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When it comes down to choosing a good solution to manage your documents, whether you’re an individual, or part of a company, there are a few things to consider, and it basically boils down to what you need the software to accomplish, how much automation you want, how easy do you want it to be.A good all around option I’d suggest checking out it Kdan Document 365. It has some nice features to help you manage your PDFs (editing, signing, etc.,) and other kinds of documents you might be working with. If you’re part of a company, it’s easy to share and collaborate on projects/documents/presen...
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What is the most effective way to learn to figure out songs by ear? Is the first step figuring out the BPM of the song? Is it th
I am competent and efficient at “figuring out how to play popular songs by ear”. For many songs, one listen will do. For the rest, two or three is probably all I need to be able to sit in and play with a group, even taking the lead on iconic instrumental riffs specific to a song. Interested in hearing my approach? Good, let’s begin..Definitions for the purpose of my writing:“Popular Music” = Stuff that normal people *actually* listen to. Rock, Pop, Country etc.“Music Theory” = The information that allows you generalize the structure of a song as well as the chord progressions that inhabit it. Also allows you to play any type of chord on any of the 12 possible tonic notes, and understand how to use the major and minor scales as well as the blues/major/minor pentatonic scales and modes. ***Has NOTHING to do with sheet music. Stay away from it if you’re trying to become a competent musician of “popular music” (see above for definition).CHALLENGE: Listen to “this song” once. After that, you have 10 minutes before you will step onto a stage with a group and perform it in front of a live audience. You may not use tools or electronics or instruments or writing utensils to aid you in your preparation. GO!As I listen, this is the “map of the song” that I consciously develop in my mind:Tempo: Semi-upbeat, somewhere around the ~120 bpm range. 4/4 timeINTRO - [8 Bars / 6 4 1 5 ] + Lead LineVERSE 1 - [8 Bars / 4 1 6 5]VERSE 2CHORUS - [8 Bars / 6 4 1 5]BREAK - [4 Bars] + Lead LineVERSE 3CHORUSBRIDGE - [4 Bars / 4 6 5 (5)]x3CHORUSCHORUS - Lead LineNow I have to consciously ingrain the following details into my memory for recall:[[[ (i)V - V - Ch(b) - V - Ch - Bx3 - Chx2(+lead@end) | 6415 / 4165 / 465]]]^Understood as: Intro, 2 Verses, Ch(w/break after), Verse, Chorus, Bridge 3 times, 2 Choruses and the last one has a lead. Progressions: 6–4–1–5/4–1–6–5/4–6–5^^Understood as: Typical “pop song structure”— list of exceptions: intro (gotta play the lead line over that), two initial verses, and a break after the first chorus where I have to play a lead line again. Bridge is played 3 times. Lead line on last chorus. Choruses and Intro/Break have a 6415 progression, Verses have 4165, Bridge has 465.As soon as the song ends, my 10 minutes begins and I’ll spend most of it memorizing the details contained within the ” [[[ ]]] “ up there^. These are basically all I will need to perform the song flawlessly. The other thing I’ll need to ingrain in my mind is the “pattern” for the lead line so I don’t fumble with any notes when I go to play it at the very beginning of the song. I will do by this listening to the line in my head, probably humming it a few times to confirm my grasp of specific notes and converting my understanding of those sounds into scale degrees, which I will then finger in the key of C with my right hand on an “air piano” to make sure I will be good to fluently play it in a couple mins.After running over the [[[]]] details and confirming my grasp of the lead line in C, my 10 minutes will end and I’ll walk on the stage, look at a fellow musician and ask, “Hey, what key are we in? And what instrument am I playing?”.What a wonderful story! The musician (me) certainly turns around to his instrument and performs with minimal hiccups and nobody in the crowd even really noticed him or any of the other instrumentalists because they were consuming the “experience” of the show (largely focused on the lead singer) and he simply didn’t distract them from that experience. That means the musician successfully conquered this challenge and performed adequately enough that nobody could really notice he was unprepared..You’ve just had the pleasure of listening to a thought process which you may be able to follow but likely don’t understand fully. That is because there are several developed skills being used together to make all of this happen. I have learned a great deal about music and distilled many concepts into easily understandable and intuitive concepts which I can actually USE (you just witnessed it), and even better (lucky for you), TEACH. Thus, I can best serve you by explaining what all of that nonsense is above so you can learn how to do it too.Neither of us has the time to do this teaching/learning stuff inside of this Quora post so let me NOT waste our time by showing you what you need to learn and how you need to learn it so you can search the Internet for resources to accomplish these goals on your own time.Here goes:IMPORTANT SKILLSLearning How To Identify FormYou need to be able to listen to a song and understand how to identify these parts of a song: intro, verse, chorus, bridge, break, tag(refrain). Find some YouTube videos and articles or something to study how to identify “Form of Popular Music” or something like that. PS - Don’t learn any of this stuff by studying “Classical Music Theory”, you’re wasting your time if you’re here to become a Popular Music musician. If you’re trying to learn these concepts that I’m listing and you’re seeing explanations that use sheet music, you may need to find a different resource. *[You can now listen to any popular song and write out its “Form (Structure)” as I have done above above (writing INTRO, VERSE1, CHORUS etc. and actually being correct/accurate in your identification).]Additional skills related to Form: You need to be able to count how many “bars” or “measures” there are in each section of the music (remember how I structured out that song above?). This is a concept learned from studying “Rhythm”. You also need to be able to identify if a song is in the 4/4 or 6/8 time signatures (every once in a gigantically great while you may see a song in 3/4, but don’t worry about it for now). 4/4 is the most common for popular music, don’t actually worry about 6/8 for a while. *[You can now listen to any popular song and correctly identify its structure and also identify how many bars/measures are in each section. Example: INTRO - 8 Bars / VERSE 1 - 8 Bars / CHORUS - 16 bars]Learning How To Identify Scale DegreesI’m playing some pop song. I stop and play a single note. Can you tell me what scale degree it is? If not, keep practicing. Google “Functional Ear Trainer”. It’s a small piece of computer software and it is INCREDIBLE. Practice identifying “diatonic” (notes in 1 specific key) scale degrees until you can hum random notes in a major scale and identify the correct scale degree *always*. Then start listening to the bass guitar in simple songs and practicing your ability to identify the scale degree they’re playing. 95% percent of the time, it *hands you* the chord progression for each section of the song. (Unless there’s an iOS/Android version of THIS SPECIFIC APP (mentioned above), stay away from phone ear training apps. They all suck. Haven’t found a good one yet.) When you listen to a song and try to identify the chord progressions based on what the bass guitar plays, write it down as you listen and look up the song on UltimateGuitarTabs.com to see if you are correct (just make sure you transpose the song to the correct key)*[You can now listen to any popular song and correctly identify its structure, how many bars there are in each section, and what chords happen inside of each bar by identifying the scale degrees that the bass guitar plays (usually each bar has only 1 or 2 chords). Most popular songs will have only 1 chord per bar and much of the time they are the 1 4 5 6 chords in different orders. “Chord Progressions” are groupings of chords that repeat, usually over a cycle of 4 bars. Ex: This song as a chorus 16 bars long. The (chord) progression is 1 5 6 4 four times. You also can now identify the key of the song once you identify the “scale degree #1” or “tonic note”. Once you find the letter name of that tonic note by referencing an instrument, you have the name of the “key” that the song is in.]Learning How To Play All Chords/ScalesSCALES - Learn how to play ALL OF YOUR SCALES by following Gary Burton’s methodology. http://www.jazzpiano.co.nz/wp-co... - Lesson 2 explains the approach you want to practice when it comes to learning scales. The rest may very well be irrelevant. The point is to learn your scales by shape while fiddling around pressing different notes all over your instrument to ingrain the “shape” of the key in your mind. You rarely hit “wrong” notes if you *actually* know your scales (by practicing this methodology, not mindlessly practicing scales like Classical people) because you have trained yourself to see which notes belong to the key that you’re playing in. Video of him explaining some things here:Don’t worry about all of the details in this video where he talks about “a new scale every chord”. Popular music will pretty much always have only one scale per *entire song*. But the way he talks about “fiddling around with the shape and groups of notes for the key” is key to learning your scales. Scales are not an athletic, mechanical exercise. They can be, but their purpose is to show you which notes fit in the key. Last thought: Learn about the concepts of “Relative Major/Relative Minor”. It’s easier to assume that there aren’t really minor scales. There are only major scales, and if you start on the 6th scale degree and move through that scale 1 octave, you have now played the minor scale “relative” to that major key (the only key identity that matters because everything else orients around the “major key” and it’s easier that way).CHORDS - Study the concepts of “Chord Tones” for this one. If I tell you to play me a Gb9#11+13, you don’t have to be comfortable playing chords this complex but you should be able to sit down at a piano and show me what it looks like in root position. You should be able to play me any minor and major chord in any inversion on a piano/keyboard. I’ll give special notice to the maj7 and min7 chords as well as maj9 and min9 chords, because they can be super pretty and add a layer of depth of complexity to your expression, but fluent command over basic major and minor chords are all you need to adequately play pretty much any popular music you’ll hear on the radio. Last thought on chord tones: learn about the difference between a chord tone which is identified as “2” and one which is identified as “9”. Chord tones 2, 4 and 6 are identified as 9, 11 and 13 in certain cases where a 7th scale degree is present in the chord.Alright, I’m definitely missing some things and there are several loose ends I’m sure but it’s way too late for me to finish this post tonight. I’ll come back tomorrow and finish up.Until then~Alrighty, I’m back! Here’s my conclusion:We’ve talked about identifying form, the two main time signatures (4/4 & 6/8), counting bars, identifying scale degrees, learning all the major scales “the way they *should* be learned”, and learning how to construct any chord type with any of the 12 possible chord tones. You may be wondering, “Does knowing all these things *really* enable me to listen to a song once and be able to play it?”. Technically— no. But let’s talk about that.That last, and perhaps the easiest, element in this whole ability to “quickly interpret” an song into a usable mental structure from which an individual can then play the song convincingly happens to be this: Familiarity with the genre. Basically what I mean by this is that many pop songs are very similar in structure and thus can be quite predictable. This makes it much easier to “grab” certain, key elements out of just a couple listens and then reproduce an impressively convincing accompaniment of the song with a certain level of prerequisite skill. In other words, the information that these skills fail to provide you with is captured by your ability to relate to what you just heard. If you listen to a lot of pop music, the rest of the details are generalized like this: “Oh yeah, this part sounds like that one Adele song.. cool. I can do that” - “Oh I know this sound, it’s like that Coldplay song” - “Hey, I recognize this rhythm pattern, it sounds like that song I heard just the other day”. So all this music theory and ear training stuff gives you a skeleton from which you can play an “convincing” arrangement with enough skill, but your prior familiarity with the genre is what allows you to embody the sound with much more idiomatic nuance and it will start sounding a lot more “authentic”.Music is an incredible adventure and there is much to learn in the beginning! But I promise you, if you learn (what I call) “Practical Music Theory”, you won’t be disappointed! That is, if your goal is to learn how music really works and how to sit down at an instrument and be appreciably creative. Learning music in this way is the most efficient path to being both an informed and creative “Musical Artist”. At its core, you learn about the elements of rhythm, melody and harmony, and then you CREATE. This is how it was always meant to be…
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