As a musician, you might be interested in knowing how you can separate melody from lyrics within your own brain.
We found this article of interest, as it also helps the song-writer as well as the musician playing tunes, to discover some insights on how it all comes together in the brain.
Since there’s evidence that a song is separated into two paths through the brain, it’s interesting to note (pun intended – hehe) how the musician combines the essence of both into one pleasurable listening experience.
Take a look-see yourself to understand how this might assist with your music experiences.
Credit is given: npr.org and journalist, Jon Hamilton @ https://www.npr.org/people/2100615/jon-hamilton
As noted in this article…
“A song fuses words and music. Yet the human brain can instantly separate a song’s lyrics from its melody.
And now scientists think they know how this happens.
A team led by researchers at McGill University reported in Science Thursday that song sounds are processed simultaneously by two separate brain areas – one in the left hemisphere and one in the right.
“On the left side you can decode the speech content but not the melodic content, and on the right side you can decode the melodic content but not the speech content,” says Robert Zatorre, a professor at McGill University’s Montreal Neurological Institute.”
Collecting guitars can not only be fun but profitable. Case in point, in early August 2019 Duane Allman’s ’57 Les Paul Goldtop that was used to track parts of “Layla” sold for one and a quarter ($1.25) million dollars.
Greg’s Gibson SG played on the band’s, At Fillmore East live album, sold for almost $600k. Yet to date the top auction seller for collectable classic rock nostalgia instrument played by rockers is still, Jerry Garcia’s, ‘Wolf’ guitar.
In this article you’ll discover a list of other famous musician guitars that sold for some big bucks.
The 1957 Goldtop was Duane’s main guitar during the first two years of the Allman Brothers Band, and was used to play on recordings included on the famous rock band’s first two studio albums. Most notably, it was the guitar used by Duane to play on the famous outro solo of Eric Clapton and Derek and the Dominos’ 1970 anthem, “Layla”.
In more recent years, the guitar has been used by notable players including… >Learn more here<
“When I say feminine album, immediately the perception is that it must be soft and lovely, but I mean feminine in the violent sense. Desiring, but not being able to define your desire, wanting power but being powerless and blaming it on yourself, or just hurting yourself as a way to let out the aggression in you. It’s a lot of pent-up anger or desire without a socially acceptable outlet.”
Not to long ago I talked about the rise and fall of Tower Records and how the vinyl record industry had their days and then essentially died… well get ready because they’re back!
Many of you vinyl aficionados already knew this was happening. The fact that pressed records remain dynamically pure and essentially a great way to archive recorded material, makes the vinyl application a great consideration for recordings of music.
This article from The RollingStone highlights some of the latest sales numbers as they associate with the CD and Vinyl marketplace.
“When vinyl sales started to climb in 2006, some experts saw it as a fad. No longer: Those sales hit a 25-year high last year, and labels are investing in more sophisticated packaging than ever… many artists have taken note; Bruce Springsteen released his latest box set,The Album Collection Vol. 2, 1987-1996, exclusively on vinyl, with no CD option.”
Tenille Townes just released her debut EP on Sony Music Nashville in April, a four-song collection titled Living Room Worktapes. Though the EP wasn’t actually recorded in a living room, the raw way Townes and her co-writers wrote every track — with nothing but a melody and a guitar — is similar to the realness that a setting like that allows.
“I love a living room — it makes me think of my family and the safe spot where we can talk about anything,” Townes tells Billboard.
“Some of that natural reverb gets initiated by the stage sound itself, as things get pretty loud up there. Only Wickens wears in-ear monitors, as the rest of the band opts for Clair R4 sidefills and old-school Showco SRM wedges.”
That’s a quote from the interesting article that talks about the equipment used on Paul McCartney’s late 2017, eight night (3 hour gigs) mini-tour of New York City.
Many of us musicians understand what a good 3 hour show will take out of you… but, to do it eight nights in a row… that’s a damn workout!
Anyway, take a peak at this in-depth review of the type of gear Paul used on this mini-tour and discover some hidden secrets you probably didn’t know about.
“Watching a Paul McCartney concert is a lesson in irony. At their height, the 20-something Beatles played 45-minute sets, but 50-plus years later, at an age when most stars of his era are taking it easy, a Macca show clocks in at three hours.
As if to prove the point, Sir Paul did it over and over in September as he tore through eight sold-out shows around New York City, playing two nights a piece at Madison Square Garden; Brooklyn’s Barclays Center; across the Hudson River at Newark, NJ’s Prudential Center; and on Long Island at the newly refurbished NYCB Live Nassau Veterans Memorial Coliseum.”
Jazz-rock legacy of the Mahavishnu Orchestra, John McLaughlin (age 75 at the time of this blog post) is retiring from touring.
Many of us musicians have known John as an esoteric monster on the strings. His departure from mainstream songs to introspective nuance has been instrumental (no pun intended) in providing for insightful creative considerations of arpeggiated themes in playing styles.
The article below mentions some fun highlights of McLaughlin’s final performance in Los Angeles at UCLA’s Center for the Art of Performance at Royce Hall in December 2017.
Just finished talking with a tavern owner and supporter of live and live open mics… as a matter of fact if it wasn’t for this venue owner, musicians of this particular local town would need to drive another hour to reach another open mic scene.
Bottom line and a wake up call for us musicians and an insight that marketers have known for many decades… “You do not know what patrons want until you ask them what they want, and then support them with what ‘they’ want!”
Meaning… Don’t think that the venue patrons are attending just to hear your amps cranked, pointing at their ears loud enough to make their conversations turn into a shouting match.
This owner opened up to me ‘big time’! She goes… “Look, I’m happy to open my establishment up to open mic musicians (and of course pay the house band for its backline) for sure, but, when I see over 50% of my potential buyers of food and drink turn immediately around and leave because they can’t hear themselves think, let alone try to talk over the jammers that are trying to prove how bitch-en they are on stage then, unless they come up with a way to turn it down’ or maybe turn their amps toward themselves and ‘not forward’ and stop thinking they are the center of attention, well maybe it’s time to just shut er’ down!”
side bar: Musicians don’t buy enough drinks or food on their own to pay for the doors to be open.
So the question gets turned on its ear… ?- Maybe some new reasoning needs to be created, busting down the old paradigm. Maybe the new is… ‘listen to the patrons’ and stop trying to be the main attraction and become background to their ‘wants’ (and play as your own gig)!… Unless of course, you ‘are’ the center of attention as a big touring act and they’re paying you the big bucks to see you play… and (sorry) that ain’t a cover band btw!
The old saying… “we ain’t done it that way before” needs to be ‘busted’!
It’s a tough one for us prima-donna musicians, thinking we’re the center of attention.
Let’s find some new ways to jam but make the jam to and within ourselves and let the natural bleed of the freqs hit the audience so that they can both, enjoy their conversations during the music and appreciate our delivery.