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In August 2018, my partner Ken and I left the (expensive) San Francisco Bay Area to live in an RV and tour the country. We book all the shows ourselves and we’ve played to crowds of two and crowds of 200. We’ve gone three weeks straight playing shows every night, and we’ve had RV breakdowns.

Hopefully Tredici Bacci’s listeners understand the inherent joke underlying a song about the ’70s written by someone who was born in 1991. Of course, I can’t seriously mourn an era that I mostly learned about from watching erotic films and talking to my parents’ friends. That said, most things that I love (in music, art, fashion and the aforementioned erotica) were made in the ’70s, and I wonder if I would have thrived had I been born back then. “In The 1970s” is more of a loving ode to what I admire about that decade, and as a compositional experiment, an attempt to write something that used my favorite “’70s-sounding” signifiers.

Once you’ve written a percussion part on a kit with isolated instruments, you’ll be able to add different effects for each instrument. For example, thick reverb might not work when it’s applied to an entire organic drum kit, but can bring out a compelling new character when it’s only added to your snare for example. This is a crucial step you shouldn’t skip.

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I use a really small ratio of around 1.5 to 1. This means that once my audio passes the threshold I’ve set, there is very little compression happening to that audio. It’s just a little bit. I’m not trying to squash the life out of it. You can experiment with a little bit higher of a ratio, but know that the lower the ratio the less compression (more dynamics), and the higher the ratio the more compression (less dynamics).

Whether it’s trying to land a coveted spot at a big summer festival or hoping to line up a solid run of shows for your next tour, the business of music booking is a murky venture for artists and venues alike for a plethora of reasons.

Daniel Martin is a songwriter, multi-instrumentalist, guitar instructor, and rock historian from Lancaster, PA. His music-related articles have been published on Counterpunch and Perfect Sound Forever. His band, Marty’s Invasion, has “invaded” multiple cities on the East Coast.

4. Amanda Palmer has released a new song dedicated to Puerto Rico: “Small Hands, Small Heart.” All digital sales on Bandcamp this month will go directly to the Hurricane Maria Community Recovery Fund, which supports local grassroots organizations that work directly with low-income communities of color. Read more here, or go straight to Bandcamp to hear and purchase.

PRS pays members quarterly in April, July, October, and December. But the time it takes to pay royalties varies by type of use, location, and more. The company’s website has greater detail on these types of uses and the resulting payment schedules.

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From this basis, I arrived at an elegant system of harmonic possibility that allowed me to compose music in an entirely new tuning system. I discovered rather than created this system, through a Bach-inspired process of “imaginative research,” infused with musical-theological connections in the spirit of Baroque metaphysics. For example, my use of the seventh partial mirrors and supports the subject matter of the Christmas/Nativity-themed text of the piece — according to Andreas Werckmeister, an organist and one of the main Baroque-era theorists of this system:

Every time the cycle repeats, that low E root is right there to support that downbeat. Notice that it doesn’t have to hit every downbeat of the pattern, but it must hit on that repeated downbeat at the start of the cycle. Funky bass lines emphasize beat one and lay a solid rhythmic foundation.

“This is a fundamental truth about any sort of practice: If you never push yourself beyond your comfort zone, you will never improve. The amateur pianist who took half a dozen years of lessons when he was a teenager but who for the past 30 years has been playing the same set of songs in exactly the same way over and over again may have accumulated 10,000 hours of ‘practice’ during that time, but he is no better at playing the piano than he was 30 years ago. Indeed, he’s probably gotten worse.”

A great example of this is in Maurice Ravel’s String Quartet in F Major, right at the beginning of the second movement (which starts at 7:41 in the below video). In the second measure, the second violin and viola continue their eighth-note pattern grouped in threes, while the first violin plays descending quarter notes, essentially groups of two eighth notes.

We look at Ligeti’s famous composition in order to decide how much, or how little, the use of music’s foundational parameters really matter in composing.