Let’s get a little more serious now. Finnish composer Kaveli Aho’s concerto for solo theremin and chamber orchestra (recording released in 2014, piece written a few years earlier), performed here by theremin all-star Carolina Eyck is an eight-part homage to Lapland, the most northerly region of Finland. Based on the eight-season division of the year, which is traditional for Lapland’s native Sami people, this work is dense with expressionistic harmony and icy, shimmering textures. It’s great, too, to hear the theremin being explored in all its range — often we only hear the middle and higher registers. In this piece, there are moments when the theremin takes on the sounds of other instruments, like the Chinese erhu or the viola, but also moments when it flutters like a bird. This piece is a real treat and a welcome introduction to the expansive oeuvre of Kaveli Aho.
If you’re a part-time musician, you know the struggle. You want to make music, but you run out of time in a day. Or you lose heart. Or your music time is not as efficient as you want it to be. Every day, it’s an uphill battle of sticking with it, being productive, and not losing your mind.
A more recent experiment with the same harmonic structure was my 2015 piece Territories, commissioned by What a Neighborhood! and premiered by the viola da gamba quartet Parthenia. The piece undertakes a spiritual journey from “our” world of the everyday, symbolized by conventional piano-like tuning in the first movement, through a murky in-between harmonic world in the second movement, and finally to a place of “otherness” in the third movement, which undertakes three modulations up through one of those wide whole steps to arrive at the interval of a fifth above, rather than the tritone that would occur in conventional tuning.
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One of my personal favorites in the digital distortion category is the Digitech Hot Rod. It’s cheap enough to try out in your shoegaze setup, and has settings to make your sound both very thin, scratchy ,and dirty, as well as fat and warm. Scott Cortez of the lo-fi shoegaze band Astrobrite uses one. And so I do…
Instructed by multi-instrumentalist, engineer, and educator Will Marshall, this mentored online course will also help you develop workflow strategies and time (and space) management skills so you’re not wasting valuable time and resources working in your home studio.
Ordinary income is just that — money earned for the work you do. For songwriters, the money you earn from royalties is considered ordinary income. The tax rate you pay depends on how much you make, from as low as 10% of taxable earnings to as high as 39.6%.
Often I find myself using practice to shut my mind off and escape my day-to-day concerns. Playing becomes meditative. And there’s absolutely no way I’m going to stop doing this — it’s part of why I play music. Back off, Ericsson!
The first chord is a D major chord (D, F♯, and A), which makes the I (tonic) chord. The second chord consists of the notes C♯, E, and A, which make up an A major chord — also known as the V chord in this context because it starts on the fifth note of the D major scale. The third chord is a G major chord (D, B, and G), which is the IV chord because it starts on the fouth note of the D major scale.
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To my memory, the first seed was planted in high school, when I climbed into my friend’s car (he was 18 and down to buy me smokes) and was immediately transported to a distant, unfamiliar desert landscape which I found surreal and intoxicating. Turns out he was listening to the soundtrack of The Good, The Bad, & The Ugly. Probably the next day I went to Amoeba Records and bought the CD and listened to it every day for months.
It has gone down in history as one of the most epic Super Bowl performances ever, and these halftime shows are already pretty epic in and of themselves. In 40 years, it had never rained at a Super Bowl, and Prince really brought the party with four absolutely perfect songs for the occasion, and, of course, the one. “Purple Rain” is later in the video, but the whole thing is a good watch.
Jeremy is a Montreal-based musician, sound artist and improviser who loves giving advice to emerging artists on how to make their tours more effective. He writes, records and performs electroacoustic “concrète” music for tape, oscillators and amplified objects and surfaces, as well as solo guitar. He has performed and released material throughout Europe and the UK, Asia, the US and Canada, mostly with his trio Sontag Shogun.
Before the SM7b became the quintessential radio microphone, the RE-20 was the go-to microphone for broadcasters. Also a large diaphragm dynamic microphone, the RE-20 features an extended frequency range that beefs up vocals with extra bass. A built-in high-pass filter helps prevent muddiness and maintain intelligibility, while the fixed cardioid pickup pattern helps eliminate room noise.
I often wonder what would happen if we bring back more of this kind of multilayered, allegorical thinking, this juicy stuff that made the music of Bach and others so meaningful in its day? Reviving these older creative methods and conceptions of music makes a worthy and profound experiment.