so exotic. *The West actually came across the Phrygian dominant by starting on the 5th degree of the harmonic minor scale. Therefore, these two scales are related, which means they share the exact same notes, but have a different root. For more on relative scales, read Hack 5 in our free ebook. STEP 2. THE MELODYRight, now that you’re familiar with this exotic scale, it’s time to use it to write your melody. So, start your first phrase by playing the root note (C) to establish the home, then play around with all those beautiful semitone steps that naturally occur in this scale, in other words: C to D♭, E to F, and G to A♭. And for your melody’s second phrase, start on the root note again, but an octave higher this time (for variation, and to extend your melody’s range). Then, cascade down through the scale, perhaps ending with that exotic combo of ♭2 and 3. And for the rhythm of your melody, use a wide variety of note values to keep it fresh, and don’t be scared to throw in a 1/32 note for some extra spice. And if you need more help writing melodies, then use the Melody Checklist in our Songwriting & Producing PDF (click & scroll down), it’s the ultimate list of dos and don’ts for writing great melodies! Lastly, for maximum exoticness, we’re playing our melody over a bass line that’s inspired by a drone, which is when you play one note continuously. However, we added some other notes to our bass line, for extra interest (see MIDI file). WANT MORE?Right, now that you’ve got one section down, how do you write more sections for it, and then, how do you transition between those sections, and turn 'em into a song? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our private network, which is a safe online space (i.e. social media platform) exclusively for our 600+ apprentices from 50+ countries. Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and collaborate! If all this sounds useful to you, then head on over to our Online Apprenticeship page now. Kate & Ray Harmony (AKA Revolution Harmony)Music Teachers & Producers in Vancouver BC, Canada LEVELSLevel 1 - Read our free book (below) & watch our YouTube videosLevel 2 - Read our "Part 1" book & "Songwriting & Producing" PDFLevel 3 - Practice making music using our lessons (PDF+MIDI+WAV)Level 4 - Learn our secret art of song-whispering & finish your music ABOUTHack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!). COPYRIGHT© 2019 Revolution HarmonyRevolution Harmony is Ray Harmony & Kate HarmonyAll content (script & music) in video by Revolution HarmonyNAVA photo courtesy of Rolling Stone (Italy) Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download. There was an error submitting your subscription. Please try again. “The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder We use this field to detect spam bots. If you fill this in, you will be marked as a spammer. DOWNLOAD FREE BOOK /* Layout */ .ck_form { /* divider image */ background: #EAE9EA url(data:image/gif;base64,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) repeat-y center top; font-family: 'Montserrat'; line-height: 1.5em; overflow: hidden; color: #000000; font-size: 16px; border-top: none; border-top-color: #666666; border-bottom: none; border-bottom-color: #3d3d3d; -webkit-box-shadow: none; -moz-box-shadow: none; box-shadow: none; clear: both; margin: 0px 0px; } .ck_form, .ck_form * { -webkit-box-sizing: border-box; -moz-box-sizing: border-box; box-sizing: border-box; } #ck_subscribe_form { clear: both; } /* Element Queries — uses JS */ .ck_form_content, .ck_form_fields { width: 50%; float: left; padding: 5%; } .ck_form.ck_horizontal { } .ck_form_content { border-bottom: none; } .ck_form.ck_vertical { background: #fff; } .ck_vertical .ck_form_content, .ck_vertical .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_vertical .ck_form_content { border-bottom: 1px dotted #aaa; overflow: hidden; } /* Trigger the vertical layout with media queries as well */ @media all and (max-width: 499px) { .ck_form { background: #fff; } .ck_form_content, .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_form_content { border-bottom: 1px dotted #aaa; } } /* Content */ .ck_form_content h3 { margin: 0px 0px 0px; font-size: 0px; padding: 0px; } .ck_form_content p { font-size: 14px; } .ck_image { float: left; margin-right: 5px; } /* Form fields */ .ck_errorArea { display: none; } #ck_success_msg { padding: 10px 10px 0px; border: solid 1px #ddd; background: #eee; } .ck_label { font-size: 14px; font-weight: bold; } .ck_form input[type="text"] { font-size: 16px; text-align: center; margin-top: 20px; margin-bottom: 0px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="email"] { font-size: 16px; text-align: center; margin-top: 0px; margin-bottom: 15px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="text"]:focus, .ck_form input[type="email"]:focus { outline: none; border-color: #aaa; } .ck_checkbox { padding: 10px 0px 10px 20px; display: block; clear: both; } .ck_checkbox input.optIn { margin-left: -20px; margin-top: 0; } .ck_form .ck_opt_in_prompt { margin-left: 4px; } .ck_form .ck_opt_in_prompt p { display: inline; } .ck_form .ck_subscribe_button { width: 100%; color: #fff; margin: 0px 0px 0px; padding: 8px 8px; font-size: 18px; background: #d74128; -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ cursor: pointer; border: none; text-shadow: none; } .ck_form .ck_guarantee { color: #626262; font-size: 12px; text-align: center; padding: 5px 0px; display: block; } .ck_form .ck_powered_by { display: block; color: #aaa; } .ck_form .ck_powered_by:hover { display: block; color: #444; } .ck_converted_content { display: none; padding: 5%; background: #fff; } /* v6 */ .ck_form_v6 #ck_success_msg { padding: 0px 10px; } @media all and (max-width: 403px) { .ck_form_v6.ck_modal .ck_close_link { top: 30px; } } @media all and (min-width: 404px) and (max-width: 499px) { .ck_form_v6.ck_modal .ck_close_link { top: 57px; } }

music canada west practice western iran hack trigger ritual copyright edm producers persian songwriting exotic rage against the machine apprenticeships midi bpm js melodies nava daw vancouver bc derek sivers london college optin phrygian locrian serj tankian system errorarea tom morello rage against element queries

Want Exotic Melodies? Use These Notes...

Play Episode Listen Later Feb 21, 2019 5:25

Most popular music is made using the two most common western scales: the major, and the natural minor. So the best way to make your melodies stand out is to use a non-western scale (like the one we’ll reveal in this lesson). But first… tea! DOWNLOAD PDF + WAV + MIDI FROM THIS VIDEO Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let’s jump in... THEORYItalian-Iranian crossover group NAVA just dropped their new Persian-inspired electronic track “Ritual”. This song jumps out at you from the hundreds of new releases, because those were made using the major or minor scale, whereas this song was made using a non-western scale. This scale is common in the traditional music of many non-western countries, like Iran and India, but it’s exceptionally rare in the West. When we do use this scale though, we call it the Phrygian dominant (or Phrygian major), but it has many non-Western names that predate these. Now, there’s a couple characteristics that make this scale sound exotic (which we’ll get to in a minute), but the main characteristic is the combination of the ♭2 and the 3. For example, in C Phrygian dominant, to get that exotic sound, you need to play the ♭2 (D♭), the 3 (E), and obviously the root (C). On the other hand, if you want a melody that stands out but does not sound too exotic, then change the chord under the D♭ in your melody to a B♭m, for example. This results in your listeners not hearing the D♭ as a dissonant ♭2, but instead as a beautiful ♭3 in the context of that B♭m chord. This is actually the method we used in our Grime Bass lesson, so check out that PDF if you wanna learn how to use the Phrygian dominant in a Western style. You’ll love how versatile this scale is! SETUPAlright, now you’re gonna learn how to use this theory to make your own version, and what you see below is our version that we made earlier. So, start by setting up two bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 120 BPM. NAVA uses C Phrygian dominant, so we’ll use it too. STEP 1. THE SCALESo, what notes are in this exotic scale? Well, in C Phrygian dominant, the notes are: C D♭ E F G A♭ B♭. Now as we mentioned earlier, there’s a couple reasons this scale sounds exotic to Western ears. Firstly, there’s a super rare three-semitone interval between adjacent degrees of the scale (D♭ and E), whereas in the standard Western scales and modes, there’s usually one or two semitones between the degrees. Having said that though, there is one relatively standard Western scale that does contain a three-semitone interval between adjacent degrees, but, you hardly ever hear it outside of classical music (and metal), so it’s super rare in popular music. The scale we’re talking about is the harmonic minor*, and we love it, cos it’s another great way to make your music stand out. In fact, we teach you how to make standout music using the harmonic minor scale (and its cousin, the melodic minor) in our online course Apprenticeship #1, where you’ll also learn how to write new sections for existing sections, how to transition between sections in different keys, and a bunch more! Now, the second reason Phrygian dominant sounds exotic to Western ears, is that it has a ♭2, which only occurs twice in the Western modes (in Phrygian and Locrian), so that’s already rare. But, that’s only half the story. Both Phrygian and Locrian are minor (i.e. they contain a ♭3), whereas Phrygian dominant is major (i.e. it contains a 3), and as you now know, that magic combination of ♭2 and 3 is exactly what makes this scale sound so exotic. *The West actually came across the Phrygian dominant by starting on the 5th degree of the harmonic minor scale. Therefore, these two scales are related, which means they share the exact same notes, but have a different root. For more on relative scales, read Hack 5 in our free ebook. STEP 2. THE MELODYRight, now that you’re familiar with this exotic scale, it’s time to use it to write your melody. So, start your first phrase by playing the root note (C) to establish the home, then play around with all those beautiful semitone steps that naturally occur in this scale, in other words: C to D♭, E to F, and G to A♭. And for your melody’s second phrase, start on the root note again, but an octave higher this time (for variation, and to extend your melody’s range). Then, cascade down through the scale, perhaps ending with that exotic combo of ♭2 and 3. And for the rhythm of your melody, use a wide variety of note values to keep it fresh, and don’t be scared to throw in a 1/32 note for some extra spice. And if you need more help writing melodies, then use the Melody Checklist in our Songwriting & Producing PDF (click & scroll down), it’s the ultimate list of dos and don’ts for writing great melodies! Lastly, for maximum exoticness, we’re playing our melody over a bass line that’s inspired by a drone, which is when you play one note continuously. However, we added some other notes to our bass line, for extra interest (see MIDI file). WANT MORE?Right, now that you’ve got one section down, how do you write more sections for it, and then, how do you transition between those sections, and turn 'em into a song? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our private network, which is a safe online space (i.e. social media platform) exclusively for our 600+ apprentices from 50+ countries. Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and collaborate! If all this sounds useful to you, then head on over to our Online Apprenticeship page now. Kate & Ray Harmony (AKA Revolution Harmony)Music Teachers & Producers in Vancouver BC, Canada LEVELSLevel 1 - Read our free book (below) & watch our YouTube videosLevel 2 - Read our "Part 1" book & "Songwriting & Producing" PDFLevel 3 - Practice making music using our lessons (PDF+MIDI+WAV)Level 4 - Learn our secret art of song-whispering & finish your music ABOUTHack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!). COPYRIGHT© 2019 Revolution HarmonyRevolution Harmony is Ray Harmony & Kate HarmonyAll content (script & music) in video by Revolution HarmonyNAVA photo courtesy of Rolling Stone (Italy) Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download. There was an error submitting your subscription. Please try again. “The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder We use this field to detect spam bots. If you fill this in, you will be marked as a spammer. DOWNLOAD FREE BOOK /* Layout */ .ck_form { /* divider image */ background: #EAE9EA url(data:image/gif;base64,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) repeat-y center top; font-family: 'Montserrat'; line-height: 1.5em; overflow: hidden; color: #000000; font-size: 16px; border-top: none; border-top-color: #666666; border-bottom: none; border-bottom-color: #3d3d3d; -webkit-box-shadow: none; -moz-box-shadow: none; box-shadow: none; clear: both; margin: 0px 0px; } .ck_form, .ck_form * { -webkit-box-sizing: border-box; -moz-box-sizing: border-box; box-sizing: border-box; } #ck_subscribe_form { clear: both; } /* Element Queries — uses JS */ .ck_form_content, .ck_form_fields { width: 50%; float: left; padding: 5%; } .ck_form.ck_horizontal { } .ck_form_content { border-bottom: none; } .ck_form.ck_vertical { background: #fff; } .ck_vertical .ck_form_content, .ck_vertical .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_vertical .ck_form_content { border-bottom: 1px dotted #aaa; overflow: hidden; } /* Trigger the vertical layout with media queries as well */ @media all and (max-width: 499px) { .ck_form { background: #fff; } .ck_form_content, .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_form_content { border-bottom: 1px dotted #aaa; } } /* Content */ .ck_form_content h3 { margin: 0px 0px 0px; font-size: 0px; padding: 0px; } .ck_form_content p { font-size: 14px; } .ck_image { float: left; margin-right: 5px; } /* Form fields */ .ck_errorArea { display: none; } #ck_success_msg { padding: 10px 10px 0px; border: solid 1px #ddd; background: #eee; } .ck_label { font-size: 14px; font-weight: bold; } .ck_form input[type="text"] { font-size: 16px; text-align: center; margin-top: 20px; margin-bottom: 0px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="email"] { font-size: 16px; text-align: center; margin-top: 0px; margin-bottom: 15px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="text"]:focus, .ck_form input[type="email"]:focus { outline: none; border-color: #aaa; } .ck_checkbox { padding: 10px 0px 10px 20px; display: block; clear: both; } .ck_checkbox input.optIn { margin-left: -20px; margin-top: 0; } .ck_form .ck_opt_in_prompt { margin-left: 4px; } .ck_form .ck_opt_in_prompt p { display: inline; } .ck_form .ck_subscribe_button { width: 100%; color: #fff; margin: 0px 0px 0px; padding: 8px 8px; font-size: 18px; background: #d74128; -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ cursor: pointer; border: none; text-shadow: none; } .ck_form .ck_guarantee { color: #626262; font-size: 12px; text-align: center; padding: 5px 0px; display: block; } .ck_form .ck_powered_by { display: block; color: #aaa; } .ck_form .ck_powered_by:hover { display: block; color: #444; } .ck_converted_content { display: none; padding: 5%; background: #fff; } /* v6 */ .ck_form_v6 #ck_success_msg { padding: 0px 10px; } @media all and (max-width: 403px) { .ck_form_v6.ck_modal .ck_close_link { top: 30px; } } @media all and (min-width: 404px) and (max-width: 499px) { .ck_form_v6.ck_modal .ck_close_link { top: 57px; } }

music canada west practice western iran hack trigger ritual copyright edm producers persian songwriting exotic rage against the machine apprenticeships midi bpm js melodies nava daw vancouver bc derek sivers london college want more optin phrygian locrian serj tankian system errorarea tom morello rage against element queries

How to Write a Guitar Riff & Vocal Melody like Alice in Chains “Rainier Fog”

Play Episode Listen Later Aug 25, 2018 6:54

Happy New Music Friday, and welcome to the Hack Music Theory show! So, Alice in Chains, new album out today, woohoo!!! I’ve been a fan since their debut album dropped way back in 1990, so I’m super stoked to reveal the secret formula behind this band’s unique fusion of dissonant riffs and catchy vocals. But first… Tea! GUITARJerry Cantrell’s riffs are legendary! For three decades, he’s been walking the line between metal and rock. By taking the dissonance of metal and combining it with the accessibility of rock, Jerry created an instantly-recognizable style. And if you wanna dam the river of Cantrell and syphon off a little for yourself, you’ll need those two elements. So firstly, create that dissonance by using the Phrygian or Locrian mode. Then secondly, create that accessibility by using a slower tempo and fewer notes. Alright, so what you see on your screen is the riff that we wrote using the music theory from Jerry’s riffs. We’re in the Locrian mode here (our root is D♯), and we’re at 67.5 BPM, which is the tempo of their song “So Far Under”. Right, so we’ve got four loops of the riff here, and the first thing you’ll notice is that the riff consists of two sections: the first section is made up of 1/16 notes, and the second section is just one long note. And this is another clever hack of Jerry’s, where the guitar and vocals take turns for your attention, which prevents things from ever getting overwhelming (like they do in metal). So we kick things off with a few 1/16 notes that really emphasize the dissonant Locrian vibe (♭2 and ♭5), then we restrain ourselves by just hitting one long root note while the vocals have their turn in the spotlight. And lastly, depending on how full you want your riff to sound, you can play it as single notes, or “power chords”, or a combination of the two. VOCALSVocals are catchy when they’re easy to remember and sing. And while singing in the Phrygian or Locrian mode is easy for William DuVall, it sure ain’t easy for most people, and that is exactly why he often uses the pentatonic minor scale as the basis for his vocal melodies. And yes, when done right, pentatonic minor melodies work great over the top of Phrygian or Locrian riffs. However, limiting your vocal melodies to only five notes (pentatonic) will get boring quick, so that’s why every now and then William throws in a spicy non-diatonic note, which is a note that is not in the key. Alright, so what you see on your screen is the vocal melody that we wrote using the music theory from William’s melodies. And underneath that is the guitar riff, but that’s muted (it’s just there for reference). So you can see we’ve got this descending vocal line coming down through the pentatonic minor scale, starting up at the ♭3, then hitting the 1, ♭7, 5, 4, and landing on the ♭3 an octave lower. Then the second time through, for variation, we throw in a spicy William note, which is actually that happy major 3rd note. And that gives us a little glimmer of hope, but only a 1/16 of hope, cos this is Alice in Chains after all haha! Also, you’ll notice there’s a little controlled clashing where we have a ♭5 in the guitar at the same time as a 5 in the vocals, but the ♭5 in the guitar is just a quick 1/16 note, so it sounds super tasty and not too clashy! MOREOkay, so now that you’ve got one section down, how do you write a new section for it, and then, how do you transition between those two sections? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! NEXTAnd just before the playthrough. Please note, we intentionally wrote the music and lyrics of our example to be very similar to Alice in Chains, but we did that for the sake of this lesson. So, instead of copying Jerry and the boys, please explore how you can use this hack creatively with your own musical personality, so it sounds like you! Also, if you truly wanna get that Alice in Chains sound, you’re gonna need an ultra mega powerful world-class male vocal, like Layne and William, so we called up the best singer we know: Meyrick de la Fuente. And big up respect to Meyrick for jumping in on such short notice. If you wanna hear more of this dude’s phenomenal singing, then check out his awesome band Exist Immortal, who, by the way, also happens to contain a couple of my former students - wassup Kurt and David (#ProudTeacher). Alright, that’s it! We really hope you found this video helpful, and if you did, subscribe and hit the bell to get notifications. Also, we believe in sharing our knowledge for free. So please pay it forwards by teaching this hack to a friend, so they can benefit from this lesson as well. Yeah I’ve been teaching music theory for 24 years, so I can safely say that the best way to learn something, is to teach it to someone else. So, go forth and teach! On that note, thanks for joining the Hack Music Theory revolution, and we’ll see you next New Music Friday. Kate & Ray Harmony (AKA Revolution Harmony)Music Teachers & Producers in Vancouver BC, Canada LEARN1: Read our free book (below) & watch our YouTube videos2: Read our "Part 1" book & "Songwriting & Producing" PDF3: Learn our Secret Art of Song-Whispering, and effortlessly finish your music! ABOUTHack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!). Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download. There was an error submitting your subscription. Please try again. “The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder We use this field to detect spam bots. If you fill this in, you will be marked as a spammer. DOWNLOAD FREE BOOK /* Layout */ .ck_form { /* divider image */ background: #EAE9EA url(data:image/gif;base64,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) repeat-y center top; font-family: 'Montserrat'; line-height: 1.5em; overflow: hidden; color: #000000; font-size: 16px; border-top: none; border-top-color: #666666; border-bottom: none; border-bottom-color: #3d3d3d; -webkit-box-shadow: none; -moz-box-shadow: none; box-shadow: none; clear: both; margin: 0px 0px; } .ck_form, .ck_form * { -webkit-box-sizing: border-box; -moz-box-sizing: border-box; box-sizing: border-box; } #ck_subscribe_form { clear: both; } /* Element Queries — uses JS */ .ck_form_content, .ck_form_fields { width: 50%; float: left; padding: 5%; } .ck_form.ck_horizontal { } .ck_form_content { border-bottom: none; } .ck_form.ck_vertical { background: #fff; } .ck_vertical .ck_form_content, .ck_vertical .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_vertical .ck_form_content { border-bottom: 1px dotted #aaa; overflow: hidden; } /* Trigger the vertical layout with media queries as well */ @media all and (max-width: 499px) { .ck_form { background: #fff; } .ck_form_content, .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_form_content { border-bottom: 1px dotted #aaa; } } /* Content */ .ck_form_content h3 { margin: 0px 0px 0px; font-size: 0px; padding: 0px; } .ck_form_content p { font-size: 14px; } .ck_image { float: left; margin-right: 5px; } /* Form fields */ .ck_errorArea { display: none; } #ck_success_msg { padding: 10px 10px 0px; border: solid 1px #ddd; background: #eee; } .ck_label { font-size: 14px; font-weight: bold; } .ck_form input[type="text"] { font-size: 16px; text-align: center; margin-top: 20px; margin-bottom: 0px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="email"] { font-size: 16px; text-align: center; margin-top: 0px; margin-bottom: 15px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="text"]:focus, .ck_form input[type="email"]:focus { outline: none; border-color: #aaa; } .ck_checkbox { padding: 10px 0px 10px 20px; display: block; clear: both; } .ck_checkbox input.optIn { margin-left: -20px; margin-top: 0; } .ck_form .ck_opt_in_prompt { margin-left: 4px; } .ck_form .ck_opt_in_prompt p { display: inline; } .ck_form .ck_subscribe_button { width: 100%; color: #fff; margin: 0px 0px 0px; padding: 8px 8px; font-size: 18px; background: #d74128; -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ cursor: pointer; border: none; text-shadow: none; } .ck_form .ck_guarantee { color: #626262; font-size: 12px; text-align: center; padding: 5px 0px; display: block; } .ck_form .ck_powered_by { display: block; color: #aaa; } .ck_form .ck_powered_by:hover { display: block; color: #444; } .ck_converted_content { display: none; padding: 5%; background: #fff; } /* v6 */ .ck_form_v6 #ck_success_msg { padding: 0px 10px; } @media all and (max-width: 403px) { .ck_form_v6.ck_modal .ck_close_link { top: 30px; } } @media all and (min-width: 404px) and (max-width: 499px) { .ck_form_v6.ck_modal .ck_close_link { top: 57px; } }

music canada rock write hip hop pop metal trigger tea guitar producers chains vocal reggae songwriting fuente rage against the machine riff bpm alice in chains js electronic music daw cantrell vancouver bc derek sivers london college new music friday djent optin phrygian william duvall locrian meyrick edm dance like alice rainier fog serj tankian system errorarea tom morello rage against element queries

How to Write a Guitar Riff & Vocal Melody like Alice in Chains “Rainier Fog”

Play Episode Listen Later Aug 25, 2018 6:54

Happy New Music Friday, and welcome to the Hack Music Theory show! So, Alice in Chains, new album out today, woohoo!!! I've been a fan since their debut album dropped way back in 1990, so I'm super stoked to reveal the secret formula behind this band's unique fusion of dissonant riffs and catchy vocals. But first… Tea! GUITARJerry Cantrell's riffs are legendary! For three decades, he's been walking the line between metal and rock. By taking the dissonance of metal and combining it with the accessibility of rock, Jerry created an instantly-recognizable style. And if you wanna dam the river of Cantrell and syphon off a little for yourself, you'll need those two elements. So firstly, create that dissonance by using the Phrygian or Locrian mode. Then secondly, create that accessibility by using a slower tempo and fewer notes. Alright, so what you see on your screen is the riff that we wrote using the music theory from Jerry's riffs. We're in the Locrian mode here (our root is D♯), and we're at 67.5 BPM, which is the tempo of their song “So Far Under”. Right, so we've got four loops of the riff here, and the first thing you'll notice is that the riff consists of two sections: the first section is made up of 1/16 notes, and the second section is just one long note. And this is another clever hack of Jerry's, where the guitar and vocals take turns for your attention, which prevents things from ever getting overwhelming (like they do in metal). So we kick things off with a few 1/16 notes that really emphasize the dissonant Locrian vibe (♭2 and ♭5), then we restrain ourselves by just hitting one long root note while the vocals have their turn in the spotlight. And lastly, depending on how full you want your riff to sound, you can play it as single notes, or “power chords”, or a combination of the two. VOCALSVocals are catchy when they're easy to remember and sing. And while singing in the Phrygian or Locrian mode is easy for William DuVall, it sure ain't easy for most people, and that is exactly why he often uses the pentatonic minor scale as the basis for his vocal melodies. And yes, when done right, pentatonic minor melodies work great over the top of Phrygian or Locrian riffs. However, limiting your vocal melodies to only five notes (pentatonic) will get boring quick, so that's why every now and then William throws in a spicy non-diatonic note, which is a note that is not in the key. Alright, so what you see on your screen is the vocal melody that we wrote using the music theory from William's melodies. And underneath that is the guitar riff, but that's muted (it's just there for reference). So you can see we've got this descending vocal line coming down through the pentatonic minor scale, starting up at the ♭3, then hitting the 1, ♭7, 5, 4, and landing on the ♭3 an octave lower. Then the second time through, for variation, we throw in a spicy William note, which is actually that happy major 3rd note. And that gives us a little glimmer of hope, but only a 1/16 of hope, cos this is Alice in Chains after all haha! Also, you'll notice there's a little controlled clashing where we have a ♭5 in the guitar at the same time as a 5 in the vocals, but the ♭5 in the guitar is just a quick 1/16 note, so it sounds super tasty and not too clashy! MOREOkay, so now that you've got one section down, how do you write a new section for it, and then, how do you transition between those two sections? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you'll literally learn every step of the music making process, and most importantly, you'll learn how to finish your songs! NEXTAnd just before the playthrough. Please note, we intentionally wrote the music and lyrics of our example to be very similar to Alice in Chains, but we did that for the sake of this lesson. So, instead of copying Jerry and the boys, please explore how you can use this hack creatively with your own musical personality, so it sounds like you! Also, if you truly wanna get that Alice in Chains sound, you're gonna need an ultra mega powerful world-class male vocal, like Layne and William, so we called up the best singer we know: Meyrick de la Fuente. And big up respect to Meyrick for jumping in on such short notice. If you wanna hear more of this dude's phenomenal singing, then check out his awesome band Exist Immortal, who, by the way, also happens to contain a couple of my former students - wassup Kurt and David (#ProudTeacher). Alright, that's it! We really hope you found this video helpful, and if you did, subscribe and hit the bell to get notifications. Also, we believe in sharing our knowledge for free. So please pay it forwards by teaching this hack to a friend, so they can benefit from this lesson as well. Yeah I've been teaching music theory for 24 years, so I can safely say that the best way to learn something, is to teach it to someone else. So, go forth and teach! On that note, thanks for joining the Hack Music Theory revolution, and we'll see you next New Music Friday. Kate & Ray Harmony (AKA Revolution Harmony)Music Teachers & Producers in Vancouver BC, Canada LEARN1: Read our free book (below) & watch our YouTube videos2: Read our "Part 1" book & "Songwriting & Producing" PDF3: Learn our Secret Art of Song-Whispering, and effortlessly finish your music! ABOUTHack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!). Wooohooo!!! You're a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download. There was an error submitting your subscription. Please try again. “The most brilliant, fast, easy & fun music theory book I've ever seen!” DEREK SIVERS, CD Baby founder We use this field to detect spam bots. If you fill this in, you will be marked as a spammer. DOWNLOAD FREE BOOK /* Layout */ .ck_form { /* divider image */ background: #EAE9EA url(data:image/gif;base64,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) repeat-y center top; font-family: 'Montserrat'; line-height: 1.5em; overflow: hidden; color: #000000; font-size: 16px; border-top: none; border-top-color: #666666; border-bottom: none; border-bottom-color: #3d3d3d; -webkit-box-shadow: none; -moz-box-shadow: none; box-shadow: none; clear: both; margin: 0px 0px; } .ck_form, .ck_form * { -webkit-box-sizing: border-box; -moz-box-sizing: border-box; box-sizing: border-box; } #ck_subscribe_form { clear: both; } /* Element Queries — uses JS */ .ck_form_content, .ck_form_fields { width: 50%; float: left; padding: 5%; } .ck_form.ck_horizontal { } .ck_form_content { border-bottom: none; } .ck_form.ck_vertical { background: #fff; } .ck_vertical .ck_form_content, .ck_vertical .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_vertical .ck_form_content { border-bottom: 1px dotted #aaa; overflow: hidden; } /* Trigger the vertical layout with media queries as well */ @media all and (max-width: 499px) { .ck_form { background: #fff; } .ck_form_content, .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_form_content { border-bottom: 1px dotted #aaa; } } /* Content */ .ck_form_content h3 { margin: 0px 0px 0px; font-size: 0px; padding: 0px; } .ck_form_content p { font-size: 14px; } .ck_image { float: left; margin-right: 5px; } /* Form fields */ .ck_errorArea { display: none; } #ck_success_msg { padding: 10px 10px 0px; border: solid 1px #ddd; background: #eee; } .ck_label { font-size: 14px; font-weight: bold; } .ck_form input[type="text"] { font-size: 16px; text-align: center; margin-top: 20px; margin-bottom: 0px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="email"] { font-size: 16px; text-align: center; margin-top: 0px; margin-bottom: 15px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="text"]:focus, .ck_form input[type="email"]:focus { outline: none; border-color: #aaa; } .ck_checkbox { padding: 10px 0px 10px 20px; display: block; clear: both; } .ck_checkbox input.optIn { margin-left: -20px; margin-top: 0; } .ck_form .ck_opt_in_prompt { margin-left: 4px; } .ck_form .ck_opt_in_prompt p { display: inline; } .ck_form .ck_subscribe_button { width: 100%; color: #fff; margin: 0px 0px 0px; padding: 8px 8px; font-size: 18px; background: #d74128; -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ cursor: pointer; border: none; text-shadow: none; } .ck_form .ck_guarantee { color: #626262; font-size: 12px; text-align: center; padding: 5px 0px; display: block; } .ck_form .ck_powered_by { display: block; color: #aaa; } .ck_form .ck_powered_by:hover { display: block; color: #444; } .ck_converted_content { display: none; padding: 5%; background: #fff; } /* v6 */ .ck_form_v6 #ck_success_msg { padding: 0px 10px; } @media all and (max-width: 403px) { .ck_form_v6.ck_modal .ck_close_link { top: 30px; } } @media all and (min-width: 404px) and (max-width: 499px) { .ck_form_v6.ck_modal .ck_close_link { top: 57px; } }

music canada rock write hip hop pop metal trigger tea guitar producers vocal reggae songwriting fuente riff bpm alice in chains js electronic music daw cantrell vancouver bc derek sivers london college new music friday djent optin phrygian william duvall locrian meyrick edm dance like alice rainier fog serj tankian system errorarea element queries

How to Write a Guitar Riff & Vocal Melody like Alice in Chains “Rainier Fog”

Play Episode Listen Later Aug 25, 2018 6:54

EWB 140 TERENCE HANNUM (LOCRIAN)

www.jazzguitarlegend.com | jazz guitar lessons

Play Episode Listen Later Apr 26, 2018 76:47

Terence Hannum, author, multi-instrumentalist member of experimental, electronics-infused metal band Locrian and visual artist returns to talk about his new body horror novella All Internal published by Dynatox Ministries. Terence published his first novella, Beneath the Remains back in 2016 and his non-fiction writing has appeared on Noisey, Bandcamp and on his own blog http://www.terencehannum.com/blog Additionally, he hosts a radio show on WLOY called Dead Air that focuses on horror soundtracks. Pre-order his new novella All Internal using the link below http://dynatox.storenvy.com/products/23645325-all-internal-by-terence-hannum Intro Music : “Obsidian” – John Carpenter Outro Music : “ Return to Annihilation” - Locrian

remains beneath bandcamp terence dead air noisey locrian terence hannum

Episode 07 Music Modes and Playing Modal Guitar Scales

Guitar Music Theory

Play Episode Listen Later Dec 13, 2017 28:07

Learn the music theory behind guitar modes and hear how they're used in popular music. Play modal scales including Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian. Taught by Desi Serna of http://GuitarMusicTheory.com.

music playing scale taught guitar scales modes modal lydian phrygian ionian aeolian mixolydian locrian

27-Modes

Music Student 101

Play Episode Listen Later Aug 1, 2017 72:45

We've learned about the major and minor scales. Now it's time to explore the 7 Diatonic Modes: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian. We will learn how to construct them and identify them using the "relative" and the "parallel" methods. We will also give them a listen, check out some examples and discuss what moods they convey and how they effect us.

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Ep. 7: Music to Punch Nazis By with Terence Hannum

How To Resist

Play Episode Listen Later Mar 20, 2017 43:27

Terence Hannum is a visual artist, musician, novelist, and arts educator based in Baltimore, Maryland. Terence is best known for his work with the avant-metal band Locrian, but his latest release, from his project Axebreaker, is a power electronic assault on the Trump administration.

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Timaeus Locrus by Plato

Philosophy Audiobooks

Play Episode Listen Later Apr 1, 2016 35:58

The Treatise of Timaeus the Locrian on the Soul of the World and Nature (Ancient Greek: ΠΕΡΙ ΦΥΣΙΟΣ ΚΟΣΜΩ ΚΑΙ ΨΥΧΑΣ; Latin: Timaeus Locrus) may not have been written by Plato. The Pythagorean philosopher Timaeus describes the creation of the world by God and the Demiurge using the eternal forms as guides and matter composed of Platonic solids. Painting: The Magic Circle by John William Waterhouse.

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[CL 9] Backing Track B Locrian 80BPM

Play Episode Listen Later Sep 16, 2015 4:01

http://jazzguitarlegend.com Jazz Guitar Lessons from a Qualified Jazz Guitar Teacher. Only $1 For full access to lesson archive and weekly lessons. Learn how to play jazz guitar with Dixon Nacey. Premium Jazz Guitar community, Membership Site with Step by Step Video Lessons.

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Episode 033: Black Horizons - Part 2

Norelco Mori

Play Episode Listen Later Sep 11, 2015 58:11

Back with the second installment of a 3 part feature on Bay Area label Black Horizons. Tonight, another series of long players featuring new and recent recordings from Jute Gyte, Anemone Tube, Locrian and Changeling.

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Sorrow Eternal - Episode 103

Sorrow Eternal: A metal music podcast

Play Episode Listen Later Aug 16, 2015 22:30

Now that you've had time to let The Barn Of Devastation story sink in, we return with an episode chock full of metal talk. We tackle the reviews of the past weeks, centering on Locrian and Ghost, catch you up on the best band you might not now in The Massacre Cave, and give you an album you just have to hear.

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PODCAST 075 : TERENCE HANNUM (LOCRIAN)

Drink Spin Run: The RPG Talkshow Podcast

Play Episode Listen Later Jun 16, 2015 104:57

Terence Hannum, multi-instrumentalist of the band Locrian joins us for this episode. Locrian navigates the musical terrain across several genres including including ambient, black metal, noise, drone, industrial and power electronics. They cite bands such as One Eyed God Prophecy, Uranus, Yes and Robert Fripp as influences.Brought to you by SAVAGE GOLD COFFEE#staygold

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Episode 10.1: Stacy & Mike

Play Episode Listen Later Mar 21, 2015

WSG Stacy Dellorfano & Mike EvansOur Guests+Stacy Dellorfano+Mike EvansGuest NotesStacy DellorfanoContessaRandomocity zineFrivology blogMike EvansWrath of Zombie blogHubris campaign settingShow NotesDrinkMike's Hard LemonadeCrunkle Sam, Clown Shoes Brewery, Ipswitch, MAQueen City Common, Red Clay Ciderworks, Charlotte, NCCulinan's Revival Irish Red, Roc Brewery, Rochester, NYSingle Chair, Magic Hat, Burlington, VTSpinPJ HarveyNick Cave, Murder BalladsLocrianSleater-KinneyBikini KillReel Big FishNirvanaPearl JamKing CrimsonCaptain BeefheartLouis ArmstrongBarrows, Imprecari IslandIn the Company of Serpents, Merging In LightReadSwords Against Wizardry, Fritz LeiberRed & Pleasant Land, Zak SmithLamentations of the Flame Princess Weird Fantasy RPGSwords & Wizardry RPGStrange Stars, Trey CauseyNova Express, William S. BurroughsRunAdam & Donn are playing in Stormbringer 1e with +Mark Donkers & +Shawn GatesDonn is running D&D 5e for his family & friendsStacy is running her developing RPG, Precious DarkMike is running the final playtest for his Hubris campaign setting Thanks for joining us for this episode of Drink Spin Run. We'd love to read your comments on the show, suggestions, where exactly we can stick what and other thinly-veiled threats. Send us your thoughts at dsr@kickassistan.net. Once again, thanks for listening, you gorgeous listeners.

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Terence Hannum

Studio Break

Play Episode Listen Later Apr 25, 2014

Episode 108: Terence Hannum shares a unique coming to Art story and shares his thoughts on painting, installation, music, and ultimately how his love for magnetic tape and analog recording influences his creative life in a variety of ways. Terence Hannum Locrian iTunes The post Terence Hannum appeared first on Studio Break.

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002 Other Worlds

Everything Is Stories

Play Episode Listen Later Feb 14, 2014 44:17

Two stories from those who challenge reality by contacting other spirits, dimensions, portals, and voids. How? Ancient mind-altering ceremonies and leaps of faith. Diego Palma is a healer. Kush is a shaman. Both are located in Peru. Their methods for spiritual discovery include medicine songs, mantras, icaros, tobacco smoke, and ayahuasca. Ayahuasca is a brew made from the caapi vine and the chacruna shrub. Amazonas have used ayahuasca for centuries. When ingested, it opens the mind to cosmic possibilities. Peter Gersten is a retired lawyer. In 1987, he sued the United States Government for UFO information. Years later, Gersten began following visions and signs which led him to Sedona, Arizona. He began to believe reality was a simulation that could be manipulated by action. On December 21, 2012, Gersten traveled to the top of Bell Rock, a butte with an elevation of 600 ft. There, he believed a portal would open that could take him to the center of the universe, but only if he jumped into it. Produced by Garrett Crowe, Mike Martinez, and Tyler Wray. Music By Kwaidan http://batheticrecords.com/release/make-all-the-hell-of-dark-metal-bright/ Locrian http://www.locrianband.com/ William Cody Watson http://pinkpriest.bandcamp.com/

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Broadcast on 28-Feb-2012

CiTR -- Canada Post Rock

Play Episode Listen Later Feb 28, 2012 62:01

Eerie drone and doom! Locrian and Je Suis Le Petit Chevalier!

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Podcast #5: Chromatic Lines over D-7

Play Episode Listen Later Dec 25, 2011

Podcast #5: Chromatic Lines over D-7 Click Here for the PDF File for this lesson!!!!

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Podcast #4: Phrygian #3

Play Episode Listen Later Dec 10, 2011

Podcast #4: Phrygian #3 Click Here for the PDF File for this lesson!!!!

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Podcast #2: Tad Dameron Turnaround

Play Episode Listen Later Dec 1, 2011

Podcast #2: Tad Dameron Turnaround Click Here for the PDF File for this lesson!!!!

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Podcast #3: Side-Slipping Etude

Play Episode Listen Later Dec 1, 2011

Podcast #3: Side-Slipping Etude Click Here for the PDF File for this lesson!!!!

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Podcast #1: 3-Note Voicings in Head Arrangements