Audio Production Techniques Report: Billie Jean

Add the exceptionally warm tone of a semi-hollowbody guitar to your repertoire with the Ibanez Artcore AS73 electric guitar. Available in a range of attractive finishes, including transparent cherry, brown sunburst, and deep black, this visually pleasing semi-acoustic guitar sounds as good as it looks. The AS73 deals with feedback concerns by mounting the humbucking pickups into a sustain block. This design feature also results in increased sustain. Besides sounding and looking good, a guitar has to be comfortable to play.

It was created in mid-1960s in United States by African-American musicians as a danceable type of music. Instruments such as the electric guitars, bass guitars, drums and electric organs were used to emphasize the rhythm. Very often there was a horn section with instruments such as trombones, trumpets or saxophones. James Brown is a musician that took a very important role in creating the genre. In funk everything relies on the beat, every single sound is congruent to the rhythm.

Standard guitars are also used to play rhythms alongside the vihuela. The guitarrón is the deep-sounding bass of the band and has been described as “the single most important element” of mariachi. A couple of trumpets, occasionally played with cup mutes, were added in the 1950s. When needed, accordions, organs, French horns, and flutes can be added.

Same Soil is David Michael Mill operator's second solo collection and the subsequent meet-up a year ago's Toxins Tasted. The sound may be best depicted as "present day customary. " With it's blend of soul, gospel, and soul impacts, Same Soil is a festival of conventional roots styles. The collection opens with the acoustic guitar driven riff of "The considerable number of Soul to You," which establishes the framework for the whole collection of profound melodies with relatable subjects. There is constantly enough nature to make you feel at home and enough bends to keep you intrigued however this is Same Soil's second significant quality.

The fusion of psychedelic rock and funk is the foundation of the album and it is done phenomenally good with each song sounding as if it will never find an ending, but also wanting to groove with the beat forever. The vocals singing in harmony or in a sequence such as the song,”I’ll Bet You”, gives a mind-expanding experience with every shouting echoe. The electric guitars are exceptional to give off a psycho-dynamic sound in songs like,”I Got A Thing, You Got A Thing, Everybody’s Got A Thing” and “Qualify and Satisfy”. The bass is funking it up in,”Music For My Mother” while the drums groove on in,”Good Old Music”.

During the presentation held in “The Fish House” I could listen to Mel Seba performing a group of songs of the blues and country genre. Among these songs was “Folsom prison blues”, which was originally written by Jhonny Cash. This song presented a flexible 12 bar blues form. Seba used his voice and a keyboard to perform this song. I’d say that the dynamics of this piece covers from mezzo piano (moderate soft) to mezzo forte (moderately loud).

It was top 5 on all pop charts simultaneously and later went to become a double platinum hit by the RIAA. Heartbreak Hotel is an eight bar blues form progression which was the most common and that the song usually started on an E chord with heavy vocal reverberation. There is refrain on the “Been so lonely, baby” or repeated chorus that lets you now that the verse is about to start over. Also there is a guitar and

He released this track on his album called weekend in L. A. The song has been redone by many other artist that have added their own perspective and stylistic characteristics. The George Benson rendition is the greatest having hit #7 on the billboard hot 100 and #2 on the Soul charts. The vocal range he uses in this song is extraordinary and because of the fact that it has a rolling bass line it makes it easy for one to scat and/or improvise. This allows one to explore their vocal range in the song in a both free yet controlled way.

In 1960s, Jimi Hendrix become very well known by his techniques of his guitar play and his passionate of performance on the stage. When he is on the stage, he really put himself into the music that he plays, his excitement of music just can turn people to hype. People don’t care about his skin color, they think he is a great guitarist and singer, they just want to see him play when he is on the stage, but they never care about who is he playing with or where does he come from.

The song has a gospel sound to it. The song starts off with few instruments. Mainly just piano, synthesizers. You can hear a guitar playing blues riffs. Then the song picks up tempo when the drums starts to come in.

The melody of the piece is conjunct and it follows the notes of the G major scale. In the B section, there is a chromatic scale in bar 21 and sequences in octaves in bars 29 to 31. The texture of the piece is homophonic throughout with the split chords and then, Alberti Bass is brought in to the A2 section but this still stays as homophonic texture. To satisfy the requirements of choosing Rhythm and Metre, I have included dotted rhythms during the A section.

A vamp is when one or two chords are repeated, usually with a pedal point. Coltrane also states the A section in his solo. Describe their solo styles. The styles of these soloists are very

Secondly, Staryhorn’s work often contained greater tenderness. As the saying of bassist Aaron Bell, a one time Ellingtonian, “There’s so much more sensitivity and complexity in Strayhorn’s composition than Ellington’s”. The lyrics of “Lush Life” demonstrated the born sensitivity of the song writer. They created a worldly despair so vivid and touching that it was hard to believe that the song was written by a 16-year-old teenager. Being a trio-minority-African American, gay, and open about his sexual orientation, Strayhorn lived under pressure and had his own

In mm. 11-12, the vocal imitates the piano but with changes in the register resulting a change in the contour (fig. 17). A higher pitch with a longer duration (F5) on the word Schmerz (“pain“) give special importance to the word, and a minor 9th leaps from Bb3 to B4 followed by a diminished 5th leaps from B4 to F5 bring about an additional emphasis (fig. 17).While the left hand part of the piano plays a descending line, the right hand part provides a contrast by playing an ascending line until it hits the highest pitch Eb7 in m. 12 (fig. 17). The Cb1 and Eb7 in the piano and the F5 in the vocal provide contrast and amplify the word Schmerz (“the pain“) (fig. 17). As an additional example, the vocal line of the sixth line of the poem has a contour similar to the one of palindrome E played by the piano.

The collection opens with the title track "Rewind That" and its solitary guitar riff by Matt Stevens. It 's an intriguing begin, and the guitar work makes foresight, sets the state of mind, and sends the message that