Tuesday, 17 October 2017

The future of creating art

I listened to a very interesting TED talk last month that got me thinking, the main theme being how artists can earn a living in this day and age. How 100 years ago if you wanted to hear music, you had to see it live, then the invention of recording, right through to the massive industry dedicated to just the distribution of music, and finally to digital downloads now pretty much superseded by streaming. 100 year juggernaut distribution industry. Now it's all free streaming.

And not that long ago, how an artist would create an album and play venues cheaply to promote the music so people would buy the album. And now, the music is streamed cheaply (free) to get people buying tickets to see the artist live at a venue. A complete reversal!

And many other interesting observations. It's worth a look: https://www.ted.com/talks/Jack Conte - Artists get paid in the digital age

Something that I could relate to was how early adopters were making money (I was, through adverts on youtube) and it boomed until 2013 when it all but stopped. I saw it happen!

What he went on to discuss was the future of how artists can get paid for their art. He started "Patreon", which I had come across and thought was a great idea. Basically crowd funding for art...as a consumer of art, you nominate you will pay a few bucks (whatever you like) each month to an artist. Simply because you want them to keep producing their art, so you fund them. We are talking art that can be digital, as in, art that can be delivered to you for zero distribution costs. So music, video, picture type art.

Artists on Patreon can then get a regular income so they can afford to live (given enough supporters) while producing their art. Consumers get a warm fuzzy, but more importantly, their artist can continue to produce the art they like. It feels so right. Is it the way forward? Maybe. Does it work? Seems to - there are a lot of artists there, and the numbers are published, and we aren't talking small amounts. Many artists living and producing art. Is it working for everyone? I doubt it, but that's not a reason to dismiss it. Will it keep working where it is working? Who knows.

I makes me also think of the Netflix/streaming video providers...as people have switched to streaming, the income to those content distributors has gone through the roof. The people want good video content, which isn't always available, so with the bountiful income, Netflix pay creators "Netflix exclusive" to make art, and the stuff I've seen is really good stuff. Such that Netflix (et al) are doing better as content creators than content distributers!

Interesting times. Huge disruption with technology - but people still love art, and artists still love to make art, what is the future of connecting them? Good food for thought.

Me; I just want to play my quaint arrangements to crowds who enjoy it as much as I like playing it. Nice when you can derive a bit of income from it too - what if I could make the same income from creating music as I do from engineering - would I? Probably not. Largely because I'm not good enough ("but if you could apply the same amount of time to music as to engineering you could!" "Yeah nah, I know proper musicians YEARS ahead of my ability/talent who already don't make a living from it"). But mostly because deep down, I'm an engineer first. Engineering fingerstyle arrangements on the side for fun :-)

Saturday, 23 September 2017

Fingerstyle of the Moon progress 2017

I haven't been gigging recently (slowly going rusty) but it has turned my head back to arranging. After my recent other pop/rock songs (The Angels, some Cream and even Van Halen), I've gone back to my old friends Pink Floyd.

Some of my internet mates know that I've been working on a fingerstyle cover of the whole album "Dark Side of the Moon" for longer than a care to mention, with no real update since 2014.  I've further enhanced "Breathe", gone backwards on "Any Colour You Like" and "Great Gig in the Sky", the rest are largely the same. I decided to sit down and play them all back to back for the camera, even though some aren't finished.  But most importantly, I have begun documenting the work in MuseScore.  Only scatterings of tabs currently exist, it's mostly in my head.  One day I'd like to have a book/video.  There is a good chance that will never happen, but if all the songs are documented then it wasn't all a waste of time :-)

Se here you go.  I messed up quite a few times; it is hard to play continously for 19 minutes without bungles.  Much of the work isn't yet done.  But that's why this is a "progress" video, not a "complete, done and dusted" video.

0:00 Speak to me.  JAW can tap the guitar body!
0:10 Breathe.  More freestyled now than just fingerpicked. Now features intro solo with an "innovative technique" I'm still trying to master, check it at 1:08
3:02 Time.  Forgot what I was doing, pretty awful play through, I normally do a lot better. Sorry.
6:19 Breathe Reprise.
7:25 Great Gig in the Sky.  Only the intro, been too long since I played the vocal part I didn't attempt.
8:36 Money.  Still in progress, I need to make it more interesting than just the verse/chorus.
10:36 Us and Them. I can normally make the detuning to Drop D fit in nicer, and get it a bit more accurate.  The pressure of the video camera.
13:40 Any Colour You Like.  Forgot what I was doing again, this needs a lot of work, I almost shouldn't include it.  "Progress".
14:55 Brain Damage. Occasional brain fart.
17:50 Eclipse.

If you make it to the end here, have this kudos ribbon, and pop on a comment letting me know which bits didn't work for you (I have broad shoulders).  Thanks!

Saturday, 16 September 2017

Teaching 101: Easy access

I'm not a guitar teacher...no wait, I am a guitar teacher!

This seems like a simple idea, like it's just about degrees of laziness, but until a student finds the deeper love and want to play guitar (indeed for anything that requires time and effort to achieve a goal) - then you have to remove blockers. Such as taking your guitar out of its bag after coming back from a lesson, that alone can block a student from practising.

(Learning something that is hard, that takes a long time, that takes a lot of work, that can be frustrating - it's a important undertaking more so than ever in our world of instant gratification. It's this good stuff that lasts and doesn't come easy, that's the stuff worth doing.)

I'm calling that the second most important thing to buy after you buy your instrument is a stand to put it on. They are so cheap too! I bought a heap of instrument stands for around $AUD15 online delivered to my door, and everyone in my house learning an instrument got one.

So at any time, the instrument is right there, and they can pick it up and play. Even 5 minutes a day gets those neurons synapsing and creates new behaviour.

Do it. Instrument stand. My youngest daughter is learning the cello and look it's right there in her room, waiting for her, at all times. And it's made a difference, she plays it regularly, often without prompting!

Now there are other options for easy access to your instrument. It's great to have one guitar on a stand somewhere handy, but when there are say 4 of them gathered into a room they take up a lot of space. I switched to wall mounting instruments, again, easily sourced online and very cheap. My wife likes the "look", they are still easy access, and the best part is you get floor space back. And how nice is it to sit in a calming room full of instruments. Good if you have an available room that is!

Friday, 25 August 2017

Rockin' with The Angels

Playing Aussie rock covers fits in well with a pub scene in Australia, I have a number I bring out but you can never have enough Aussie rock.  The Angels "Am I Ever Going to See Your Face Again?" is an absolute classic with it's MA+ call-response titular question, so it is obvious arrangement material. I had tried a few times over the years, but it hasn't been until now that I considered I had the skills to take it on.

It's pretty much all power chords, with that standard blues rock perfect fifth-major sixth rollicking riff underpinning everything, so that had to be prominent. In E, it's pretty easy, the bassline looks like this:

-2--2--4--2--2--2--4--2-
-0-----0-----0-----0----

That however uses up too much left hand, and is a real drag to do for long periods of time. It would be very difficult to put a melody over that. But since Drop D tuning has been my best friend for a long time now, the riff in Drop D will become:

-0--0--2--0--0--0--2--0-
-0-----0-----0-----0----

Much better!

The overall structure is a twelve bar blues chord progression so going from the E to the A means going up the neck rather than to the next strings, to keep the Drop D working, but that is fine.  I wanted to keep the key in E, so putting a capo on the second fret brought the Drop D back to E.

So now for the melody on top:

------------------------|------------
------------------------|------------
-------2-----0--------0-|------------
-------------------4----|----4-----0-
----0--2--0-----0--2--0-|----0--2--0-
-0-----0-----0-----0----|-0-----0----
       went  down  to san    ta    fe

Strumming the bass line would work to get the bass note on each beat and then the 5th-6th interval would be every 8th note, but I find strumming bass note chord fragments clumbsy. It might be the classical guitarist in me coming out - there are a few songs I play that I need to strum two or more bass strings, it forces your wrist down close against the soundboard to get the right angle, and this starts limiting what your fingers can do. You could train yourself to play fluently like that...or pluck the 5th string with alternating index-middle fingers.  Which is what I did.

And now, your annular (ring) finger can pluck the melody.  This is kinda hard, and the 4th string gets a lot of sympathetic vibration (and the odd accidental pluck) but it's completely in chord (the octave!) so it's okay.  I find I can't play right hand middle and annular fingers where the strings aren't next to each other, so my index finger gets busy on the riff when I'm picking the melody, but then reverts to index-middle when there's no melody.

You will have to mentally disconnect your ring finger because the melody is not on always on beat. The first three syllables "went down to" are all on beat, but "san ta fe" is all offbeat.  This is challenging, especially because the riff is always on-beat!  But, playing through slowly and then speeding up once you have made the mental adjustment does the trick.

It's another song that was a bit too rough for my youtube channel - too fast, bad picking - still needs work, but have a look, tell me what you think! :-)

Saturday, 19 August 2017

Why can't this be blog, again?

The last post of mine has created an unprecedented 3 comments so far, I'm inspired to keep posting works in progress. Ha ha, well I post as a cathartic release "I don't post because I want to, I post because I *have* to!"

When I sat down to record a few weeks back I rattled off five new arrangements, only two I deemed good enough to go on my youtube channel but the others weren't too bad so I'll keep posting them here. This song I talked about a year ago and I've been ticking it over from time to time in the background.

Arranging a song is one of those things were I get all excited and filled with euphoria when I begin, and once that addiction wears off, if I haven't finished it it falls in a hole.  But the sensible engineer in me says "You put in a lot of work, and there's only a bit more to go, finish it."  Which I duly ignore, but the sensible engineer never goes away: "You loved that arrangement when you started.  Find that love again, and finish it."

So this song is close to finished, but I didn't play it well enough this time to release it on my YouTube proper channel, it's still too rough. Sorry, the video and the audio goes out of sync, not sure what happened there (another reason to not post). Anyway, enough! Have a look already!