Piano In My Head (Original Mix)

Christine McVie composed the song using a portable Hohner electric piano in a small apartment in Malibu, California, where she and then-husband John McVie (Fleetwood Mac's bassist) resided after completing a concert tour to promote Heroes Are Hard to Find, the previous album.[2]

Piano in My Head (Original Mix)

Paul Cibis and Andreas Kern return to Popejoy a third time to perform an all-new mix of classical and popular tunes in an epic musical duel. As the duo goes head to head, each pianist tries to outplay the other and hilarious antics ensue. The winner is crowned by the audience members at the end of the performance.

This series of articles was written for the beginner composer in mind. Where do you begin to learn music composition? What kinds of stuff do you need to have? Do you need a computer, a piano, or a pad of sheet music?

I started composing after my retirement 6 years ago. Even though I have no musical training but a considerable passion for classical music, I started with my iPhone and garageband and just went for it. I tried to go the Theme and Variations route and found my self fully committed and passionately involved with making music. I also read your guidance and found it to be very helpful in getting the major technical aspects of composing. To my surprise, I found my self to be very prodigious and continued to improve the more I was composing. I got so involved that after five years I decided to learn how to play the piano. If you are interested in listening to my latest work see: paulcaracristi.bandcamp.com

I think the best thing for you would be to get yourself out there, and start getting your music performed. Try to find people that can sing or play an instrument that would be interested in having someone else write a song for them to play. I would also recommend, if not being able to play an instrument is making you feel bad, then learn to play an instrument. The process is not that daunting. I play several instruments myself (trumpet, piano, guitar, saxophone, a little clarinet). It just takes effort and patience.

You can get some work done in a hectic environment, but I would recommend finding a quite place that you can go to get away when you compose. If you need an instrument to check pitch, then you could start real simple with a pitch pipe, or try to find a place like a school that will allow you to use a piano. There is also a lot of benefit in learning to compose without an instrument. Try writing down ideas, and then checking them later at a piano or using notation software. You will improve over time.

Hello, I appreciate your efforts on making us learn more and more about composing music. I have also been playing piano for so long but i have been wondering how i could come up with some compositions and failing. This is so helpful!

1. Should I be a maestro at any instrument? Or is a certain level of profiency required at least (in my case piano)?2. Is pursuing a degree productive if I want to pursue a career in film scoring? If so, does the institution matter?3. Is originality or complexity more important when it comes to the compositions for the audition? Or is that more relevant to the style/genre?

I am not going to sugarcoat it, you have a long road ahead of you if you want to pursue film/TV composition. However, if you are in highschool, then you are still in a good position to pursue, but it will take time and patience.

My recommendation would be to learn piano/keyboard first. And not just chords, and pop songs. You need to learn to read music. While it is true that some film composers have been able to make a career without the ability to read music notation, they are the exception. You do not have to be an excellent pianist, but you will need the ability to play in your music into a digital audio workstation (DAW).

Chamber music generally implies the music is of a smaller scale than orchestral music. So it could be anything from solo piano, string quartet, or even a chamber orchestra, which generally has one of each instrument (not absolute, but generally). Beyond that, you are getting into the realm of symphony orchestra which has much larger groups to work with.

Most of the examples and explanations I give require that you are able to read, at least on a basic level, traditional music notation. You do not have to be able to play piano, although as a composer, piano is an extremely useful instrument. You just need to be able to look at a note, and understand what it means.

Learning the fundamentals of music composition will apply to any style you want. Straight ahead jazz tends to work within the guidelines of traditional tonal music, with some obvious freedoms taken. Modern modal jazz is a little different, but improving your process of composing will carry over no matter what genre you write in.

This is pretty common with instruments that had multiple mics on them, like pianos often are. Because sound moves at a consistent speed, if one microphone is slightly farther away from the sound than the other microphone, then the first mic will record the sound of the piano slightly earlier than the second mic.

I was searching for an article that teaches me how to improve my piano playing and I found this article. It is very helpful, simple and easy to understand. Also, it offers 10 steps which will help you achieve a mind-blowing tone. So if you are looking for something like this then go ahead with the steps described in the post because they really work!

I have been angrily failing at figuring out piano sounds on my DAW for years, banging my head against the wall. Thank you so so much for this guide. Literally on the verge of tears over here. Much love,

Disco itself takes influence from r&b, and earlier still from gospel, all of which are overtly emotional sounds that wear their hearts proudly on their sleeve, much like the piano house that has followed.

Invented around the start of the 18th century by Italian Bartolomeo Cristofori, the piano has become pretty damn important in the course of musical history. The instrument is incredibly versatile, with a range of notes, tones and ways of being played that can allow it to fit into a multitude of styles.

House is one of the foremost electronic music genres to favour the piano. Classic after classic has arrived over the years featuring piano sounds, often imbuing the track with a strong emotional feelings. From the early days of pioneering producer Derrick May to the waves of dance music hitting the charts today, piano house has crystalised into an established subgenre and brought a ton of joy along the way.

You can almost picture a player hunched over a grand piano keying out the intricate melody of this DJ Dove classic when listening to the record. The music is so beautiful and affecting, it conjures strong imagery and a vivid sense of humanity, while the beat underneath is irresistibly danceable. This potent combination makes for one the finest piano house records ever made, that could tease even the most reluctant dancers into unbridled movement. Dove(s) really set out the blueprint for ecstasy in the 90s.

Rose Freeman and Anastasia Allison think nothing of waking up in the dead of night and hauling a violin and a piano up a snowy mountain. Once they find the right spot for a serenade, they each change into full-length recital gowns and break the solemn silence by beginning to play just as the sun appears. The two women call themselves the Musical Mountaineers, and they perform in remote wilderness settings for the sheer joy of it all.

Generally, you shouldn't use headphones for monitoring while mixing unless you really know what you're doing or your room is incredibly bad-sounding. You should also listen to your nearly finished mix on as many other setups as possible; you'll pick up more discrepancies the more systems you try.

But while there are rules here, don't feel you can't break them. Just make sure the finished mix sits across the whole width of the spectrum rather than in one part. Pan everything to one area and your listeners will simply think that one of their speakers or headphones is playing up.

So, that was width - now think depth. There's nothing worse than a track that has been mixed so that so that the whole thing takes your head off with all of the parts sounding like they are playing through a tin can.

And then, of course, we have synth presets - yes, they can sound great, but if you're using a preset because it sounds out of this world, you can bet that it'll be instantly recognisable to everyone else who owns that synth, and that they will shake their heads disapprovingly. This kind of preset snobbery is wrong in many ways - presets are created to be used, after all - but the more 'out there' a sound is, the more obvious its source will be, so at least tweak it a little to make it your own.

There's really no excuse for dodgy tuning, but out-of-key vocals, clashing melodies and unintentionally obvious pitch correction are still common demo demons that simply make us angry. To all culprits, we say: there are two flaps of gristle on the sides of your head called 'ears' - use 'em!

The main problem was getting the timing down so that all 10 hands hit the chord at the same instant. The group did four recordings with Martin switching from piano to harmonium for one of the recordings.

"When I begin working on a multitrack, there's a period of two to three hours during which I familiarise myself with the song and see what's there. I'll have the monitors up loud to get into it and I'll clean up tracks, get rid of unwanted noise, do comps... whatever it takes so that by the time I connect Pro Tools to the Neve, I'll have everything down to one screen of the Edit window. I try to organise things such that all parts come up on the board in a familiar way, but most of all this whole process is about a head space. By the time I start the mix proper, I have the whole multitrack in my head and I know exactly what I want to do, what my vision is for the mix. After that it's a case of just getting it done. I'm listening pretty quietly and just working to get things right. 041b061a72