Ice Cream and How to Publish Your Music on Major Streaming Services

My latest pop tune, “Ice Cream”, was inspired by Rick James and Prince. It’s an electro-funk composition with a super catchy beat.

Ice Cream

This is my first pop tune available on all major streaming services, see the links below to check it out.

I thought I’d share what I learned about the process.

The publication process:

  1. Have it mixed and mastered professionally. It makes a difference, especially when streaming on different platforms. The mastering engineer will add correct metadata, so it can be tracked and monetized.
  2. Register it with either BMI or ASCAP. I’m a member of ASCAP. They will give you a registration number connected to the metadata in your track.
  3. Publish it through CD Baby or any other publishing company. CD Baby charges a one-time, $35 fee for a single or $50 for an album. They’ll need your registration number from ASCAP or BMI to track downloads and streaming.
  4. Once it’s published, it’ll can take several days or several weeks for your song to first appear on Apple Music, iTunes, Spotify, Pandora, Tidal and all the rest. CD Baby will track the streams for you and send a check each quarter.
  5. Next, you got to promote it through paid advertising, digital radio, terrestrial radio and/or social media. That’s where the real work begins. Nobody will find it unless you push it.

iTunes:
https://itunes.apple.com/us/album/ice-cream/1313444213?i=1313444262

Spotify:
https://open.spotify.com/album/0UtiWf5dvuz0F0cRLVlm22

CDbaby:
http://store.cdbaby.com/cd/davidmitchell4

College Music Society National Conference

Friday, I received a nice letter from the College Music Society. They selected my conference proposal! Jennifer Jones Mitchell and I will be presenting at the 2016 CMS National Conference in Santa Fe. We’re excited! Our topic is “Marketing Your Music Online: A Guide to Social Media for The Musician”.

The conference will be late October at at the Eldorado Hotel & Spa, the Hilton Santa Fe Historic Plaza, and St. Francis Auditorium in Santa Fe, New Mexico.

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The Bells

Here’s an interesting new composition. It’s a piece I wrote for Vocal Essence, “one of the world’s premier choral music organizations” according to their website. They host an annual choral music competition. The guidelines called for a Christmas carol featuring Scandinavia violin and chorus. Unfortunately, I missed the deadline.

I finished the piece of course, and it was selected by the Southeastern Composers League for their annual concert series. And I must say, the Campbell University Chorus conducted by Dr. Phillip Morrow featuring Lucy Greenleaf-Carter on violin did a wonderful!

This piece is a setting of Edgar Allan Poe’s poem “The Bells”. The fast moving violin part creates a feeling of nervous energy. It’s intended to sound like snowflakes swirling in the air on a cold Christmas night in the dead of winter. The chorus mimics the sound of bells ringing at the stroke of midnight across a frozen city scape.

Dr. David Mitchell’s Composition “The Bells” to be Performed by Campbell University Chorus

Dr. Mitchell’s original composition, “The Bells” for chorus and violin will be performed by the Campbell University Choir – featuring Lucy Greenleaf-Carter on violin – on Friday, February 19, 2016. “The Bells” was arranged and set to the Edgar Allen Poe poem of the same name.

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Violinist, Lucy Greenleaf-Carter

Dorn Publishes Four David Mitchell Compositions

Screen Shot 2016-01-17 at 5.12.18 PMFour of Dr. David Mitchell’s original compositions are now available on Amazon.com from Dorn Publications, including:

 

Is It Still Possible to Make a Living as a Private Guitar Instructor?

As a private guitar instructor with over 20 years experience, I have noticed a disconcerting decline in the number of students who sign up for private lessons, and I was curious to learn whether or not other instructors have experienced the same thing. So, I posted the following question to a number of professional groups on LinkedIn including Classical Guitar and Guitar Instructors. Is It Still Possible to Make a Living as a Private Guitar Instructor?

guitar

Out of 45 comments so far, all respondents acknowledged the decline. Most sighted the availability of free instructional videos on YouTube as a major reason for the decline. Walter Peretiatko wrote, “Yes, YouTube has killed a lot of my guitar students…”

In addition, Eric Symons wrote,

“This is a tough subject for me to publicly discuss, as I see a trend that disturbing in the US and other so called “First World” countries. While living in a world that has kids living with inorganic mediums such as video games and computers, and less of them having exposure to music in the schools than any other generation in our history, we must accept a decline in the classical guitar…”

Others pointed to a less vigorous economy. Zane Zirkle wrote, “In a Hope and Change economy, music lessons are a luxury to the average Joe… “ .

Jack Alves wrote, “I too have noticed a slight decline in the over -all teaching biz. From music that’s not all that motivating, to “School of Rock” programs, to students who are willing to forfeit the basics…”

From these responses, it appears there are a variety of factors leading to a decline in the number of students seeking private guitar lessons. The availability of free online content and resources makes it easy for students to learn to play for free in the convenience of their own homes. The sluggish economy and dwindling disposable economy is a factor too. In addition, guitar is no longer the driving force in popular music. Most music is created “in the box” with programs like Ableton eliminating the need to spend years mastering an instrument. Also, there are so many different instant gratification apps, video games, social media sites and digital sources vying for the public’s entertainment time and money. Can an instrument, which requires tremendous personal sacrifice to master, really compete?

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What does this mean for the future of private guitar lessons? It’s clear that the days of making a living solely as a private instructor are gone for now. Guitarists and musicians in general, must develop multiple income streams and embrace technology as an integral part of their skill set. For the 21st century musician, it will no longer be viable to simply play or teach an instrument. Lessons will always be a piece of the puzzle, but today’s musicians must know how to write for commercials, film, video games, record voice over, distribute and promote themselves online and through social media. If you have the right skill set, technology becomes a tremendous tool to sell your music and skills to a wider public than ever before.

Most schools and universities are developing music and technology degrees to meet the needs of today’s musicians. For example, Gwinnett County Public Schools now offer courses in music technology which focus on recording, composition, film score and video game composition. Private schools such as The Atlanta Institute of Music and Media also offer degrees in music and technology, job placement and industry contacts, so the future is not bleak, just different than the 80s or 90s.

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I agree with Derek Stottlemyer, who wrote, “As a web architect I see a lot of options, and online offers the opportunity to earn passive or residual income in addition to paid lessons – but instructors have to break the mold and be willing to try new things.” Indeed!

2014 Society of Composers National Conference

The 2014 Society of Composers National Conference took place March 20-22 at Ball State University in Muncie, Indiana. It featured three days of concerts and paper sessions in Sursa Performance Hall by select composers from across the US. The conference wordpress blog and facebook page contain specific details regarding the concert schedule and events. The overall quality of the concerts and paper sessions was excellent!

Sursa

Inside Sursa

 

 

 

 

 

 

 

 

Notably, the majority of concerts featured electronic resources and multimedia. To be sure, there were a number of pieces with traditional acoustic instruments and some old school electroacoustic music with outstanding spatialization enhanced by Sursa’s eight-speaker configuration which enveloped the audience. That being said, many, if not a major of pieces on the program featured both acoustic instruments and either prerecorded electronic accompany or manipulation of live sound in real time. Some pieces also contained video projection in which case, a video screen was lowered above the stage.

audienceIt is exciting to note that 21st century composers are embracing technology and multimedia. With all of the new resources available to composers, it seems that composers of new music are blurring the lines between electronic and acoustic music. This most assuredly will be an area of research for some musicologist in the not too distance future.

In addition, many of the paper sessions discussed topics related to emerging technologies and live performance. For example, Zachary Boyt discussed MIDI bows, while Orlando Legname presented electronic sensors for conducting which interact with MAX/MSP in real time.

Orlando Legname

 

Zachary Boyt

 

 

 

 

 

 

 

 

It was a great conference. I’m definitely planning to attend the 2015 conference. I would recommend it to all composers of new music who wish to stay abreast of the latest developments in new music.

By the way, I was a presenter at the first paper session on Friday, March 21. My paper was entitled Metamorphoses Nocturnes a Stepping Stone in the Compositional Development of Gyorgy Ligeti.

mephoto(6)Here are a number of links to photos and other media from the conference:

https://twitter.com/Music_comp/media

https://www.dropbox.com/sh/qgo8nrk7t8l6te0/V_HOi3Dh3D

Special thanks to Michael Pounds, Keith Kothman and Jim Rhinehart for organizing such a great conference. If I have left anyone out, my apologizes. Please send me your name and a link to your blog and/or website, and I can include it in this blog. Thanks again! See you in 2015.

Is There a New Minimalism Underway in Popular Music?

Is there a new minimalism underway in popular music? It seems two of the most recent number one songs, “Blurred Lines” and “Royals,” consist of little more than a catchy percussion driven beat with bass and harmony vocals. It is a very effective combination, if the lyrics are strong, because minimal accompaniment focuses the listener’s attention on the words making them more important to the success of the song.

There are a number of artists who have built careers using minimal accompaniment including Bob Dylan, in his early folk period, and Neal Young. Can you name other artists who use minimalism?

Photo courtesy of billboard.com.

Blurred Lines by Robin Thicke, How to Write a Hit Song

According to Billboard Magazine, Blurred Lines “has sold 5.8 million downloads in its 26 weeks of release, according to Nielsen SoundScan. It continues its radio dominance with a 10th week atop R&B/Hip-Hop Airplay.” What makes this song popular with everyone from 80-year-old grandmothers to 18-year-old hipsters is how these controversial words are set musically. There are plenty of songs that explore controversial themes, but this particular song has obviously captured a large audience. There must be something about the music that makes it popular.

The instrumentation is very sparse consisting of only bass and percussion, see Example No. 1. The percussion section is just a cowbell, clap, and high hat. There is also a mark tree (chime tree) at the beginning which adds a little color.

The bass part establishes a repetitive rhythmic pattern on scale degrees one and five in the key of G major. There is a descending turnaround in measure 8 that walks down the G major scale from note D to G. This firmly establishes the song in the key of G major, see Example No. 1. The entire chord progression is simply four measures on a G major chord and four measures on a D major chord with a turnaround in measure 8.

Example No. 1

Blurred Lines Example 1aBlurred Lines Example 1b

The most interesting aspect of the accompaniment is its driving rhythmic pattern which is highly syncopated and full of rhythmic interest. For instance, the cowbell starts on the upbeat of count one with an interesting sixteenth-note pattern that ends on the upbeat of count four. This rhythmic motive starts and ends on an upbeat giving the song an irresistible rhythm. The clap occurs on counts two and four creating a straight up, rock and roll back beat which never fails to give any song a bouncing, upbeat rhythmic intensity. The high hat is used sparingly on the upbeat of count four in every other measure.  This creates a nice rhythmic lift in measures 2, 4, 6, and 8.

Basically, the instrumental accompany is as simple as it gets, only two chords, no guitar, no keyboard, just bass. The accompaniment provides a bare bones harmonic structure and a driving rhythmic pattern that propels the song forward allowing the vocals to stand out.

This song relies almost exclusively on its vocal setting. One of the ear marks of a good setting is how closely the rhythm follows the natural rhythm of the words when spoken. For instance, “You’re a good girl, I know you want it,” sounds identical to the way one would naturally say it. Say it a few times then sing the song as comparison. Sounds the same right?

Also, the melodic contour and harmony accentuates important words and phrases throughout. For instance, harmony is only used on “You’re a good girl,” and “I hate these blurred lines.” In the chorus, these words are harmonized in thirds on both the five and one chords respectively. In both cases, the lower voice starts a half step below the third (Bb) and the seventh (F natural) in the G major scale. Then it slides up to the B natural and F#. The initial lowered third and lower seventh create extra harmonic tension making these words really stand out in the song. Most people who hear this song for the first time will remember those particular lines. Who can forget “you’re a good girl, I know you want it.” That is the core of this song.

What’s the lesson for aspiring musicians and song writers in this song? Less is more. The sparse instrumental accompaniment provides a driving rhythmic pattern which allows the words to stand out from the accompaniment. There are no fancy guitar solos or instrumental breaks to distract the listener, and harmony is used sparingly only on the most important words. So if you want a hit song, create a catchy hook and keep it simple baby. See you on the charts!

How to Write a Melody: Augmentation and Diminution

Augmentation and diminution are two widely used compositional techniques that can be applied to almost any melody. In this blog post, I will show you how to use these techniques to generate a plethora of new material for your next composition.

There are two types of augmentation, rhythmic and intervallic. Rhythmic augmentation means that all of the note values in a given melody are increased by an equal amount. In most cases, rhythmic values are doubled, but they can be increased by almost any amount. Example No. 1 is an original melody used in my first blog post to demonstrate retrograde, inversion, and retrograde inversion. Example No. 2 shows this melody with its note values doubled.

Example No. 1

original melody

Example No. 2

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Intervallic augmentation means that all of the intervals increase, see Example No. 3. This changes where notes fall in relationship to the underlying harmony, so the accompaniment usually needs to be adjusted to compensate.

Example No. 3

intervallic aug

Diminution is the opposite of augmentation. All of the note values and/or intervals are shortened by an equal amount, see Example No 4.

Example No. 4

Rhythmic dim

Example No. 5 is an augmented version of the original melody with sixteenth-note accompaniment. The accompaniment pattern is also a good example of diminution in action. Counts one and two in measure 1 are the original melody in diminution, see Example No. 1. Notice it’s the same melodic contour in sixteenth notes. Essentially, Example No. 5 is derived from a single motive which is subjected to both augmentation and diminution. See what you can do with just a few ideas and an arsenal of composition techniques in your tool chest?

Example No. 5

aug and dim example