Disco
Disco
music developed in nightclubs in the 1960-70s with influences from a
variety of musical traditions such as soul, funk, with some Latin styles
: salsa and meringue. Disco music was made to dance to in the night clubs and came before club music, trance and hip hop music during that era.
The
features that can be found in the disco genre could be the 4/4 time
signature with "four on the floor" and fast tempo which can be the
reason why its popular for dancing in a nightclub.
"Four
on the floor is a rhythmic pattern which consists of a steady accented
beat played on the bass drum in 4/4. This technique is frequently used
in other genres such as some reggae and Latin styles. From what I said
previously about disco music being influenced from other musical genres,
perhaps the idea of "four on the floor" has been incorporated from the
artists gaining an insight of other genres before creating their own
songs to dominate in a club setting.
In terms of the production aspects of disco music, both reverb and echo were used to add to the vocal tracks of disco songs. When sound waves from any source, (in this situation it is music) reflect off of the surfaces in the room before it reaches the ear, where the sound continues eventhough the source of sound has stopped. This is like speaking into a microphone and then the voice continues to be heard after the person has stopped speaking. This differs depending on the size of the room. In a large room, there would be a larger potential of reverb. Therefore, people use reverb in music to emphasis the reverb naturally occurs in the room or, depending on the genre, reverb would be used to emphasize this effect (despite the size of the room).
Echo
in music are the repetitions of sound after 30 milliseconds. In music
production echo is also called 'delay'. For example, if you sing or
speak in a large room and hear it a moment later. Using the following
link, there is a recording of echo being applied to a drum loop.
Another
feature of disco music which follows another genre is the structure of
the songs.The pop music structure is usually followed in disco music. The structures are explained below.
The structure in a pop song
Pop songs usually begin with a short introduction, followed by a verse and then a chorus.
The structure in a pop song
Pop songs usually begin with a short introduction, followed by a verse and then a chorus.
Every
songwriter is conscious of the construction of a song and the structure
should be apparent to everyone involved in the music making on the
first hearing.
The introduction:
This
is a section at the beginning of the music where there are generally no
words. However it can contain melodic themes from the song e.g. chords
from one of the song's sections or the beat/style of the song. The
"intro" creates an atmosphere of the song (rhythm section).
The verse:
The
function of the verse is to tell a story or describe a situation. It
also introduces us to the characters of the song and the settings in
which the events/emotions are described. In each verse, the tune may
stay the same but each verse usually has different words. Also, each
verse brings the song forward which contrasts to the chorus which is
usually the same words repeated. The verse of a song is usually 8 or 16
bars long but this is not a rule.
The pre-chorus:
This
is the transition section that prepares us for the chorus. It functions
to connect the verse to the chorus with intermediary material.
Moreover, it builds a sense of anticipation for the chorus
by heightening the music. However, after the verse, this section is
optional. Every time the pre-chorus is played, it usually repeats the
same lyrics like the chorus does. Overall, the pre-chorus creates a nice
build up to what is coming up in the chorus.
The chorus:
This
is the part containing the main idea which is expressed lyrically and
musically. The ideas in the chorus are very repetitive and this is what
helps to make the song memorable. It usually conveys the main message or
theme of the song. The title of the song is usually included in the
chorus. Lastly, the chorus is always of greater music intensity of the verse.
The bridge:
This
can also be known as the 'Middle 8'.It can be called this because it is
the bit in the 'middle' of the song and is often 8 bars in length. In
this section, there is a significantly different melody and lyrics which
creates a contrast to the rest of the music as it gets a bit "stale"
after a certain amount of time listening. Sometimes, the lyric part
contains some 'revelation' and new content that may introduce a
different perspective on the lyrics that keeps us interested. The bridge
is located after the second chorus in the
verse-chorus-verse-chorus-bridge-chorus structure.
Instrumental:
The
instrumental section showcases a single instrument, allowing it to play
the same melodies performed by the lead singer or improvise. This takes
place over chords from the chorus, verse, bridge or standard solo
backing (e.g. the 12-bar blues progression). The solo is decorated with
arpeggios, scale runs and riffs. In blues or jazz, an instrumental part
is called a solo.
Occasionally, there is an instrumental link after this.
Outro:
The
outro is the way of ending/completing the song.This way, the songwriter
signals that the song is nearing its end. It is also a good sense of
closure for the listener. The song dissipates energy and there are no
new melodies or riffs in outro.
https://www.thoughtco.com/what-is-disco-music-2456254
After doing this research, I had a discussion with another musician who had said that the pop song structure doesn't quite apply to disco music and it is often less dynamic and more groove based with the song content less important than the overall feel of the song.
This made it easy for DJ's to maintain the energy level on the dance floor and segue between tracks.
Earth, Wind and Fire - September
After doing this research, I had a discussion with another musician who had said that the pop song structure doesn't quite apply to disco music and it is often less dynamic and more groove based with the song content less important than the overall feel of the song.
This made it easy for DJ's to maintain the energy level on the dance floor and segue between tracks.
Disco song examples
Diana Ross Love Hangover
Seventeen- Troye Sivan
The song Seventeen is a song which does not exist in the disco genre but the aim of this workshop session was to alter the song to sound like a song in the disco genre. In this
rehearsal of Seventeen, the aspects of the genre are evident through the tempo.
From listening to other disco songs, I have found out that disco music is usually in faster tempos rather than the tempo used in Troye Sivan's version of 'Seventeen'.
Although the bpm was only changed slightly, the way that the instruments were played were impacted by this small change.
I can also notice by listening to Troye Sivan's version of Seventeen that it is much slower in contrast to the vocalist in our version of 'Seventeen'.
Rehearsing and recording seventeen for a production session.
Psychedelic Soul
https://www.allmusic.com/style/psychedelic-soul-ma0000005025
Psychedelic soul, a style born in the late 60's comes from the genre of soul. It began as psychedelic rock with 'trippy production techniques' and 'chemically altered consciousness'. Psychedelic rock found its way into the soul music genre of the 60's.
The music had a darker side to it which reflected social times being uncertain and the civil rights movement increasing their militancy. Psychedelic soul was sometimes described as part of the rock genre due to being under the influence of Jimi Hendrix.
Psychedelic soul had progressed from the 60's to the 70's, eventually developing into a style which consisted of some protest material, aggressive funk and gentle love songs.
On the positive side, the music emphasised the cultural openness of the society.
Some albums of Psychedelic soul are The Chambers Brothers - Time has come today and Sly & the family stone - Dance to the Melody.
To research and expand my knowledge of the musical features which make up this genre, I have decided to listen to songs of the Psychedelic soul genre found on the 'AllMusic' website. https://www.allmusic.com/style/psychedelic-soul-ma0000005025
Some songs from this genre:
Listen to the highlighted songs of the psychedelic soul genre, I have attached some songs below which have appeal to me.
Particularly, the addition of the brass section in this song stood out as it comes in straight at the beginning, outlining the influences of brass being used in soul. It also features many other times in the song. The melody of the main vocal line - 'You Can Make it if You Try' reflects the positive ideas used in the lyrics.
I have also noticed the major use of instruments in oppose to the vocals which sing over the instrumental sections.
https://www.theguardian.com/music/musicblog/2014/may/21/psychedelic-soul-10-of-the-best
To create our version of psychedelic soul song, we took into the account of the important musical aspects of this genre such as horn sections, a rhythmic bass part, no dynamics on the drum rhythm and lyrics which tell a story. The story told by through the lyrics could be about various live events such as family and relationships.
Starting our song by creating a story line and topic to work with gave us an idea of what our song will be based on and then creating it musically. The story told in 'Papa was a rolling stone' (video attached) gave us inspiration top relate our song to 'growing up' and the things that are involved in this(family). Papa was a rolling stone reflects freedom of expression with meaningful words and phrases.
This can be found in the videos of our rehearsals which are attached below.
Videos of 'so simple' Band workshop
https://youtu.be/PzYppG2ko3c
https://youtu.be/dP2uIrG4B9I
https://www.youtube.com/watch?v=PU0FB-xHXwk
In one of our rehearsals, we added the flugelhorn to play in the introduction of the song, copying the phrase played by the guitar which is sung by the vocalist later on in the song.
To play the phrase on the flugelhorn, 'I remember the simple days' I would use the notes E F Ab and Bb which are reoccurring.
I found the notes by using the piano and transposing from C to Bb. First the pianist would play the notes and I would play the note using ear interpretation to find the note. If I had some difficulties with this, I would transpose the note directly from the piano up a tone.
I believe that this part at the beginning adds some texture to the introduction rather than it sounding so empty. Also, the addition of brass into this genre of music is very common where there would be instrumentals with a brass band. Therefore, the addition of the flugelhorn has worked well in order to relate to the psychedelic soul genre in terms of the instrumentation.
Blues:
Blues is an African-American style of music/music genre which originated in the 19th Century. The album which includes the slow blues 'Tea for one' was released in 1976 which is in the era the genre originated.
The blues can mean a lot of things to a lot of different people as the music traverses a wide range of emotion and musical styles. The blues is mainly linked "feeling blue" which is expressed in the music in the situations of longing for a better life, jobs and money.
On the other hand, it also says that the blues can celebrate pleasure/success in the form of dance music. Overall, the listening and performing blues music is an attempted way to overcome sadness and "lose the blues".
The blues began and grew up in the Mississippi Delta just upriver from New Orleans, the same birthplace as Jazz. Therefore, blues and jazz have always influenced each other and they still interact even today. One example of this is the use of improvisation in both blues and jazz music.
http://www.internationalbluesmusicday.com/blues-history.html
https://www.allaboutjazz.com/a-brief-history-of-the-blues-by-ed-kopp.php
I also looked at how jazz and blues were connected in some ways. One of these are the improvisation elements.
Improvisation is the method of composing new melodies on the spot within a matter of seconds, without reading from a score. These melodies are played towards the continuously repeating cycle of chord changes of a tune or also known as a riff. The musician is required to play within the key of the comping section(the accompanying instruments).
The way that some of the artists of the songs we listened to change the melodies was through improvisation. The chord progression played by the comping section repeated while the melodies change, creating interest within the song.
An example of this is the jazz standard I recorded, Kenny Dorham's 'Blue Bossa' where there is a head melody and a solo section for the trumpet where the other instruments continue comping and following this, the music returns back to the head melody.
Improvisation is a way that the genres of blues and jazz relate. Improvisation and solo sections are used in both jazz and blues music, typically during a solo.
https://www.apassion4jazz.net/improvisation.html
However, this could be different in blues music from listening to Tea for One.
Tea for one
Tea
for one is a slow blues in C minor which is in the same form as his
other song "since I've been loving you" from the album 'Presence.
Usually his songs wouldn't sound the same but this was one of the
exceptions.
Below is the YouTube video of 'Tea for one'.
In our original of tea for one, one way that it will differ from the original is the use of the flugelhorn. The trumpet and flugelhorn are frequently used in blues and jazz music particularly if you listen to 'All Blues' Miles Davis. The video is attached in the next video below.
There are some improvised melodies in Led Zeppelin's Tea for one which can be heard in the track played on the electric guitar at 1:13 and onwards. The guitarist is improvising over the chords in the song, coming up with melodies to add interest before the entrance of the vocals.
In our first rehearsal, we were working on the arrangement of the song by
allocating parts to different instruments, working out when we'll start
playing and who will be playing each instrument.
Figuring out the key of the song would be the first step to improvising on the flugelhorn for this song. I could either do this by ear or by finding out the key from other musicians and using a scale.
In the first rehearsal, the flugelhorn was played with a lack of confidence. From not knowing the structure of the song causing confusion of when to come in could result in the lack of confidence while playing. However, the flugelhornist did come up with some interesting melodies during this run through which can be shown in the video recording below.
In this recording, we didn't have a vocalist yet as we were focusing more on the arrangement of the song than the vocalist learning the lyrics. The vocalist assisted with making sure the rehearsal ran smoothly, suggesting some improvements occasionally.
Below are some rehearsal videos.
Tea for one 2
https://www.songfacts.com/facts/led-zeppelin/tea-for-one
First, I watched a video of a song in the blues genre and to follow up with this, I listened to a trumpeter improvising in Bb blues, which is the same key I am playing in. This would help with my improvisational ideas by being inspired by another trumpeter's improvisation.
The video for the 'Tea for One' rehearsal and 'Bb jazz improv' (influence video)are below.
During the rehearsal we would also give cues to the other musicians e.q telling them when to play, counting the bars out loud or saying the chords to keep everyone on track without having to stop.
At the beginning of each rehearsal, we would Listen back to the last rehearsal we did, to remind ourselves of where we left off and where to progress from. This helped us to look back on what needed work so that it could be the focus of the rehearsal. We began doing this as there were times where the rehearsals would be repeating all of the things we had done previously which wasted our rehearsal time and would eventually delay our preparation for performance.
Call and response elements with the vocalist:
In one of our rehearsals, we introduced a section where Omega would do call and response with the vocalist in the section after the bridge. When the vocalist sings 'I don't wanna see it' this is an indication for me to "answer" on the flugelhorn with the same melody and notes but a different timbre due to my instrument.
Call and response also links to the style we are doing, which is the blues. The call and response elements found in the blues are from the African cultures and developed in America. This came from their slave work songs, spirituals and blues.
https://stevetres.com/2016/01/5-types-of-call-and-response-phrases/
This call and response relates to some of my research using the following website link
https://www.catawiki.com/stories/4337-we-ve-got-the-blues-instruments-and-its-influence-on-modern-music.
In blues music, the harmonica is a well-recognised instrument which a solo musician can use call and response with. Usually the vocalist would sing and then the harmonica would respond with an answering phrase. A well known harmonic player in this style is Sonny Boy Williamson II following Stevie Wonder who was influenced by the harmonica and started playing.
After playing this in our rehearsals, we decided to change this due to come feedback we had received that day.This was to introduce a harmony between the trumpet and the vocalist. When the vocalist sang this phrase of 'I don't wanna see it', I transpose the exact notes she is singing a third higher. The result of this would be the notes F, E, Ab and Bb using the same melody. To her this in the music is very unexpected.
With my flugelhorn improvisation, I should try to use the spaces between the vocal lines to improvise a melody to remind the listener that there is a flugelhorn part occasionally, and allowing the flugelhornist to have their own moments which is common in improvisational music. In blues and jazz music, the instruments usually take turn to improvise on their instruments to show off their unique way of improvising to the audience/listeners.
Start with few notes and don't try to make it complex - gets muddles in D minor fr me
At first, I was having issues with improvising in D minor. The sale of D minor is D E F G A Bb C and D and
this is a key that I don't usually play in. To solve this problem, I
used a method which I was taught before in a jazz ensemble which I have
previously attended to start with a few notes and not make it too
complex at the beginning of the solo. After playing a small group of
notes, I can then build on these rather than beginning with a complex
melody and then getting lost for ideas later on in the solo.
Also, while I am improvising during these rehearsals, it is important that I listen to the other musicians in the band rather than just what I am playing. This will help me to keep in time with the music, allowing me to use syncopation at points. Syncopation is when you play something slightly off of the usual beat.
In music theory, if the time signature of the piece is 4/4, this is four beats in a bar. If I wear to play a syncopated note , it would come between the crotchets which are 1 beat each. This would be a quaver, coming in on 1 and a half beats.
Syncopation adds interest in the music as it is unexpected and an improvisational technique used by many other trumpeters and blues pianists
Listen to this video to the right featuring a pianist syncopating in the blues.
https://www.pianotv.net/2016/05/strong-and-weak-beats-time-signatures/
Syncopation which I have explained above, can also be demonstrated using this image.
In
this rehearsal, we also worked on creating an ending. Our final
decision was having a decrescendo at the end where all of the
instruments fade out. At the end of the song, the drummer did a good
decrescendo at the end until the drums were almost quiet which was the
sound we were aiming for.
Our last rehearsal:
Below is the YouTube video of 'Tea for one'.
In our original of tea for one, one way that it will differ from the original is the use of the flugelhorn. The trumpet and flugelhorn are frequently used in blues and jazz music particularly if you listen to 'All Blues' Miles Davis. The video is attached in the next video below.
There are some improvised melodies in Led Zeppelin's Tea for one which can be heard in the track played on the electric guitar at 1:13 and onwards. The guitarist is improvising over the chords in the song, coming up with melodies to add interest before the entrance of the vocals.
Figuring out the key of the song would be the first step to improvising on the flugelhorn for this song. I could either do this by ear or by finding out the key from other musicians and using a scale.
In the first rehearsal, the flugelhorn was played with a lack of confidence. From not knowing the structure of the song causing confusion of when to come in could result in the lack of confidence while playing. However, the flugelhornist did come up with some interesting melodies during this run through which can be shown in the video recording below.
In this recording, we didn't have a vocalist yet as we were focusing more on the arrangement of the song than the vocalist learning the lyrics. The vocalist assisted with making sure the rehearsal ran smoothly, suggesting some improvements occasionally.
Below are some rehearsal videos.
Tea for one
https://www.songfacts.com/facts/led-zeppelin/tea-for-one
Creating our own blues composition :
To
begin the creation of our original Blues song, as a band, we decided to
find a chord progression using the 12-bar blues that we were going to
use for our song.
https://www.studybass.com/lessons/blues-bass/the-12-bar-blues-form/
The 12- bar blues pattern is the most common form of chord changes in blues music which is repeated. For a blues song in the 4/4 time, you would have to count 4 beats for each bar. The cycle of chords would be repeated over and over depending specifically on the song.
Going into more depth on the 12-bar blues, it consists of three 4-bar sections which are separated into the first, the middle and the last 4 bars. The first, middle and last all have 4 bars each. The blues can be played in a key desired by the artist but it uses the same principle of the sequence: I IV and V chords.
The first 4 bars would look like: I I I I
The middle 4 bars: IV IV I I
The last 4 bars: V IV I V
This is then repeated as necessary. This can also be shown in the attached image.
When we begin with creating our original, we should get comfortable with all of the chord changes played on the guitars, bass, and keyboards. The flugelhorn and vocalist, which are playing/singing the melodies will have to get used to the key changes in order to know when they are playing within the song structure and for improvised solos(flugelhorn). At first, we may feel like we are concentrating on the chords on every change but eventually, we will start to naturally feel the chord changes.
https://www.studybass.com/lessons/blues-bass/the-12-bar-blues-form/
The 12- bar blues pattern is the most common form of chord changes in blues music which is repeated. For a blues song in the 4/4 time, you would have to count 4 beats for each bar. The cycle of chords would be repeated over and over depending specifically on the song.
Going into more depth on the 12-bar blues, it consists of three 4-bar sections which are separated into the first, the middle and the last 4 bars. The first, middle and last all have 4 bars each. The blues can be played in a key desired by the artist but it uses the same principle of the sequence: I IV and V chords.
The first 4 bars would look like: I I I I
The middle 4 bars: IV IV I I The last 4 bars: V IV I V
This is then repeated as necessary. This can also be shown in the attached image.
When we begin with creating our original, we should get comfortable with all of the chord changes played on the guitars, bass, and keyboards. The flugelhorn and vocalist, which are playing/singing the melodies will have to get used to the key changes in order to know when they are playing within the song structure and for improvised solos(flugelhorn). At first, we may feel like we are concentrating on the chords on every change but eventually, we will start to naturally feel the chord changes.
In the end, our chord progression consisted of the chords Ab, Db and Eb.
When I started my blues improvisation for this song, a technique which
I have used previously, the first step I usually take to familiarising
myself with it is listening to versions of blues music. One
of these examples could be the slow blues cover (Tea for one) that we
are rehearsing and listening to other blues tracks in the same key or
even some different styles of blues all to get an idea of the initial
idea which is improvisation. First, I watched a video of a song in the blues genre and to follow up with this, I listened to a trumpeter improvising in Bb blues, which is the same key I am playing in. This would help with my improvisational ideas by being inspired by another trumpeter's improvisation.
The video for the 'Tea for One' rehearsal and 'Bb jazz improv' (influence video)are below.
I
found out the key of the song so that I could find a scale to begin my
improvisation. The other instrumentalists in the band took into account
of the key my instrument is in (Flugelhorn- Bb) and chose a key which is
suitable for both instruments in C and in Bb.
In this rehearsal, the vocalist also improvised with the vocals as she hadn't yet made any lyrics. During the rehearsal we would also give cues to the other musicians e.q telling them when to play, counting the bars out loud or saying the chords to keep everyone on track without having to stop.
At the beginning of each rehearsal, we would Listen back to the last rehearsal we did, to remind ourselves of where we left off and where to progress from. This helped us to look back on what needed work so that it could be the focus of the rehearsal. We began doing this as there were times where the rehearsals would be repeating all of the things we had done previously which wasted our rehearsal time and would eventually delay our preparation for performance.
Call and response elements with the vocalist:
In one of our rehearsals, we introduced a section where Omega would do call and response with the vocalist in the section after the bridge. When the vocalist sings 'I don't wanna see it' this is an indication for me to "answer" on the flugelhorn with the same melody and notes but a different timbre due to my instrument.
Call and response also links to the style we are doing, which is the blues. The call and response elements found in the blues are from the African cultures and developed in America. This came from their slave work songs, spirituals and blues.
https://stevetres.com/2016/01/5-types-of-call-and-response-phrases/
This call and response relates to some of my research using the following website link
https://www.catawiki.com/stories/4337-we-ve-got-the-blues-instruments-and-its-influence-on-modern-music.
In blues music, the harmonica is a well-recognised instrument which a solo musician can use call and response with. Usually the vocalist would sing and then the harmonica would respond with an answering phrase. A well known harmonic player in this style is Sonny Boy Williamson II following Stevie Wonder who was influenced by the harmonica and started playing.
Sonny Boy Williamson - Down And Out Blues (Not Now Music) [Full Album]
https://www.youtube.com/watch?v=jU0rnQG-R0MAfter playing this in our rehearsals, we decided to change this due to come feedback we had received that day.This was to introduce a harmony between the trumpet and the vocalist. When the vocalist sang this phrase of 'I don't wanna see it', I transpose the exact notes she is singing a third higher. The result of this would be the notes F, E, Ab and Bb using the same melody. To her this in the music is very unexpected.
With my flugelhorn improvisation, I should try to use the spaces between the vocal lines to improvise a melody to remind the listener that there is a flugelhorn part occasionally, and allowing the flugelhornist to have their own moments which is common in improvisational music. In blues and jazz music, the instruments usually take turn to improvise on their instruments to show off their unique way of improvising to the audience/listeners.
Start with few notes and don't try to make it complex - gets muddles in D minor fr me
At first, I was having issues with improvising in D minor. The sale of D minor is D E F G A Bb C and D and
this is a key that I don't usually play in. To solve this problem, I
used a method which I was taught before in a jazz ensemble which I have
previously attended to start with a few notes and not make it too
complex at the beginning of the solo. After playing a small group of
notes, I can then build on these rather than beginning with a complex
melody and then getting lost for ideas later on in the solo. Also, while I am improvising during these rehearsals, it is important that I listen to the other musicians in the band rather than just what I am playing. This will help me to keep in time with the music, allowing me to use syncopation at points. Syncopation is when you play something slightly off of the usual beat.
In music theory, if the time signature of the piece is 4/4, this is four beats in a bar. If I wear to play a syncopated note , it would come between the crotchets which are 1 beat each. This would be a quaver, coming in on 1 and a half beats.
Syncopation adds interest in the music as it is unexpected and an improvisational technique used by many other trumpeters and blues pianists
Listen to this video to the right featuring a pianist syncopating in the blues.
https://www.pianotv.net/2016/05/strong-and-weak-beats-time-signatures/Syncopation which I have explained above, can also be demonstrated using this image.
Our last rehearsal:
In this rehearsal we had decided on having the flugelhorn start at the beginning instead of after a drum and bass introduction. In a video, this is shown where the flugelhorn begins soloing at the start.The video of this is below
I also took on what I have talked about following the last rehearsal about filling in spaces where the vocalist doesn't sing. I began by filling in the vocal lines with the notes B C C in a ascending sequence.
There
were also some alterations made during the flugelhorn solo with the
rhythm. This is at the beginning and in the middle of the song. The
rhythm changed from 3/2 to 6/4 therefore the rhythm is slightly faster.
Shoegaze /dream pop
The Genre:
A subgenre of alternative rock is dream pop with reliance and importance on melody and sonic textures.The other features within dreampop are on the vocals which are breathy. This is when the vocals sings without worrying if they are breathing into the microphone when they are singing.
In terms of the guitars and synthesizers, these are very processed with many elements of echo/delay. Echo in music are the repetitions of sound after 30 milliseconds. In music production echo is also called 'delay'. For example, if you sing or speak in a large room and hear it a moment later. Using the following link, there is a recording of echo being applied to a drum loop.
In opposition to this, the Cocteau twins, who are seen as the leaders of the genre with slow electronic textures.
However dream pop has a more diverse style with elements coming from rock
Their indecipherable vocals and languid soundscapes are also present in this style of music. Indecipherable means when the lyrics that are not understandable for the listeners, so it would make you think that the vocalist isn't singing in English.
According to the website, the vocals in dreampop are usually female vocals with a breathy sound to them.
Our vocalist for our cover of 'Soon' is a male singing in a higher pitch which could suit the genre of the song. We chose to have a male singer in opposition to a female singer due to the vocalist being more suited to the singing in the style than one of the female singers. In some songs in the genre of shoegaze and dreampop, there are some vocalists who sing quite clearly with words that are understandable to the listener.https://tvtropes.org/pmwiki/pmwiki.php/Main/IndecipherableLyrics
Although there are many variations of dream pop this can be concluded by saying that the sonic textures of dream pop are what bring these together. The sonic textures occur between the vocals and the instruments.
https://www.baeblemusic.com/musicblog/8-29-2017/a-beginners-guide-to-shoegaze-and-dreampop.html
My
Bloody Valentine, a widely recognised artist in the genre of shoegaze
with a dissonant, fuzzy sound. This noisy style of music has been
described by some as unfocused and unpleasant to listen to. I think that
this could come from the distortion on the guitars and the way they
song has different textures overlapping each other which incorporates
influences of rock.
Linking back to my research in the genre of shoegaze/dreampop, the characteristics which can be found in this style include distorted vocals and "fuzzy" guitars which is why it can seem unpleasant. Although there is some relation to the pop genre in terms of the structure, there aren't any catchy choruses like there are in pop songs. The song is made up of lots of instrumentation with very noisy melodies.
There is a comparison between pop songs and the shoegaze genre, which is " a pop song was sent into space in a vacuum-packed chamber and returned to Earth completely distorted".
Our cover of 'Soon' - My Bloody Valentine
In this rehearsal, as a band we linked back to the genre of the song which is shoegaze/dreampop by discussing ways to make our composition sound more "dreamy" like original songs of that genre.
Taking into account of our research about the sounds used in the shoe gaze genre and due to the dreaminess of it, we had decided to use effects on the microphone for the trumpet and clarinet. The effect we used is echo.
The Genre:
A subgenre of alternative rock is dream pop with reliance and importance on melody and sonic textures.The other features within dreampop are on the vocals which are breathy. This is when the vocals sings without worrying if they are breathing into the microphone when they are singing.
In terms of the guitars and synthesizers, these are very processed with many elements of echo/delay. Echo in music are the repetitions of sound after 30 milliseconds. In music production echo is also called 'delay'. For example, if you sing or speak in a large room and hear it a moment later. Using the following link, there is a recording of echo being applied to a drum loop.
However dream pop has a more diverse style with elements coming from rock
Their indecipherable vocals and languid soundscapes are also present in this style of music. Indecipherable means when the lyrics that are not understandable for the listeners, so it would make you think that the vocalist isn't singing in English.
According to the website, the vocals in dreampop are usually female vocals with a breathy sound to them.
Our vocalist for our cover of 'Soon' is a male singing in a higher pitch which could suit the genre of the song. We chose to have a male singer in opposition to a female singer due to the vocalist being more suited to the singing in the style than one of the female singers. In some songs in the genre of shoegaze and dreampop, there are some vocalists who sing quite clearly with words that are understandable to the listener.https://tvtropes.org/pmwiki/pmwiki.php/Main/IndecipherableLyrics
Although there are many variations of dream pop this can be concluded by saying that the sonic textures of dream pop are what bring these together. The sonic textures occur between the vocals and the instruments.
https://www.baeblemusic.com/musicblog/8-29-2017/a-beginners-guide-to-shoegaze-and-dreampop.html
Song title- Soon by My Bloody Valentine
Linking back to my research in the genre of shoegaze/dreampop, the characteristics which can be found in this style include distorted vocals and "fuzzy" guitars which is why it can seem unpleasant. Although there is some relation to the pop genre in terms of the structure, there aren't any catchy choruses like there are in pop songs. The song is made up of lots of instrumentation with very noisy melodies.
There is a comparison between pop songs and the shoegaze genre, which is " a pop song was sent into space in a vacuum-packed chamber and returned to Earth completely distorted".
Our cover of 'Soon' - My Bloody Valentine
In this rehearsal, as a band we linked back to the genre of the song which is shoegaze/dreampop by discussing ways to make our composition sound more "dreamy" like original songs of that genre.
Taking into account of our research about the sounds used in the shoe gaze genre and due to the dreaminess of it, we had decided to use effects on the microphone for the trumpet and clarinet. The effect we used is echo.
During
the rehearsal, we listened to which we did a cover on. Listening to
how another artist have combined techniques to result in a "dreamy"
sounding song.
In this rehearsal the flugelhorn was playing in some places where the brass didn't work.
When
there is brass dropping in and out throughout the whole song, there is
not variation and you constantly hear the brass without anything new
coming in to keep the audience interested.
The brass player should find suitable places in the music to play such as in the introduction.
In
the recording there is a melody played on the... which the
flugelhornist tried to recreate. Playing the notes on the piano to begin
with and then transposing to the flugelhorn in Bb was the method we
used. This ensures a correct transposition of the notes played in the
recording.
Beginning
the rehearsal with listening to last weeks video, to pick up from where
we left off and improving the arrangement from our last rehearsal.
In this song where I play a melody with the notes C and F, it is made up of staccato notes which were not very evident on the recording of the rehearsal which resulted in the notes sounding like they were joined rather then separated.
A staccato is a series of notes which are separated. The note staccato translates to 'detached' from Italian. The note is played by shortening the note by half and this is presented on sheet music as a dot on top of the note.
http://www.classical-music.com/article/what-isstaccato
One of the beginnings to creating an arrangement for this cover of 'soon' was to choose a vocalist. To link this to my research into the genre I have found out that the vocals in dreampop are typically females due to their abilities to sing in higher pitches and the tone.
The
vocals are also indecipherable and breathy, therefore, you wouldn't
know that the vocalist is singing about an whether they even have
lyrics. We thought that Ashley - our current vocalists, voice would suit this style.
Discussion:
- No clear vocals
- Finishing the shoe gaze song with a staccato is not the style- finishing with feedback on the guitar
- Having the flugelhorn playing at the end
- Difficulty with the note jump from C to F.
The videos of creating an ending for the song (3 ideas)
Original - 'Lately'
In the shoegaze/dream pop, genre, we worked on creating an original song which we eventually named 'Lately'.
We began with duets between the clarinet and flugelhorn which can be heard in the rehearsal video. We did this by first creating a melody to play simultaneously.
Original - 'Lately'
In the shoegaze/dream pop, genre, we worked on creating an original song which we eventually named 'Lately'.
We began with duets between the clarinet and flugelhorn which can be heard in the rehearsal video. We did this by first creating a melody to play simultaneously.
In
the next rehearsal, we decided, to create some new melodies due to some
feedback from another band member, saying that what we were playing
didn't properly suit the genre as it didn't sound very 'dreamy'.
In some of our rehearsals we used the distortion pedal and added effects such as echo/delay to the microphone used for the woodwind/brass section to suit more to the genre: dreampop. These are techniques frequently used within the genre, therefore, we are linking how we set up the microphones according to the style.
In some of our rehearsals we used the distortion pedal and added effects such as echo/delay to the microphone used for the woodwind/brass section to suit more to the genre: dreampop. These are techniques frequently used within the genre, therefore, we are linking how we set up the microphones according to the style.
Sometimes, there were clashing parts between the clarinet and the flugelhorn where it occasional sounded 'messy' and unorganised, as if we weren't prepared for the rehearsal.
There
were some aspects we added to our playing such as dropping in and out
of the music, dropping out especially during the verses. Juan, on the
clarinet would begin the song with a short, repetitive melody which
would some to an end when the vocalist starts singing.
Due
to the importance to melody in this genre, as a woodwind section, we
had decided to have 2 melodies which repeat in the choruses and then
developed the melody after the first one had 'exhausted its potential' which was after a few bars.
First, the clarinet does a melodic solo before the vocalist comes in and then we leave the verses emptier. However, in the chorus section the first melody that we play is doubled up by the flugelhorn and the clarinet, creating a thick texture due to the contrasting sounds of these two instruments.
First, the clarinet does a melodic solo before the vocalist comes in and then we leave the verses emptier. However, in the chorus section the first melody that we play is doubled up by the flugelhorn and the clarinet, creating a thick texture due to the contrasting sounds of these two instruments.
The hip-hop music genre:
The hip-hop genre, which originated in the 1970's is a style which makes up various other sub genres. These sub genres can be listed as Alternative rap, Bounce, East coast rap and Latin rap which are some examples.
The first successful song within this genre is called 'Rapper's Delight' By 'The Sugar Hill Gang' which came out shortly after the genre began (1970) in 1979. The audio examples will be attached below with a series of other popular songs within the Hip-Hop genre.
Hip-hop also takes influences from other musical genres such as Jamaican reggae and Dancehall music, which were popular in the late 1960s. Due to the music being influenced by Jamaican reggae, it originated in Jamaica, then spreading to American and other parts of the world. The music particularly then became popular listened to by the African Americans and Latinos from Latin America.
In terms of the instrumentation of Hip-Hop music, it can be quite simple as the sound is mainly synthetic coming from the synthesizers, drum machines in oppose to live drums, samplers and turntables.
Some
examples of artists who have contributed to the successes of Hip-Hop
music are Snoop Dogg, Dr. Dre and Tupac Shakur. However, the current
well-known Hip Hop artists feature Kanye West, Eminem, 50 cent. etc.
In terms of the visual aspects of the hip-genre, the
music videos usually show wealth and a lavish lifestyle which can be
evident through the production costs, which are unique depending on the
style of the artist.
The
setting of the videos are usually in an urban environment with artists
showing their lavish lifestyle surrounded by clubs and fast cars.
In
a performance setting, the lighting would usually be a low-key rowdy
like party atmosphere with occasional bright lighting to feature the
artist for prevalence.
There are also some stereotypes which comes with hip-hop which can include fast cars, women with revealing clothing, lavish locations and drugs. Graffiti, break dancing, the attitude and style of the people defined the traditions of the 'hip-hop' culture.
There are also some stereotypes which comes with hip-hop which can include fast cars, women with revealing clothing, lavish locations and drugs. Graffiti, break dancing, the attitude and style of the people defined the traditions of the 'hip-hop' culture.
Lavish means large in quantity, expensive and impressive.
With
the clothing being very fashionable and expensive, Kanye West created
his own fashion label, has brought back the significance of this
style.
https://www.britannica.com/art/hip-hop
https://www.mindmeister.com/833159102/codes-and-conventions-of-the-hip-hop-genre?fullscreen=1
The lyrics ----- CINEMATOGRAPHY
"Kanye West, one of Jay-Z’s producers, emerged as one of the most fascinating and polarising characters in hip-hop following the success of his 2004 debut album The College Dropout."
Being very experimental with music and his fashion, he represented hip-hop’s greatest possibilities. Also with his personal lyrics which were deep and penetrating that he sung in his songs .
The editing of the music
intertextuality
Voyeurism
Through the wire - Rehearsal 1
Beginning our understanding of the genre through listening to a series of songs within the Hip-Hop genre, below are the examples we listened to.
HIP HOP song examples
Rappers Delight- Sugarhill gang
Through the wire
I particularly liked the song Poetic Justice due to the addition of the saxophone which could give me some inspiration on my part on the flugelhorn.
Although this wasn't a song that we had picked to perform, I decided to gain influences from the other songs anyway as they are all examples of Hip-Hop, contributing as a whole to our original.
At the beginning of our rehearsal, the pianist worked out the chords by ear and
The chords for the chorus is Am, Dm, G, C, F, Dm, E7 and the chords in the verses are Am and Dm.
The drummer experienced some difficulties during the rehearsal with the part played by the drummer.
To help Juan with this, somebody suggested to create a mnemonic phrase to help him remember the off-beat. The off beat is a beat which doesn't follow the regular beat and in other words, this is a form of syncopation.
Therefore, instead of the drummer playing on the usual beat, there is a slight pause before the syncopated beat is played.
The Mnemonic phrase came up with is 'Do you want a coffee' which is said with the rhythm of the drum beat where the end ('ee') the word coffee is the next first beat...
https://www.dummies.com/art-center/music/piano/syncopation-hitting-the-off-beat-while-playing-music/
In
our cover of 'Through the Wire' we will be including improvisation on
the flugelhorn during the rap sections and between the verse lines.
To do this I began by working out the key I am playing in by transposing to the key the pianist is playing in. Due to the piano playing in C and the flugelhorn in Bb, I will be playing one tone higher than the piano. Therefore, as the piano is playing in D major, I will be playing in E major.
The E major scale is E Fsharp, Gsharp, A, B, Csharp, Dsharp and E.
To do this I began by working out the key I am playing in by transposing to the key the pianist is playing in. Due to the piano playing in C and the flugelhorn in Bb, I will be playing one tone higher than the piano. Therefore, as the piano is playing in D major, I will be playing in E major.
The E major scale is E Fsharp, Gsharp, A, B, Csharp, Dsharp and E.
For
the verses and choruses, I will be playing two contrasting melodies.
During the rap sections the melodies would consist of more longer notes
than the more complex melodies which I aim to play in-between the
vocal lines.
There is a drum break in the song where the drummer plays an on beat rhythm at the end
Experimenting with this part, I played a group of notes in the same rhythm as the drummer plays with D, Csharp, B and A to make an ascending and then descending melody. The most important part for this section is to keep in time with the drummer, playing each note within the beat of the drum and playing on the first beat of that bar.
Near the end of this rehearsal, I had come up with a melody to play in the verses(the rap section) This simple melody is made up of the notes B and C#. This is shown in the video
There is a drum break in the song where the drummer plays an on beat rhythm at the end
Experimenting with this part, I played a group of notes in the same rhythm as the drummer plays with D, Csharp, B and A to make an ascending and then descending melody. The most important part for this section is to keep in time with the drummer, playing each note within the beat of the drum and playing on the first beat of that bar.
Near the end of this rehearsal, I had come up with a melody to play in the verses(the rap section) This simple melody is made up of the notes B and C#. This is shown in the video
I listened to the violin instrumental part in another version of 'Through the wire'. The video is linked below. During the verses, I have noticed that the Violinist plays the vocal melody 'Through the wire, through the limits to the wall' while Kanye West raps in the verses.
From this, I have noticed that this variation of the verses and chorus melodies being played at the same time creates variation and builds up the texture.
https://www.youtube.com/watch?v=SJ3SVkhdwdQ
Next rehearsal 16/1/19
Adding more to the improvisation section
Changing the flugelhorn melody for the rap section
Difficulties with creating lyrics for the rapper vocalist
Rehearsal 17/1
Using the vocalist's original song altered to the hip hop genre
Creating the first melody for the flugelhorn in video
https://www.youtube.com/watch?v=bwLG1sFaiKU
70s progressive rock genre
http://www.progarchives.com/Progressive-rock.asp#definition
Progressive
rock is a style which originated between the 1960s and 70s. It's a form
of rock music also known as prog rock which was created in the aims to
"elevate" or "progress"
rock music. This style had developed from psychedelic rock in the 1960's.
The music was "elevated" through developing the technique and composition further than they already were.
Most significantly, this genre combined other genres into the music such as from classical and jazz music. This is what creates it's musical influences from other genres.
The standard verse-chorus structure, mostly common in rock and pop was not followed in this style.
Some features of this style according to my research into a few sources have included instrumental sections and the songs mostly being based in fantasy (the lyrics. The topic of the song's lyrics were also abstract or conceptual, usually created to tell a story about an theme or occurrence.
The Musical characteristics of progressive rockrock music. This style had developed from psychedelic rock in the 1960's.
The music was "elevated" through developing the technique and composition further than they already were.
Most significantly, this genre combined other genres into the music such as from classical and jazz music. This is what creates it's musical influences from other genres.
The standard verse-chorus structure, mostly common in rock and pop was not followed in this style.
Some features of this style according to my research into a few sources have included instrumental sections and the songs mostly being based in fantasy (the lyrics. The topic of the song's lyrics were also abstract or conceptual, usually created to tell a story about an theme or occurrence.
This links to the instrumental passages
which are also included in progressive rock, coming from classical music
or earlier rock bands. This is merged with the improvisation of jazz
and psychedelic rock. All of these melodic additions to progressive rock
cause the song to last longer than usual, almost 20 minutes.
This style of music is very melodic on the guitars which are frequently used in this music, coming from the psychedelic rock instrumental features.
The traditional instruments of psychedelic rock
such as the guitar, organ and bass groups were expanded with progressive
rock, adding in more instruments such as those of jazz or folk music.
Due
to the saxophone and violin featuring in progressive rock, it would be
within the style to include a flugelhorn, which is also a jazz
instrument, for our original of progressive rock.
Lastly the mellotron and Moog synthesizer has began to be used frequently with this genre.
In terms of the instrumentation, we would say that the use of instruments are very diverse, as said in my previous research. The use of the saxophone and violin could represent an influence from other genres such as classical and jazz music.
To go into further detail with this, we had noticed the an example of a progressive rock song being very saxophone dominated at some points which may have been done to emphasize the genre influences. Due to the saxophone being commonly used in jazz music for improvisational purposes, I can use this as evidence to show that the saxophone improvisation is used in both genres and that progressive rock artists have incorporated this into their music.
An example of a song which we listened to gain inspiration was Buzzcocks - Boredom which is the video below.
As a flugelhorn player, this idea of incorporating different genres into the style of progressive rock has appealed to me as this style would give me the opportunity to freely improvise in the music to give it a "jazzy" influence. Improvisation on the flugelhorn is the process of creating melodies on the spot (within seconds) based on the key and the melodies in the actual song. When I improvise, I find it useful to imagine a scale in the mind which helps with creating new melodies if I am ever lost for ideas as the scale could be played with an ascend. It also helps to stay in key of the music which are some issues I have had with improvisation in the past(coming out of key, sometimes coming out of the key sounds good in the music particularly in jazz music)
We listened to a song in the progressive rock style and I noticed the use of string instruments, particularly the violin in this style of music which could represent the influences from classical or folk music which I have previously mentioned.
The violin sound is also very prominent at some parts in the music. The strings sounded like they were pre recorded and then the chord would be played.
The use of vocalisation on the vocals instead of actual lyrics such as singing "oohhs" and "aahhs" frequently.
Structurally :
The music is very sectioned so that each part sounds different.
The Speeding up and slowing down of the music constantly to clearly contrast the sections is a feature that I have researched into which appears to be a key aspect of progressive rock.
In our original, we have decided to contrast our sections in that way too, doubling the tempo in the second section. In this section, the melodic instruments such as the flugelhorn have to adapt to this tempo. Such as, when I come in with the flugelhorn melody in the slower section, the notes are longer and I play a descending phrase of the notes B A G# and F# before there is a key change a semitone higher where I play the notes C# B A# and G#.
This is shown in the video below. The long notes are played in the middle of the video at 1:12.
The Speeding up and slowing down of the music constantly to clearly contrast the sections is a feature that I have researched into which appears to be a key aspect of progressive rock.
In our original, we have decided to contrast our sections in that way too, doubling the tempo in the second section. In this section, the melodic instruments such as the flugelhorn have to adapt to this tempo. Such as, when I come in with the flugelhorn melody in the slower section, the notes are longer and I play a descending phrase of the notes B A G# and F# before there is a key change a semitone higher where I play the notes C# B A# and G#.
This is shown in the video below. The long notes are played in the middle of the video at 1:12.
Sound cloud recordings of band workshop
Performance:
Our styles performance took place on the 7th February where we performed songs each from 6 styles of music.
The Setlist :
1. Pronk (Progressive rock/Punk combination)
2. Through the wire - hip hop
3. So simple - psychedelic soul
4. Seventeen- disco
5. Lately- shoegaze
6.Soon- shoegaze
Progressive rock- 'Pronk'
Following the rehearsals for our song in the progressive rock style, there were positive and negative aspects of the performance. Firstly, my flugelhorn part was to play longs notes in a descending sequence which were the notes B, A , G# and F# and in the key change immediately after, C#, B, A and G#.
The part that I had forgotten to play was when this part comes in again when the vocalist is singing during the outro section, when the music is coming to a close. The aim of this was to have the flugelhorn melody which was heard early on come back into the music and remind the listeners of the flugelhorn's melody and contrast to the melody played by the vocalist.
The main thing that went wrong here is planning to play this part too late into the rehearsals which resulted in forgetting the part, having not practiced it enough.
For future performances, I believe it is essential to stick to playing what the band has been rehearsing for the past few weeks or enough time in advance, depending on the musician. However, if it occurs that an instrumentalist learns something late, e.g a day before the performance or on the day, they could make sure to have enough time to practice rather than going straight into the performance without thorough practice with the part. For example, in the future, if the band were unavailable for some of the performances, I would practice my part by myself with recording of the band, to act as if I am playing with the band. This would make me get used to the part more and get to know thoroughly when I am coming in with that part and overall, this would make me more confident for the performance.
Another positive was how well the song transitioned from the fast sections too the fast sections. After the flugelhorn melody at 1:42, the drummer immediately slowed down the tempo and shortly after, the vocalist enters singing to match the tempo of the drummer, much slower than previously. The transition to this section during the rehearsals was particularly difficult for the drummer as he would slow down too late or not slow down at all. Therefore we are impressed of how well this transition went as this is an important aspect in the style of progressive rock. This is also something that we took on from the songs in this style which we listened to as examples.
The performance of through the wire particularly went well due to all of the instruments playing their rehearsed part during the performance which resulted in a well-put together song. The audience also seemed to engage really well with this song especially during the rap section which was good because it shows their enjoyment of our music and hip-hop is usually very audience engaging which can be evident in the video attached.
In the rap section, I felt that the music had a good build up. During the rehearsals, I had decided to create a part to play in this section which seems to have turned out well. With all of the instruments playing in forte with the flugelhorn adds a good contrast to the verses sang by the singer and the rap choruses.
While playing this, I also made sure not to continue playing the same two notes repeatedly without contrasting the phrase. After approximately playing the C and Bb for 4 times, I would make contrasts by extending the note durations, changing the rhythm by repeating the same note or joining the notes together.
At the beginning of so simple, the melody of 'I remember the simple days' is played on the guitar where the flugelhorn doubles up on the melody. There was a slight mistake on the note I played which clashed with the note on the guitar. When this happens, I change the note quickly or play quieter so that the note doesn't differentiate the melody.
Also the flugelhorn didn't have a part to play for the rest of the song even though it could have had some addition. However, this wasn't rehearsed prior to the performance. In the future, working out a flugelhorn part early on in the preparation would improve and increase my involvement in all of the songs.
However, something that I noticed which didn't fit together with the main vocalist is when the guitarist doubled up the vocalists line by singing 'Sky' at the same time that she was. I thought that the guitarist sounded out of key compared to the main vocalist even though you couldn't hear it as prominently.
In Lately, there wasn't enough coordination between the flugelhorn and clarinet players as we are playing the same parts but are not coordinating during the performance which would have been ideal. If this is done in the future, we will know well what each other is playing and when top drop out to let the other instrumentalist have a solo. The introduction, where the clarinet plays a small solo, there were a few squeaks from the and a few split notes. This is something tat the clarinet player had noticed before the performance but he had not resolved the problem. Therefore, in the future, if there is a faulty instrument being used in the band, it should be replaced as soon as possible or it will affect the performance.
Looking over work:
Checking that all of the videos work
Elaborating on more points if there is time
Adding some videos of me working on the styles on my own
One video for each of the styles.
At the beginning of so simple, the melody of 'I remember the simple days' is played on the guitar where the flugelhorn doubles up on the melody. There was a slight mistake on the note I played which clashed with the note on the guitar. When this happens, I change the note quickly or play quieter so that the note doesn't differentiate the melody.
Also the flugelhorn didn't have a part to play for the rest of the song even though it could have had some addition. However, this wasn't rehearsed prior to the performance. In the future, working out a flugelhorn part early on in the preparation would improve and increase my involvement in all of the songs.
'Soon' and 'Seventeen' seemed to be successful as there was good audience feedback and all of the parts were as rehearsed.
In seventeen, Watching the video back, I particularly noticed a good performance by the vocalist. She used good actions and gestures during the performance to reflect the lyrics she sang and during the small breaks where she didn't sing, she was moving and had a good rhythm.However, something that I noticed which didn't fit together with the main vocalist is when the guitarist doubled up the vocalists line by singing 'Sky' at the same time that she was. I thought that the guitarist sounded out of key compared to the main vocalist even though you couldn't hear it as prominently.
In Lately, there wasn't enough coordination between the flugelhorn and clarinet players as we are playing the same parts but are not coordinating during the performance which would have been ideal. If this is done in the future, we will know well what each other is playing and when top drop out to let the other instrumentalist have a solo. The introduction, where the clarinet plays a small solo, there were a few squeaks from the and a few split notes. This is something tat the clarinet player had noticed before the performance but he had not resolved the problem. Therefore, in the future, if there is a faulty instrument being used in the band, it should be replaced as soon as possible or it will affect the performance.
Looking over work:
Checking that all of the videos work
Elaborating on more points if there is time
Adding some videos of me working on the styles on my own
One video for each of the styles.
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