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Practical Theory: Lesson #9
The Chord Chart Revealed
By Pi
Reading a Chord Chart- the mystery unveiled, so you can
make lots of cash money as a side musician.
Hi and welcome to Practical Theory Lesson # 9.
This lesson is a culmination of the previous eight, with the express
purpose of enabling you to read and write chord charts.
For a songwriter this is an extremely useful skill. Once you can
do this, you will be able to streamline rehearsals and let musicians
know exactly what chords you want them to play (rather than leaving
it up to interpretations that perhaps were not what you wanted.)
You will also be in a position of being able to read charts of songs
that you would like to learn, and of people who may want to hire
you - heck, why not hire yourself out as a side musician, or, learn
that Beatles song you've been wanting to. Chord charts are far more
descriptive than tablature, and you will acquire a real understanding
of a song, once you can read a chart for it.
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Practical Theory:
Lesson #8
Chord Extensions A Step Beyond (the 7th)
By Pi
Lets really get some color, or, Jazz chords for
the layman!
Welcome to Lesson 8 of Practical Theory. This lesson is the
culmination of our work on building chords, the "icing on the cake"
if you will. Most modern pop music uses these more complex chords
that were initially introduced by the Jazz world. The main difference
between pop music and Jazz, is that while pop writers tend to throw
these more complex chords in for a "color" effect, Jazz writers
tend to use them throughout compositions, making a much denser and
harmonically complex sound. It is very important as a writer, that
you have an understanding of these chords, so that you can make
choices about the style and complexity of your music.
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Practical
Theory: Lesson #7
Seventh Chords - or - How to sound
like the Beatles and Stevie Wonder
By Pi
Welcome to Lesson 7 of Practical Theory.
That last lesson was a real doozy- at least for me. The concept
of chord function is so big, that this lesson could be seen
as an extension of Lesson 6, and also of Lesson 3 (basic
chords). This month we are going to cover 7th chords,
and add a lot more color and function to your chord progressions.
This lesson is about giving you the tools to write like the Beatles
and Stevie Wonder - with a little practice of course!
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Practical
Theory: Lesson #6
Searching for Resolution The Diatonic Chords
By Pi
Welcome to Lesson 6 of Practical Theory.
If you've been following along with the lessons up till now, congratulations!
You've made it through the nuts and bolts of basic theory, and you're
now about to get to the really fun stuff - the things that will
be most helpful to you as a songwriter. This lesson will discuss
chord function, a key concept for the songwriter. Keep in
mind, this lesson will assume that you are somewhat comfortable
with the major scale, so if you get turned around, a quick
review of Lesson #4 should sort you out.
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Practical
Theory: Lesson #5 - Inversions
By Pi
Hi and Welcome to Lesson 5 of Practical Theory.
If you've been following along, you should be fairly comfortable
by now with the following:
Lesson 1: Note names on your instrument
Lesson 2: Major, minor, and Perfect Intervals
Lesson 3: Major, minor, diminished, Suspended
and Augmented Chords
Lesson 4: The Major Scale, and the Solfege system
This month we are going to expand a bit on Lesson 3, taking your
basic chords a bit further with inversions. This should add
further to your chord "arsenal" and give you some more building
blocks for creative songwriting.
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Practical
Theory: Lesson #4 -
The Major Scale, or, Julie Andrews eat your heart
out, or, what is Solfege anyway?
By Pi
Hello, and welcome to Lesson 4 of Practical Theory.
Let's review what we've covered so far, In Lesson 1 we got
acquainted with the 12 notes that exist in western music,
their names, and their positions on your particular instrument.
In Lesson 2 we discussed intervals, the distances
between any 2 notes, and practiced singing intervals. In Lesson
3 we covered the basic chords (Major minor, diminished,
augmented and Suspended). This month we are going to take a linear
approach (scales) to all this material we've been discussing.
BTW, I said last lesson that we would be discussing inversions,
but after the feedback I've received, I think that this topic will
be more helpful at this point- inversions will be later- and thanks
for all your feedback!
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Practical
Theory: Lesson #3 - Basic Chords
By Pi
Hello, and welcome to Lesson 3 of Practical Theory.
Let's review what we've covered so far, as all the principles of
music theory build upon one another. In Lesson 1 we got acquainted
with the 12 notes that exist in western music, their names,
and their positions on your particular instrument. In Lesson
2 we discussed intervals, the distances between any 2
notes, and practiced singing intervals.
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Practical
Theory: Lesson #2 - Intervals
By Pi
Hello, and welcome to Lesson 2 of Practical Theory.
I'm back from tour, so log onto http://www.babeswithbeats.com and
read all about it. By now you surely know ALL the notes on your
instrument. Of course you do! This month we will build upon your
impeccable note knowledge and start learning intervals. This
is some exciting stuff, for songwriters, because the more flexible
and competent you are with intervals, the more interesting and fluid
your melodies will be. So let's get to it!
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How
To Be A Gear Snob: Perfecting Effects
By Corralee Booth
How does one perfect their tone using effects? Easy,
use anything you want. What I love the most about effect pedals
and multi-units is that they all pretty much work with any setup
to create fun and inventive new tones for your instruments. There
are very few ways to get your sound wrong, so you can do anything
you want to. Lets have a look at a few different effects and combinations.
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How
To Be A Gear Snob:
Addressing the Public Address; An Introduction to
PA Systems
By Corralee Booth
Testing, testing, one-two-three… (insert high-pitched
feedback wail here). Ah PA Systems. Is there a foolproof
way to plug in and play? Not really, if there were, sound checks
wouldn't exist. In my opinion, people almost always over do it with
PAs. Big huge bass bins and gigantic towering speakers that not
only cause internal damage to most of your audience, they leave
you absolutely no room to move around on stage and you can't go
over half volume without getting a swat team to shut you down for
noise pollution. This article is my quest for more stage room and
to try to get more people comfortable with doing their own sound.
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Practical
Theory "Lesson # 1"
By Pi
Hi, and welcome to the first "Practical Theory"
column. In my experience as a bass, guitar and general music teacher,
I have discovered most people have an immediately negative reaction
to the idea of learning music theory. They either quiver in fear,
picturing dull lessons and concentration headaches, or they feel
that they don't need to learn theory, preferring to rely on their
(as yet unconfirmed) natural talent, creative spirit, and emotive
personality. BUT THIS STUFF CAN BE FUN, I SWEAR IT! And that is
what I will attempt to show you over the next twelve lessons. This
column will give readers a basic overview of music theory, specifically
designed for YOU, the singer songwriter.
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How
To Be A Gear Snob: Groovy Tones
By Corralee Booth
As a lover of all things retro, when I think of
60's gear, I think of Danelectro. They have been working
their butts off to try to get more groovy retro sounds for the likes
of us than any other company. They have a real ingenious team working
away to come up with well-made instruments, amps and effects, but
there are three effects in particular that I would like to focus
on. The Back Talk, the Psycho Flange, and the Sitar
Swami. Their cute graphics, delightful colors, and intriguing
sounds definitely put them at the top of my list for 60's retro
reinvention.
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How
To Be A Gear Snob:
The Bottom Line on Bottom End
By Corralee Booth
Well the time had come to finally get myself a new
bass head. I had used many things over the years from large
to small, loud to compact and old to new. I was just coming out
of my "I don't need a bass head when I can just run a pod through
a PA system and take the bus instead of renting a van," phase. It's
very hard to jam if there isn't a PA and I was growing tired of
digital. I thought it was time to go all out, no matter what I liked,
I would get it. I tried out everything and anything, I looked at
all my bass heroes and I came to a decision. It had to be a system
that I could lift on my own, fit into a 2 door car if need be or
better yet, a trunk and something very versatile tone wise.
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How
To Be A Gear Snob: Simon and Patrick
Give to the Poor
By Corralee Booth
A great deal of people start of their musical endeavors
with an acoustic guitar. It is one of the building blocks of song
writing and most people, whichever musical direction they choose,
will either need or want one at some point in their journey. People
often ask me about good cheap acoustic guitars and what's the best
deal going. Well the best deal I've ever seen was the solid top
Yamaha my friend got at a garage sale for a dollar. She had no clue
what a great deal she just got and originally went looking for Tupperware!
Don't hold your breath though, such finds are few and far between.
Not everyone can find such a great deal and garage sale shopping
can be exhausting and fruitless at best. So where do we start then?
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How
To Be A Gear Snob:
Diving Into Your Tone - A Look At Speakers
By Corralee Booth
Not sure what to do with your sound? It may be time
for a new amp, but first, lets take a look at what you have and
what we can work with.
Blown speaker? Worn out amp? Can't part with your hand painted or
sticker(ed) up cab but you've grown out of the sound coming from
it? Perhaps you bought something, and the sound is close, but not
quite there. New speakers may be the answer my friend or perhaps
looking at this overview to help you to find what you're looking
for in a new amp.
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How
To Be A Gear Snob: The Gibson Guitar
By Corralee Booth
In 1952, Les Paul, created his own guitar. Even
at the time he was one of the most popular guitar players ever and
a genius of invention. Not only the first to execute multitrack
recordings, he created a guitar that has yet to be improved upon.
The Les Paul has come in many shades, and variations of style, but
the basics remain the same.
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How
To Be A Gear Snob: Pickups
By Corralee Booth
Its a New Year, so perhaps its time for a new sound.
If your guitar has the look and feel you are accustomed to, but
doesn't sound just right, it could be time for new pickups. This
article is going to focus on what to look for when purchasing new
pickups for a guitar.
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Gifts
for Rock Stars
By Corralee Booth
Celebrations
of light. A time for love, joy, giving, forgiving and starting a
new. Its such a nice tradition to buy gifts for friends and family
at this time to break up the monotony of winter and bring a little
bit of cheer to the season. Here are a few suggestions for band
mates and fellow musicians (some of them may actually be helpful).
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How
to be a Gear Snob:
Fender Stratocaster, The Original American Beauty
By Corralee Booth
She was born to Leo Fender in 1954. Hand crafted
with care she was given a revolutionary shape, revolutionary sound,
and a great 'spacey new ideals' type of a name. It was perfect timing,
she rock and rolled her way into the hearts of America and helped
shape rock out of rhythm and blues. Her newest version is my topic
of exploration today as I am most fond of the New American Series
Stratocastor.
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How
To Be Your Own Publicist (A Step By Step Guide To Garnering Maximum
Attention For Your Band)
By Ariel Hyatt
We get a lot of hits at www.arielpublicity.com
and calls from bands who are not yet ready to hire a publicist.
For those of you in this situation, I have written this guide to
follow. Publicity is time consuming and detail oriented. With a
bit of planning and focus, you can spin your own publicity wheel
- all it takes is foresight and organization. A band that plans
well is a band that receives the most PR.
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From
the Couch to Carnegie Hall!
By Amanda Garrigues
Okay, so you've been playing guitar or piano (or
the tambourine for that matter) for a good bit of time. You've put
some poems to the three chords you know, and lo & behold, you have
written a song! Your entire family, friends, pets, and victims -
I mean volunteers - know all your tunes. You feel you might be ready
to move from your living room to the live stage! EXCEPT that you
are scared. EXCEPT that you don' t know how. EXCEPT that you are
too old, etc. You think, "I can't possibly do THAT". Well, yes,
you can. I have been approached over the years by folks who want
to take that next step and venture beyond their couch. This month's
article focuses on concrete ways to move beyond your living room.
Here's the benefit of my experience.
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Opening
the Heart and Soul (Proper Vocal Technique)
By Amanda Garrigues
In last month's article, I explored a few of the
ways to maximize your full potential as a singer - focusing mainly
on general vocal health. I talked about the effects that smoking
and drinking can have on the voice as well as general dos
and don'ts before a performance. These things alone are not
sufficient to take full advantage of your voice. Having proper vocal
technique is the other part of the equation to make the most of
your potential as a singer.
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How
To Care For Your Voice
By Amanda Garrigues
Hearing a piece of music with an angelic voice on
top of it can be celestial. The way the voice dips and curves its
way into our hearts is almost magic. How does the voice move
us that much? Well, it's not always the powers of the supernatural!
T. Radamsli, Associate Professor of Voice and Theatrical Singing
at Wake Forest University says, "while singing may seem heavenly,
vocal production itself is a down-to-earth physical experience,
requiring athletic performance as well as artistry". Technically
speaking, "the lung power drives the voice. The voice comes from
vibrations on the tissues of the vocal folds, and that sound is
modified by the rest of the respiratory tract." (Dr. Savita
Collins, Assistant Professor of Otolaryngology at the University
of Florida)
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Being
Sick on the Road
By Amanda Garrigues
It
started out as a little scratch in my throat and some sniffles.
I figured it was normal dust allergies, so like a good work-a-holic
musician; I ignored everything my body was telling me. I told myself
I had one more week to get ready for my tour, and there just wasn't
time to worry about getting sick! Like most independent musicians,
I was doing the work of about ten people, which ratcheted up the
stress and fatigue. I also kind of forgot how important sleep is
for good health. Over the years, I had pretty much decided that
sleep was a luxury that I couldn't afford.
BIG MISTAKE.
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The
Tour
By Amanda Garrigues
So, this is it. In a few short days I will embark
on my first extended tour. I don't have dates every day of the week,
but I've got enough to keep me in the Northeast until March. I'm
playing in choice clubs and not-so-choice clubs. I'm getting paid
well in some venues and only getting the tip jar in others. This
does not daunt me. I am an independent musician, and like I've said
in other articles, I feel it's a necessity to tour. I've learned
a lot in the past three months as I've been preparing for this,
and I'd like to share a few last minute thoughts.
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Safety
on the Road
By Amanda Garrigues
I've been on tour off and on for about three months.
I packed my car and went from town to town playing my music. I did
this alone. I didn't do it because I love to travel by myself,
and I didn't do it because I wanted to prove something. I did it
because it's part of what I do as an independent musician, and I
think it's essential to my career. My decision to go on tour alone
was mostly due to financial constraints (I can't afford to pay other
musicians) and the fact that most of my good-hearted friends have
day jobs and can't take off for several months at a time. This month's
topic focuses on the steps a single woman musician can take to ensure
safety AND a good time!
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The
Art of the Music Conference
By Amanda Garrigues
I just
got back from the 1st Annual Rockrgrl Music Conference (RMC)
in Seattle, WA. I've been to many conferences, and it was by far
one of the best ones I've attended in my career. At most of the
conferences I've attended, the men outnumber the women 4 to 1, so
it was refreshing to see so many women gathered in one place. In
addition, most of the musicians attending were independent artists.
The highlight for me was meeting, in person, other independent artists
I had either heard about or corresponded with on-line. It felt like
I was at camp, and I was on a high for several days following the
conference.
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Distribution
for Indies:
How to sell CD's without a Major Label
By Amanda Garrigues
Many
artists believe the only way to get their music to the masses
is to have a major label recording deal. One of the main benefits
of a major label is major label distribution. They have the system
in place to get your CDs out there fast. However, only a
very small percentage of artists actually make it to a major label
and an even smaller amount remain on the label. David Hooper,
president and founder of Indiebiz says only one out of every
eight albums on the majors actually makes money. That's a staggering
number. Does it mean the artist should give up their dream of getting
their music to the masses? Definitely not! The "do it yourself"
movement is stronger than ever right now. There are many new distribution
channels open to independent artists. This month, I want to present
alternative ways to selling your CD's and getting the music into
the hands of the people who really matter to your music career -
your fans.
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Mastering:
What Is It Good For?
By Amanda Garrigues
What is mastering? "Mastering is the process
of critically listening to your recording and assessing the overall
equalization of the work," Rich Dupree, (Southeast Performer, June
pp. 28.) Like a lot of artists, I had no idea about the importance
of mastering. What I've learned (two records later) is that mastering
can make a good record sound great. It adds the warmth and polish
that you hear on most of today's recordings. It also gives the album
a consistency so that all the songs sound good together, turning
a collection of songs into a cohesive work of art.
Much goes into recording a CD: pre-production, basic tracking, mixing,
editing and mastering. This month I hope to give you a clear understanding
of what it means to master an album and why it's absolutely essential
in the production process.
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The
Path of the Song:
Deconstructing the Songwriting Process
By Amanda Garrigues
I have to be honest. I procrastinated for days,
even weeks in writing this article. I had no outline, no focus and
certainly no inspiration. Ideas buzzed around me like hungry mosquitoes,
but I never made the time to actually begin writing. I often
approach songwriting like I approached this article: reluctantly.
Usually I avoid songwriting at all costs until I become so bored
with my life, I succumb to the muse. I know some of you songwriters
out there can relate.
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EQ
That Guitar!
By Amanda Garrigues
She walked to the stage in her black boots; acoustic
guitar and songbook in hand. She stepped up to the mic. The swell
of the noisy crowd deflated to a whisper; she was nervous but hopeful.
The audience were the priests and the songs her confessions. She
plugged in and began to play. Her guitar vacillated between boom-y
and brittle. It wasn't pleasant and she was praying for a miracle.
In the end, the audience wrinkled their noses and turned back to
their conversations ... she lost them.
The girl was ready to play, but her guitar wasn't. Why? She didn't
know the importance of EQ and the acoustic guitar.
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Choose
Your Acoustic Wisely
By Amanda Garrigues
The first time I heard the acoustic guitar - I mean,
really heard it - it changed my life. When I experienced the Indigo
Girls, Suzanne Vega and Joni Mitchell to name a few, something inside
of me cut loose, and I knew they had something with their instrument
that I wanted.
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In
the Booth: Getting a Good Vocal
By Amanda Garrigues
Taking on a recording project is one of the most
daunting tasks known to musicians. Why? It reveals everything. It
shows the blemishes and the scars. It forces us to look at our craft
square in the eye and acknowledge the rough spots, but that can
be a very beautiful and courageous experience. I should know. I've
done recordings in barns, closets, tiny cubbies, as well as state
of the art studios. I've recently spent the last 6 months wood-shedding
for my second record. I've discovered my limitations, and how I
can make them mighty. This column is the first in a series aimed
at helping musicians to better understand their craft. This month
I hope to shed a little light on an important part of the recording
process: THE VOCALS.
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Baby
Turtle Band Battles for Survival
(And Hires New Lead Guitarist)
by Pete Brush
The
tiny turtles dash from their warm, sandy egg pit toward the water.
Hungry avians wheel in the blue sky above; below swim the scaly
hunters of the sea. All of these ancient, predatory enemies quiver
with an atavistic need to feed on the soft, infant turtles, converting
them into protein for their own egg-bearing purposes.
A few will survive, most will perish. Sound familiar?
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Nashville:
An Opinionated Guide to Music City
by Joyce Harrison
Nashville - I met Ed at the Sutler. Small, smoky,
crowded and noisy that hot and sweaty Saturday night. You have to
walk in front of the stage to get to the john. I’d found a seat
at the bar and didn’t dare leave it. Ed squashed into an imaginary
space next to my stool and ordered another drink. Tall, lanky, blonde.
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Promising
Local Band Hits Choppy Waters
When Its Debut CD Is Recalled
~a cautionary tale for the band about to take the
plunge~
by Pete Brush
NEW
YORK - The CDs arrived; they were everything we wanted them to be.
We started circulating them. We were in a blissful state of bandhood.
The best analogy I can think of is the way a married couple acts
when its first baby arrives. Married couple stops reading the paper;
the NY-inspired urban cynicism wanes; daily trifles recede into
the background; days become consumed with the happy business of
watching for baby's first smile.
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Diversifying
the Pop Music Portfolio (A Bass Player's Personal Odyssey)
by Pete Brush
NEW
YORK - Lately, I have been trying to hook up with another band.
A second band. A Beta-Band to my Alpha-Band.
I'm a bass player who didn't play guitar first. I'm already in a
fine group. I founded it with four friends. We are now five but
we are not Ben Folds Five, i.e., we're still toiling in relative
obscurity. We're reaching for the stars and keeping out feet on
the ground. Our progress is slow but measurable. We made a record
and a web site. We rock.
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The
Evolutionary Gymnastics of Pop Music (Watch and Learn) by
Pete Brush
Everybody's a musician! I'm in a band. You're in a band. We're all
in a band. It's a great big Universe of bands, and like the modern
Universe - with relativity and all - it's apt to look the same in
any direction one chooses to look. It's finite and unbounded at
the same time.
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You've
Made a Record, Now Use the Internet to Sell It!
A personal account by Pete Brush
Let's start with a multiple choice question: You have 1,000 compact
discs in your apartment, they are all virtually identical. You Are:
A) A fan of Beatles re-issues. B) A software pirate. C) In receipt
of your Promising Local Band's (PLB) debut record. For the purposes
of this story, we're gonna stick with C.
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