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Category Archives: Pop Trendy

An Obituary – The Death of Modern Western Pop Music

It is with profound misgiving that I wish to illuminate all of you of the awkward (however explicitly self-evident) passing of advanced Western popular music.

Tragically, “Pop” as it was affectionately called was sickly for at some point, and nobody appeared to notice when it at last bellied up.

‘Popular music’ was prestigious for bringing us numerous extraordinary hits throughout the decades. Some of these “hits” date as far back at the 1940s, and throughout the decades there were numerous significant tunes from the 50s, 60s, 70s, 80s and 90s.

One can even set out say that prevalent music from every age and from different parts of the globe (Renaissance, Baroque, Classical, Romantic) have additionally stood a definitive test of time, with the works of various authors being concentrated on and performed right up ’til the present time.

However, something unusual happened from the beginning of the new thousand years. At first none took any notification, however before the end of the following decade it was horrendously clear.

There was no advancement and innovation any longer. Indeed most specialists, paying little respect to musical classification all began to sound the same, as though all these musical gatherings were being produced out of the same stockroom. It didn’t make a difference on the off chance that you were pop, move, electronica, hip-bounce or shake ‘n roll (in spite of the fact that I question the last two will really make it onto a standard radio playlist), all music had the same stream, the same harmony movement (I, V, vi, IV), the same breaks, elements, and every one of the artists sounded precisely like each other.

It was horrendously standard. It was excessively evident not, making it impossible to see, yet there were no weeps for change.

Everybody appeared to be hard of hearing to what was playing.

This essayist trusts the demise was brought on by three guilty parties, verging on like the three legs of a decent seat. Be that as it may, such as whatever else before long with wear and tear, the legs of this musical seat began to decay, and there was no craftsman to alter the issue, so the legs turned out to be unstable and the seat inevitably broke down.

The three legs were: Record Labels, Radio and the Artists themselves.

Record names sprang up around the mid 1920s as an approach to record, create, advertise and disperse the music that was going on at the time. There were A&R offices (Artist&Repertoire) that searched out new ability and built up a list of specialists/gatherings that would “sign” to that mark and offer records to the purchasing open. Be that as it may, too bad, the record executives got to be voracious and apathetic throughout the years and have everything except halted their A&R offices. All that really matters is, you as a craftsman, you gotta have everything, prepared to go for a mark to bounce in on your fleeting trend. What’s more, you gotta be offer capable. In case you’re not charming, provocative, youthful or be hip with whatever trick is the most recent pattern, then you won’t offer. It’s that basic and rough. A name is simply a bank now, and they need an awesome profit for their speculation. Also, the craftsman is the venture. The three primary names that are left now (on the grounds that the others got gobbled up throughout the years) couldn’t think any less about genuine music than a bank thinks about lowing wage workers get an advance.

Next up: Radio.

In its earliest stages, radio manufactured a familiarity with another, hip in vogue music that was taking the world by tempest. The primary radio news telecast happened August 31, 1920 and not long after music exhibitions started to be broadcast. The new in vogue music didn’t have a name up ’til now, yet every one of that was going to change.

America was perched on a goldmine, and alongside British children, performers took to soul and jazz, blended everything up and gave it their own turn. Next thing you knew, Rock n Roll was conceived and the music of the late 1940s and 50s had spunk and VOLUME.

Rock n Roll brought music of the working man right to extremely doorstep, it brought forth numerous sub-sorts – Heavy Metal, Indie, Alternative, Grunge, Shoe-Gaze and Pop music all owe their life to Rock n Roll. It’s qualified to note that every sub-classification bore their own kids, so we can say that Rock n Roll had numerous youngsters and grandchildren.

To observe the youngsters that Rock n Roll will desert (obligingness of Wikipedia, simply make a beeline for Google).

Be that as it may, Jazz and Blues additionally had another posterity around the same time – R&B, a term tragically instituted to separate music of African-American root from Rock n Roll. Ludicrous and really supremacist, yet it is a term that ‘stuck’.

In this way, Jazz and Blues desert two children – R&B and Rock ‘N Roll. Both had what’s coming to them of radio airplay in the good ‘ol days. Both children made Pop what it was.

Be that as it may, as the story goes, there went along a cheat – Payola.

On account of the marks, they ensured that the ONLY substance on radio, was theirs. Before long standard radio was just paid publicizing for a name. On the off chance that you don’t trust me, turn on any standard Top 40 station and abandon it on for a day or two. The station will play a modest bunch of melodies at any rate around five times each day. So there’s exclusive two or three melodies on radio for airplay? Don’t worry about it there are a huge number of performers/specialists/groups around the world, just a modest bunch of melodies get played on standard radio.

Which conveys us to Artists: it appears that most specialists nowadays all need to be well known and rich (if that is even conceivable with the mark and excitement attorneys owning everything. Also, as opposed to composing anything of inventive substance, most cutting edge pop craftsmen are out to make a moment hit. The term one-hit wonder can’t make a difference to them on the grounds that the awful hits continue coming. They ought to re-name “Craftsmen” to ‘Production line Clones’ on the grounds that in verging on each music class there’s a couple that for the most part solid/look precisely indistinguishable.

And after that went along the most exceedingly awful part – the malady to end it all – Autotune (the gadget that made a loathsome single a star)

Together, these three alongside their man-made ailment murdered the popular music industry.

Pitiful that nobody saw it coming, perhaps something could’ve been finished.

Be that as it may, it is past the point of no return, and we have now are recently the recollections of when music used to mean something.

When we could recollect a melody from the 40s, 50s, 60s, 70s, 80s, 90s.

In any case, would you be able to recall any pop melody from the new thousand years?

I beyond any doubt can’t. What’s more, generally, I would prefer not to, it’s that unpleasant.

Rest in peace Pop, we had a fabulous time for a little time.

Francesco Emmanuel is a traditionally prepared guitarist who is frantically infatuated with the electric guitar. He shows guitar professionally, and when he’s not forming music for film/TV, he’s off visiting with Canadian world-beat bunch Kobo Town.

Music Genres

1

This is a rundown of a portion of the world’s music sort and their definitions.

African Folk – Music held to be regular of a country or ethnic gathering, known not fragments of its general public, and saved for the most part by oral convention.

Afro jazz – Refers to jazz music which has been vigorously affected by African music. The music took components of marabi, swing and American jazz and combined this into a special combination. The principal band to truly accomplish this blend was the South African band Jazz Maniacs.

Afro-beat – Is a blend of Yoruba music, jazz, Highlife, and funk rhythms, melded with African percussion and vocal styles, advanced in Africa in the 1970s.

Afro-Pop – Afropop or Afro Pop is a term here and there used to allude to contemporary African popular music. The term does not allude to a particular style or sound, but rather is utilized as a general term to depict African prominent music.

Apala – Originally got from the Yoruba individuals of Nigeria. It is a percussion-based style that created in the late 1930s, when it was utilized to wake admirers subsequent to fasting amid the Islamic blessed month of Ramadan.

Assiko – is a well known move from the South of Cameroon. The band is typically taking into account a vocalist went with a guitar, and a percussionnist playing the throbbing mood of Assiko with metal blades and forks on an unfilled jug.

Batuque – is a music and move kind from Cape Verde.

Twist Skin – is a sort of urban Cameroonian famous music. Kouchoum Mbada is the most surely understood gathering connected with the class.

Benga – Is a musical kind of Kenyan prevalent music. It advanced between the late 1940s and late 1960s, in Kenya’s capital city of Nairobi.

Biguine – is a style of music that began in Martinique in the nineteenth century. By consolidating the customary bele music with the polka, the dark performers of Martinique made the biguine, which includes three unmistakable styles, the biguine de salon, the biguine de bal and the biguines de mourn.

Bikutsi – is a musical sort from Cameroon. It created from the conventional styles of the Beti, or Ewondo, individuals, who live around the city of Yaounde.

Bongo Flava – it has a blend of rap, hip jump, and R&B for one thing however these names don’t do it equity. It’s rap, hip jump and R&B Tanzanian style: a major blend of tastes, history, society and character.

Rhythm – is a specific arrangement of interims or harmonies that finishes an expression, segment, or bit of music.

Calypso – is a style of Afro-Caribbean music which began in Trinidad at about the begin of the twentieth century. The bases of the class lay in the landing of African slaves, who, not being permitted to talk with each other, conveyed through tune.

Chaabi – is a mainstream music of Morocco, fundamentally the same as the Algerian Rai.

Chimurenga – is a Zimbabwean mainstream music sort instituted by and advanced by Thomas Mapfumo. Chimurenga is a Shona dialect word for battle.

Chouval Bwa – highlights percussion, bamboo woodwind, accordion, and wax-paper/brush sort kazoo. The music began among provincial Martinicans.

Christian Rap – is a type of rap which utilizes Christian subjects to express the lyricist’s confidence.

Coladeira – is a type of music in Cape Verde. Its component rises to funacola which is a blend of funanáa and coladera. Celebrated coladera performers incorporates Antoninho Travadinha.

Contemporary Christian – is a classification of prevalent music which is melodiously centered around matters worried with the Christian confidence.

Nation – is a mix of well known musical structures initially found in the Southern United States and the Appalachian Mountains. It has roots in customary society music, Celtic music, soul, gospel music, hokum, and outdated music and advanced quickly in the 1920s.

Move Hall – is a sort of Jamaican prevalent music which created in the late 1970s, with examples, for example, Yellowman and Shabba Ranks. It is otherwise called bashment. The style is portrayed by a disk jockey singing and toasting (or rapping) over crude and danceable music riddims.

Disco – is a sort of move arranged popular music that was promoted in move clubs in the mid-1970s.

Society – in the most essential feeling of the term, is music by and for the normal individuals.

Free-form – is a type of electronic music that is vigorously impacted by Latin American society.

Fuji – is a prominent Nigerian musical classification. It emerged from the ad lib Ajisari/were music convention, which is a sort of Muslim music performed to wake adherents before day break amid the Ramadan fasting season.

Funana – is a blended Portuguese and African music and move from Santiago, Cape Verde. It is said that the lower part of the body development is African, and the upper part Portuguese.

Funk – is an American musical style that started in the mid-to late-1960s when African American performers mixed soul music, soul jazz and R&B into a cadenced, danceable new type of music.

Gangsta rap – is a subgenre of hip-bounce music which created amid the late 1980s. “Gangsta” is a minor departure from the spelling of ‘criminal’. After the ubiquity of Dr. Dre’s The Chronic in 1992, gangsta rap turned into the most industrially lucrative subgenre of hip-jump.

Genge – is a kind of hip bounce music that had its beginnings in Nairobi, Kenya. The name was begat and advanced by Kenyan rapper Nonini who began off at Calif Records. It is a style that joins hip jump, dancehall and customary African music styles. It is normally sung in Sheng(slung),Swahili or neighborhood vernaculars.

Gnawa – is a blend of African, Berber, and Arabic religious tunes and rhythms. It consolidates music and gymnastic moving. The music is both a supplication and a festival of life.

Gospel – is a musical sort portrayed by overwhelming vocals (regularly with solid utilization of agreement) referencing verses of a religious nature, especially Christian.

Highlife – is a musical sort that started in Ghana and spread to Sierra Leone and Nigeria in the 1920s and other West African nations.

Hip-Hop – is a style of prominent music, normally comprising of a cadenced, rhyming vocal style called rapping (otherwise called emceeing) over sponsorship beats and scratching performed on a turntable by a DJ.

House – is a style of electronic move music that was produced by move club DJs in Chicago in the right on time to mid-1980s. House music is firmly affected by components of the late 1970s soul-and funk-mixed move music style of disco.

The Seven Different Types of Written Music

As a bassist, bandleader, instructor, and music copyist, I’ve worked with many artists consistently. In spite of the fact that working performers know many tunes, vocalists need great graphs keeping in mind the end goal to have their music played the way they need. I characterize a “decent outline” as a bit of composed music that adequately tells the artists what they ought to play.

Composed music comes in seven essential structures: harmony outlines, , songbooks, lead sheets, fake books, expert beat diagrams and completely documented parts.

As a performer has an obligation to play the outline before him effectively, the supplier of the diagram has the obligation of giving the right sort of graph. Comprehending what sort of outline to use for what sort of tune or gig is imperative.

This  clarifies what the distinctive sorts of diagrams are, and under what circumstances to utilize them. I trust you think that its helpful.

Sorts OF CHARTS

Graphs can be basic or elaborate as per the style of music and kind of gig. Spread tunes are generally gained from recordings; established and choral music can be found in stores and also in different music lists; various tunes will be found in music books of assorted types; and numerous open libraries convey recordings and composed music for your utilization.

“Chart” alludes to any bit of composed music or any game plan (music that has been adjusted in a one of a kind way) of a tune. Decades prior it was entirely a “cool” slang term for a tune, yet any bit of music could be known as an outline nowadays, however a traditional buff won’t not allude to a Mozart function as a “graph.”

Recognizing what sort of graph to use for what sort of tune is essential. When you’re playing a gig and somebody gives you a diagram – it is the thing that it is and you either perused it well or not. In any case, on the off chance that you purchase outlines, have them made for you or give them yourself, you have to know which sorts to use for which circumstances. A long time back, while doing vocalist showcases, artists acquired a wide range of graphs: great ones, awful ones, mistaken ones, wrong ones, and it was a genuine torment. The artists who gave the right sorts of graphs got their music played how they would have preferred. The vocalists who had the wrong sorts of outlines didn’t, and weren’t extremely glad about it. Unless an artist definitely knows the particular parts, he can just play as indicated by what’s on the graph before him. In spite of the fact that a decent artist can extemporize a decent part in any style, if a particular musical line should be played, it should be composed out.

As an artist has an obligation to accurately play the diagram before him, the supplier of the outline has the obligation of giving a fitting one.

Without getting into an excessive number of music documentation specifics, here are the various types of graphs and when they are utilized:

1. Harmony CHARTS

A contains the harmonies, meter (how the tune is included, e.g., 4 or in 3 (like a waltz), and the type of the melody (the definite request of the areas). This kind of graph is principally utilized when: 1. the particular musical parts are ad libbed or definitely known, however the structure and harmonies should be alluded to, 2. to give harmonies to ad lib over, or 3. at the point when a very late outline should be composed, and there isn’t the ideal opportunity for much else elaborate.

A does not contain the tune or a particular instrumental parts to be played. To play from basic harmony graphs a performer essentially needs consistent time, know the harmonies, and extemporize his part in whatever style the tune is in.

2.

is a locally acquired adaptation of a tune printed by a distributer, which contains the instrumental part, harmonies, verses, tune and shape. An instrumental piece will, obviously, have quite recently the music. is composed for both piano and guitar. Guitar is in standard documentation (regularly traditional), and in addition in TAB. A decent bit of will dependably say whether it’s for piano or guitar. Most is not intended to be totally illustrative of the real recording, and the real plan that you’ve heard on a recording is sometimes present.

Numerous individuals have encountered the disappointment of getting the to a melody they like, playing it, and finding that the harmonies are not quite the same as the recording, and now and then the structure is as well. Sadly that is how it is a considerable measure, and it could be for various distinctive reasons. To get the accurate game plan and harmonies, you have to do a “takedown” of the tune: learn it by ear. A takedown is the point at which you listen to a bit of music and record it. Takedowns can extend from straightforward harmony outlines to expand symphonic parts or anything in the middle. So as to do great takedowns, you need great ears, comprehend and be liquid with music documentation to the multifaceted nature of the sort of music you’re working with, and ideally comprehend music (the more the better). Having “great ears” comprises of perceiving and comprehension the music, whether heard on the radio, played by another artist, or heard in your mind.

3. SONGBOOKS

Songbooks are accumulations of numerous tunes and frequently contain the same data that does, alongside the harmonies and game plan being unique in relation to the recording more often than not. ordinarily has full presentations and endings, while tunes are by and large abbreviated to make space in the book for more tunes. is for the most part composed to be played on a console, however songbooks come in various styles and for various instruments. They are ordered by craftsman, style, decade, and in different accumulations including motion picture subjects, Broadway hits, and so forth.

An Obituary – The Death of Modern Western Pop Music

It is with deep regret that I wish to inform you all of the untimely (but blatantly obvious) death of modern Western pop music.

Sadly, ‘Pop’ as it was fondly called was ailing for sometime, and no one seemed to notice when it finally bellied up.

‘Pop music’ was renowned for bringing us many great hits over the decades. Some of these ‘hits’ date as far back at the 1940s, and over the decades there were many memorable songs from the 50s, 60s, 70s, 80s and 90s.

One can even dare say that popular music from each age and from other parts of the globe (Renaissance, Baroque, Classical, Romantic) have also stood the ultimate test of time, with the works of numerous composers being studied and performed to this very day.

But something strange happened from the dawn of the new millennium. At first none took any notice, but by the end of the next decade it was painfully clear.

There was no innovation and originality anymore. In fact most artists, regardless of musical category all started to sound the same, as if all these musical groups were being manufactured out of the same warehouse. It didn’t matter if you were pop, dance, electronica, hip-hop or rock ‘n roll (although I doubt the latter two will truly make it onto a mainstream radio playlist), all music had the same flow, the same chord progression (I, V, vi, IV), the same breaks, dynamics, and almost all the singers sounded exactly like one another.

It was terribly formulaic. It was too obvious not to notice, yet there were no cries for change.

Everyone seemed to be deaf to what was playing.

This writer believes the death was caused by three culprits, almost like the three legs of a good chair. But like anything else after a while with wear and tear, the legs of this musical chair started to rot, and there was no carpenter to fix the problem, so the legs became wobbly and the chair eventually collapsed.

The three legs were: Record Labels, Radio and the Artists themselves.

Record labels sprang up around the mid 1920s as a way to record, produce, market and distribute the music that was happening at the time. There were A&R departments (Artist&Repertoire) that sought out new talent and developed a roster of artists/groups that would ‘sign’ to that label and sell records to the buying public. But alas, the record execs became greedy and lazy over the years and have all but stopped their A&R departments. The bottom line is, you as an artist, you gotta have it all, ready to go for a label to jump in on your bandwagon. And you gotta be sell-able. If you’re not cute, sexy, young or be hip with whatever gimmick is the latest trend, then you won’t sell. It’s that simple and crude. A label is nothing more than a bank now, and they want a great return on their investment. And the artist is the investment. The three main labels that are left now (because the others got swallowed up over the years) couldn’t care any less about real music than a bank cares about helping low-income earners get a loan.

Next up: Radio.

In its’ infancy, radio helped build an awareness of a new, hip trendy music that was taking the world by storm. The first radio news broadcast occurred August 31, 1920 and shortly after music performances began to be aired. The new trendy music didn’t have a name as yet, but all that was about to change.

America was sitting on a goldmine, and along with British kids, musicians took to the blues and jazz, mixed it all up and gave it their own twist. Next thing you knew, Rock n Roll was born and the music of the late 1940s and 50s had spunk and VOLUME.

Rock n Roll brought music of the working man right to very doorstep, it gave birth to many sub-genres – Heavy Metal, Indie, Alternative, Grunge, Shoe-Gaze and Pop music all owe their life to Rock n Roll. It’s worthy to note that each sub-genre bore their own children, so we can say that Rock n Roll had many children and grandchildren.

To have a look at the children that Rock n Roll will leave behind (courtesy of Wikipedia, just head to Google).

But Jazz and Blues also had another offspring around the same time – R&B, a term sadly coined to differentiate music of African-American origin from Rock n Roll. Absurd and truly racist, but it is a term that ‘stuck’.

Thus, Jazz and Blues leave behind two kids – R&B and Rock ‘N Roll. Both had their fair share of radio airplay in the early days. Both kids helped to make Pop what it was.

But as the story goes, there came along a thief – Payola.

Thanks to the labels, they made sure that the ONLY content on radio, was theirs. Soon mainstream radio was nothing more than paid advertising for a label. If you don’t believe me, turn on any mainstream Top 40 station and leave it on for a day or two. The station will play a handful of songs at least about five times a day. So there’s only a couple songs on radio for airplay? Never mind there are hundreds of thousands of musicians/artists/bands worldwide, only a handful of songs get played on mainstream radio.

Which brings us to Artists: it seems that most artists these days all want to be famous and rich (if that’s even possible with the label and entertainment lawyers owning everything. And rather than writing anything of creative substance, most modern-day pop artists are out to make an instant hit. The term one-hit wonder can’t apply to them because the terrible hits keep coming. They should re-name ‘Artists’ to ‘Factory Clones’ because in almost every music genre there’s a few that mostly sound/look exactly alike.

And then came along the worst part – the disease to end it all – Autotune (the device that made a terrible single a star)

Together, these three along with their man-made disease helped kill the pop music industry.

Sad that no one saw it coming, maybe something could’ve been done.

But it is too late, and we have now are just the memories of when music used to mean something.

When we could remember a song from the 40s, 50s, 60s, 70s, 80s, 90s.

But can you remember any pop song from the new millennium?

I sure can’t. And for the most part, I don’t want to, it’s that terrible.

Rest in peace Pop, we had fun for a little while.