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Takada’s debut LP has just been rereleased in the US by Palto Flats and in Europe by WRWTFWW Records, pressed to vinyl for only the second time in 34 years, to meet its overwhelming demand. In the years since this record has been streamable online, original copies of the LP have sold for as much as $1,000. Takada, herself, is newly represented internationally and touring festivals to sold-out audiences. I even bought my copy of the LP last week and feel, well, awesome about it!
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Brant Wilson is an amateur musician and student based out of Indianapolis, Indiana with a special love for classical music and a goal to learn to play as many instruments as possible.
As a youngster, Mercadante took on the flute, violin, and composition at the Naples Conservatory, and frequently organized concerts with his cohorts in school. The famous opera composer Gioachino Rossini once offered his compliments to the conservatory director, saying: “your young pupil Mercadante begins where we finish.” It was Rossini’s encouragement that drove Mercadente to fall in love with writing operas, though he would also write a number of symphonies and concertos, including many for the flute, which he often premiered with himself as the soloist.
We must realize that Ligeti was working in the Hungary, in (almost) total isolation from the rest of the continent, where Schoenberg, Berg, Webern, and later Boulez and Stockhausen were using serial techniques to find a way to detach modern music from the “tyranny” of the Western tonal system. Ligeti approached the same problem from an apparently antithetical standpoint (using one note instead of a fixed series of twelve pitches), yet focusing on the other parameters of music in order to create direction and growth.
And yet, for the most part, it is a foreign way of thinking to our own: Much religious meaning in music today is practiced, and heard, as an all-encompassing, multi-faith spirituality rather than this Baroque-era sense that more specifically imagines “theology heard as sound.”
These are some of the elements that set this program apart from a typical private lesson or online course. We also know that not everyone benefits from the same exact balance of all of these features. Some learners require more planning, while others may require more validation. Your mentor will help find the equilibrium that’s right for you.
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The piece follows this brief introduction with a tempo change from Sostenuto (66 BPM) to Misurato (106 bpm). The tempo will change again to Prestissimo later on in the piece, helping to create a sense of momentum with an increasingly faster beat.
Song Facts is an excellent blog to get inspiration from — its focus is around interviews of writers that many of us pros look up to, talking about songs they’ve written, and often through a historical lens.
Whatever it is, modern hip-hop is dominated by 808s. We use the term loosely, but 808s reference the historic long bass drum sound first made popular by Roland’s TR-808 drum machine. In today’s production world, it’s hard to find a big hip-hop hit without an 808 or sub bass. These trunk-rattling frequencies are a crucial part of the genre.
Curious about putting your musical skills to work? Here’s a bit of information about each level of education and what is required of you as a teacher/tutor.
Scratching has an instrument-like tactile immediacy, and more of the excitement of real-time improvisation, along with the possibility (in fact, strong likelihood) of failure. Serato assists you in some ways — it’s easy to line up tempos, do automated looping, and jump to preassigned cue points. But there isn’t that cushion of universal quantization you get in Ableton Session View.