Creating musical nostalgia isn’t just about thinking tonally — timbre and instrument choice can be just as useful! Ask yourself, “What instruments would my audience have heard in music, TV shows, and movies when they were kids?”
Castiel took a minute recently to tell us about how the idea for this company came about, how they’re strategically working to get partners in place for all kinds of labels and artists so they don’t need to do that work themselves, and a little bit about Serge Gainsbourg, too!
“I Wanna Dance With Somebody” uses the first, third, and fifth notes on that scale more often in the chorus than in the verses and pre-choruses. Since Cui and Dr. Hughes have each worked on different versions of an experiment about how notes 1, 3, and 5 on a scale affect us psychologically, they can tell us a lot about why that difference matters through the lenses of music theory, music psychology, and cognitive psychology alike.
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Filippo Faustini is a guitarist and producer based in London. He graduated in Modern Guitar at the Conservatoire in Frosinone (Italy) and then he completed an MA in Composition for Moving Images at City University (London). He is the guitarist and producer for the London-based alt rock/ambient band, Alice in the Cruel Sea. Filippo is also the co-founder of a recently formed music production company called Music Brewery where he works as producer and mixing engineer.
And once the mix starts to come together, make sure to play your track back on as many different speakers and listening devices as possible (the car, your laptop, your phone’s ear buds, etc.) and take notes. Listen, and trust your own ears.
[AC]: “That’s fundamentally the trouble of trying to apply specific scientific experiments to songs. The whole idea of scientific experiments is to try to control as many things as possible, and sometimes that ends up happening by stripping away some of the things that happen in real life: like lyrics, like meter, and so on. And now you have this song, which has all these extra things that are not part of music cognition experiments — anything you say that the scientific experiments might predict are confounded by the fact that in real life, there are all these other things that weren’t part of the experiment.”
Now, if we apply the same reasoning to all the other modes, we would see that the differences between the modes and their respective Major or Minor counterparts is often only one note (with one exception, which we will see shortly).
The belief that music is something you should only pursue when it’s fun, and then quitting when the going gets tough, really bothers me. But on the other hand, simply playing music as a path to success, and not because you love it, is also problematic.
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Learn more on Soundfly: Our new mentored online course Songwriting for Producers will help you push your songwriting skills closer to your production skills, and give you the ability to visualize commercial-market-ready versions of your tracks. Attack your production dreams today!
In essence, “Mary Had a Little Lamb” is an example of this structure. It’s the same melody again and again, but with different lyrics. Another famous example might be “Blowin’ in the Wind” by Bob Dylan.
It can be used across so many genres of music, shown below on Oskar Offermann’s track, “Find Yourself.” He uses the Space Echo on the vocals and it seems to also be used on a lot of the percussion.
Often I find myself using practice to shut my mind off and escape my day-to-day concerns. Playing becomes meditative. And there’s absolutely no way I’m going to stop doing this — it’s part of why I play music. Back off, Ericsson!
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