Christine Elise Occhino is a serial entrepreneur with a passion for the music business. In addition to being a vocalist herself, she is the CEO of Elise Music Group, Artistic Director of The Pop Music Academy, and owner of Stamford Recording Studio. She is also the proud Founder and Executive Director of Hope in Harmony, a 501(c)(3) nonprofit organization that uses music to help and heal those in need. Christine is a member of the Grammy Recording Academy, the American Society of Composers, Authors, & Publishers, and the Berklee College of Music Alumni Association. She has spoken on many music industry panels, contributed writing for music business publications for over a decade, and currently hosts the music-based web series and podcast, Soundbytez.
Let’s start out with what a narrative is not. Your narrative is not necessarily the same thing as your biography. It is not a list of facts about your music education, when your band formed, and what awards you’ve received. And it’s not something that just lives on the bio page of your website.
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For example, the whole concept of “toplining” may still be foreign to most non-musicians, but if you’re a songwriter who frequents co-writing sessions, there’s no way you haven’t heard of it before. Likewise, the term “scratch vocal” might confuse some, but almost every singer or songwriting producer you meet will know that one intimately.
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So far, we’ve kept to pretty mainstream pop tunes, but when we start to move away from those, things can get murky pretty quickly. For instance, while verses and choruses might be easy to recognize in a big pop anthem, how they function in an electronic dance song might not be as clear. Or how would you describe the form of something like “A Day in the Life” by The Beatles? It’s basically two entirely separate songs smashed together, so there’s no obvious “verse” or “chorus” section. Same thing with Travis Scott’s “Sicko Mode,” but for three songs’ worth!
There’s an old studio saying: “Crap in, crap out.” No amount of mixing is going to save a bad vocal recording, so it’s important that you get it right at the source. Unfortunately, you probably don’t have much say over the recording process if you’re already at the point of mixing. But if you can get your hands on the raw tracks, you’ll be able to cherry-pick your favorite words or lines from each take and comp them together to create the ultimate Frankenstein-style performance.
Patrick McGuire is a writer, musician and human man. He lives nowhere in particular, creates music under the name Straight White Teeth, and has a great affinity for dogs and putting his hands in his pockets.
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As tempting as an advance offer might be, though, it is not free money — advance deals all come with strings attached that could be harmful to your professional career and financial life if you’re not careful and clear-eyed about the process. Here’s some info to help you decide whether an advance is worth it for you to take.
It’s totally fair to assume this song is in C minor. Sure, C minor chords shows up here and there, and much of the melodic content could be attributed to the C minor pentatonic scale. I wouldn’t blame anyone for thinking this song is in C minor.
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It also had bass and treble controls that provided an EQ for the effect. You could also take inputs from multiple sources (mic, instrument) and a mixer, all easily accessible from the front panel. Roland had the foresight to design something that was meant to be played and interacted with. They didn’t just see this as a tape delay with a wet/dry knob, they saw the potential this had to help creative people articulate the music they heard in their head.
Another simple-to-remember example is the nursery rhyme, “Three Blind Mice.” The first two notes in the melody are what you’ll want to focus on, at 0:00.