Most platforms have large engineering teams dedicated to all of this. We have a pretty good idea of how much money it’s costing these platforms every year, and we’re confident we can reduce that cost by at least 80%. At a time where profitability is key, I’d say we have a pretty appealing offer.
Student-Artist: Lisa Reshkus
+ Enter the “Chip It Challenge!”: Create your own chiptune cover of Devo’s “Whip It,” and you could win a modded Game Boy, a flash cart, and feedback from Chipocrite, glomag, and BIAS One!
Art grants for organizations
Evan Zwisler is a NYC-based musician who is most notably known for his work with The Values as a songwriter and guitarist. He is an active member of the Brooklyn music scene, throwing fundraisers and organizing compilations for Planned Parenthood and the Anti-Violence Project. He started playing music in the underground punk scene of Shanghai with various local bands when he was in high school before going to California for college and finally moving to New York in 2012.
It may sound corny or cliché, it may sound like bad advice at first, but “fake it til you make it” is one of the core tennets of visualizing your success.
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.”
Cerha utilized the bank of harmonic direction that Berg left behind in his piece — the geometry and notational patterns — to finalize the movement and motion of the remaining material so that it was as respectful to Berg’s musical linguistics as possible. After Helene’s death, Cerha’s secretly finished version could finally be unveiled through a 1979 performance led by conductor Pierre Boulez. The rest is history.
The first thing you’ll do is hop on the phone with your mentor so they can better understand what you’re hoping to accomplish and you can make sure you’re a good fit together. You can even do this right away, with no commitment to buy, by telling us about yourself so we can suggest a mentor. If you’re considering signing up but not sure if it’s right for you, give it a try!
Scholarships for college freshmen
While the basic idea of sectional form can be stretched pretty far, it’s not uncommon to hear songs with additional types of sections. Pre-verses, post-choruses, breakdowns, ad-libs — there are plenty of examples of alternate forms.
With overwhelmingly positive results, we’re happy to share a few testimonials of Soundfly’s Orchestration For Strings course directly from our students.
So normally with this series we look at lectures and videos that focus on a single artist, but today we’re throwing both of those concepts out the window and zooming in on a recent panel held at the annual Ableton Loop Conference featuring educators, not artists, and not one, but three of them. The panelists: Ethan Hein, Doctoral Fellow in Music Education at NYU, adjunct professor of music technology at NYU and Montclair State University, and Soundfly instructor; Melissa Uye-Parker, British songwriter, performer, and educator based in London; and Jack Schaedler, software developer at Ableton who has worked on Ableton’s microsite for learning music fundamentals. And the panel was moderated by none other than Dennis DeSantis, composer, sound designer, percussionist, and author, who is also Head of Documentation for Ableton.
The tritone is a mainstay interval of heavy, dissonant rock riffage. In a most classic example, Black Sabbath’s self-titled song “Black Sabbath” (off the self-titled record, Black Sabbath) hits us with this massively dissonant tritone as soon as the band enters at 0:36, first jumping an octave before descending a gnarly diminished fifth, aiming to invoke the unequivocal power of the devil. The first time features a fast trill on the guitar, with a cleaner example of the interval at 0:47.
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