Music Protest https://www.musicprotest.com Authenticity is a wandering path. Music Protest is the trailhead. Wed, 06 Dec 2017 21:26:39 +0000 en-US hourly 1 https://wordpress.org/?v=4.9.1 https://www.musicprotest.com/wp-content/uploads/2017/09/cropped-Logo-1024x1024-32x32.png Music Protest https://www.musicprotest.com 32 32 135618085 iOS Music: Routing MIDI with MidiFire Instead of Midi Bridge https://www.musicprotest.com/2017/12/06/ipad-ios-music-midifire-ableton/ https://www.musicprotest.com/2017/12/06/ipad-ios-music-midifire-ableton/#respond Wed, 06 Dec 2017 21:26:39 +0000 https://www.musicprotest.com/?p=6279

FavoriteMidiFire is a new app from Audeonic, the programmers behind the incredibly useful and reliable iOS app Midi Bridge.  MidiFire (like Midi Bridge) offers a graphical user interface for routing MIDI and connecting MIDI apps and MIDI signals within an iPad as well as from/to external devices over wires and wifi.  MidiFire is a worthwhile … Continue reading iOS Music: Routing MIDI with MidiFire Instead of Midi Bridge

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MidiFire is a new app from Audeonic, the programmers behind the incredibly useful and reliable iOS app Midi Bridge.  MidiFire (like Midi Bridge) offers a graphical user interface for routing MIDI and connecting MIDI apps and MIDI signals within an iPad as well as from/to external devices over wires and wifi.  MidiFire is a worthwhile update that offers:

  • Renaming connections (a.k.a. blocks)
  • Easier to Save/Share Configurations
  • Better UI
  • iOS 11 Compatibility

An online student, from the Music Protest online course Electronic Music Live Performance: Ableton and MIDI asked about using MidiFire with iOS 11 and so, we prepared this brief tutorial and summary video (routing MIDI from Ableton to MidiFire and back):

iOS Music Made Easy

iOS devices have become powerful musical tools.  With the addition of Core MIDI, iOS became a viable platform for using MIDI to make music with nothing but an iOS device and a simple MIDI controller.  But, what if you want to send MIDI from another device or from a laptop (instead of a MIDI controller)?  There are great tools for connecting an iOS device to the external MIDI world such as:

However, once you have your iPad connected to the external MIDI world, there are many things you’ll want to do in order to make your life easier.  With MidiFire, you can do all these things with ease.  Plus, you can save, backup and share your configurations easily and gracefully within a super-reliable app that you will grow to love and trust!  Some things you may want to do:

  • Organize your MIDI inputs and outputs (i.e. name them)
  • Easily connect and route MIDI and see, visually, what you’re doing
  • Save and Backup configurations
  • Visually see things from a “birds eye” view

MidiFire offers a host of powerful features including MIDI remapping and filtering as well.  Think of it as a one-stop shop for managing all things MIDI on your iOS device.  For more about the app, check out Audeonic online.

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Playing Cooler Chords Pt. 3 https://www.musicprotest.com/2017/10/12/playing-cooler-chords-pt-3/ https://www.musicprotest.com/2017/10/12/playing-cooler-chords-pt-3/#respond Thu, 12 Oct 2017 00:54:50 +0000 https://www.musicprotest.com/?p=5836

FavoriteThis is part 3 in a series of video blog posts aimed at explaining one of the many answers to a common question that I get from my private students.  The question is: What can I do to make a “cooler” chord progression?  Of course, a “cooler” chord progression is a subjective thing – people … Continue reading Playing Cooler Chords Pt. 3

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This is part 3 in a series of video blog posts aimed at explaining one of the many answers to a common question that I get from my private students.  The question is: What can I do to make a “cooler” chord progression?  Of course, a “cooler” chord progression is a subjective thing – people don’t always agree on what makes a cool chord progression.  However, this series illuminates some of the most common and musically pleasing options.  How and when you use them is totally up to you!  Last week, I demonstrated the use of a fully-diminished vi (six) chord as a “transition” or “passing” chord.  This week I’m demonstrating how you can end a common I-V-vi-IV progression with a minor IV (iv).  Scroll down to check out the video explanation!

Why Does a Minor iv Chord Work?

It is helpful to use roman numerals when we talk about chord progressions because roman numerals have upper and lower case versions.  In harmonic analysis (what we’re doing here), a lower case roman numeral implies a minor chord.  Changing our G major to a G minor chord means changing the the 3rd of our G triad from a B natural to a Bb.  The most important identity of the B in this context is as the 6th in our home key – D major.  By flatting this note (change it to Bb), we imply a D minor scale.  Even though we aren’t fully modulating our key, the effect is still very powerful!

One of the coolest uses of a minor 4 (iv) chord is at the end of a chord phrase – just to take the listener in an unexpected direction temporarily. iv chords create a bit more tension that gets nicely resolved when the chords regain their footing in the original major key.  In the video below you’ll see an example of how you can end a very common chord phrase by using a iv chord instead of a IV chord.

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Playing Cooler Chords Pt. 2 https://www.musicprotest.com/2017/10/05/playing-cooler-chords-pt-2/ https://www.musicprotest.com/2017/10/05/playing-cooler-chords-pt-2/#respond Thu, 05 Oct 2017 00:38:36 +0000 https://www.musicprotest.com/?p=5779

FavoriteThis is part 2 in a series of video blog posts responding to a common question that I get from my private students.  The question is: What can I do to make a “cooler” chord progression?  The question has a lot of different answers.  Last week, I demonstrated the use of a half-diminished vii (seven) … Continue reading Playing Cooler Chords Pt. 2

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This is part 2 in a series of video blog posts responding to a common question that I get from my private students.  The question is: What can I do to make a “cooler” chord progression?  The question has a lot of different answers.  Last week, I demonstrated the use of a half-diminished vii (seven) chord in a chord substitution.  This week I’m demonstrating how you can bridge 2 adjacent chords with a fully diminished chord.  Scroll down to check out the video explanation!

What is a ♭vi° chord?

Chords are often named using roman numerals.  We use upper case roman numerals to indicate major chords and we use lower case roman numerals to indicate minor chords.  We use lowercase for both half-diminished and fully diminished chords because the quality of the 3rd in these types of chords is minor.  The ♭(flat) symbol represents that this chord is not built of the ACTUAL 6th degree, but rather the flat 6th degree.  So, we get a ♭vi (in other words, it is based on the flat 6th degree and it has a minor-quality 3rd).

A diminished triad contains the root, minor 3rd and a diminished 5th (same as a #5, pitch-wise).  The triad can be called diminished as long as it contains these 3 intervals.  Half-diminished 7 chords are diminished triads with a minor 7th.  Fully diminished 7 chords (like the one in the video below) are diminished triads with a “diminished” 7th (a.k.a. double-flat 7… the same pitch as a major 6th)…

One of the coolest uses of fully diminished chords is to transition from one chord to another.  In the video below you’ll see an example of how we can transition from an A to a Bm chord by using a ♭vi° chord.

There are only 3 diminished chords in the world!

Crazy, but true.  You see a fully diminished 7 chord contains 3 stacked intervals of a minor third.  In this weeks example we are using the notes Bb, Db, Fb and G.  From Bb > Db is an interval of a minor 3rd.  Db > Fb is an interval of a minor 3rd… and so on.  This means that any one of the notes in this chord can be considered the “root”.  Totally crazy, but true!  This chord could be called a Db, Fb or G fully-diminished chord too.  All names for this chord are completely valid.  Since there are only 12 notes in Western music (a.k.a. the chromatic scale) AND since this chord contains 4 notes, there can only be 3 different fully diminished chord “spellings”.  Chew on that for a while 🙂

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Playing Cooler Chords Pt. 1 https://www.musicprotest.com/2017/09/27/playing-cooler-chords/ https://www.musicprotest.com/2017/09/27/playing-cooler-chords/#respond Wed, 27 Sep 2017 22:25:04 +0000 https://www.musicprotest.com/?p=5687

FavoriteMy private students often ask me why certain chords work together.  The question is a GREAT question and leads any thoughtful musician down some very interesting roads.  There is a very simple reason why certain chords work together, but the answer to this question also illuminates ALTERNATIVE chords that we can use.  That’s really the … Continue reading Playing Cooler Chords Pt. 1

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My private students often ask me why certain chords work together.  The question is a GREAT question and leads any thoughtful musician down some very interesting roads.  There is a very simple reason why certain chords work together, but the answer to this question also illuminates ALTERNATIVE chords that we can use.  That’s really the topic this article (and YouTube video explores).

Why Chords Work or Don’t

Chords are made from notes – typically a triad.  A triad implies a scale and a competent musician benefits from know their scales, just as a competent writer benefits from know the alphabet.  A triad implies a scale because a triad always represents the same exact thing.  A triad is the Root, 3rd and 5th… of what, you ask?  Of a scale!  So, you can’t have a triad without a scale.  One implies the other.

Another way of putting this is that a chord IS a triad and since a triad IS the Root, 3rd and 5th of a scale then we must get our hands on that scale to start really making sense of the chord.  For example, a D major chord is made up of the Root, 3rd and 5th of a D major scale.  Its that simple.  In the key of D major, we’d call a D major chord a I (roman numeral one) chord.  It means that if we build a triad from the Root (or first degree) of the scale, we get a D major triad – D, F# A.

When we build a chord progression out of chords that ALL contain notes from the same key, we’ll find that the chords “work” together.  If we build some of the chords from notes that aren’t in the key, then they won’t work.

What Are Alternative Chords?

Alternative chords are chords that are still made from notes in the key, but they are built relative to different roots.  A moment ago I explained that a D major chord is a I (roman numeral one) chord because it is built from the 1st note of the scale (a.k.a. the Root).  But, we can build ii (roman numeral two) chords or vii (roman numeral seven) chords.  When we do, the chords will still “work” together, but they’ll be quite different to what you’re used to.  Check out this video explaining a basic chord substitution example in the key of D major:

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Acoustic EDM Manifesto: Mute the How https://www.musicprotest.com/2017/05/19/acoustic-edm-manifesto/ https://www.musicprotest.com/2017/05/19/acoustic-edm-manifesto/#respond Fri, 19 May 2017 19:13:48 +0000 http://musicprotest.com/?p=49

FavoriteAsking the Right Question 2015 and 2016 were banner years for my expansion into new styles of music.  Most memorably, I learned an important life lesson from Electronic Dance Music (EDM).  “EDM?”, you say…  Yep, EDM.  It was EDM that forced me to reevaluate my long-held, (and totally untrue) belief that great work was accomplished by answering the question “how” – for example, … Continue reading Acoustic EDM Manifesto: Mute the How

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Asking the Right Question

2015 and 2016 were banner years for my expansion into new styles of music.  Most memorably, I learned an important life lesson from Electronic Dance Music (EDM).  “EDM?”, you say…  Yep, EDM.  It was EDM that forced me to reevaluate my long-held, (and totally untrue) belief that great work was accomplished by answering the question “how” – for example, “HOW did Jimi Hendrix kick so much ass?” or “How does a  F#!*@#g envelope filter work?!”  If you’ve ever tried to grasp the concept of an envelope filter then you won’t think I’m being dramatic…  I’ve learned some interesting things – specifically, that “how” was the wrong questions. “Why” is a better question – and the one I should be asking.

Brutal Realization

Mute the “how”, Turn up the “why”.  This is my new mantra and I say it to myself nowadays when I’m stuck in a creative rut.  I was taught as a child to always start a new endeavor by asking myself how it was going to be accomplished.  In 2015, circumstances would pit this feeble notion against the brutal power of music – and I, the student, would learn how feeble that notion was.  Let me tell you how it happened…

I got a sweet Nord Lead 2 synthesizer and I decided to take a crack at making some EDM tracks – just for fun (I thought it would be easy).  The first thing I did was research how EDM works – how did that cool shit that Armen Van Buuren does actually happen?  I read my Ableton manual (how does Beat Repeat work?), surfed youtube, made some pads and a cool bass patch and got to work… frankensteining a bunch of 8-bar loops into my very own EDM track.

When I was done, I was like “OMG – this is crap!”.  I repeated this process dozens of times.  Each time was the same.  Each track was a steaming pile of crap.  As time passed and I struggled to understand why I wasn’t getting anywhere, I realized that I had answered only the “how” and not the “why”.  I was bummed out.  It was a dark time.

Frankenstein Syndrome

I’m laughing as I write this because I had a classic case of what I’ll call the “Frankenstein Syndrome.”  That is a shame-inducing psychological condition that creative artists develop when they find themselves trapped by their own intellects and out of touch with their true, supernatural source of creativity.  I had the Frankenstein Syndrome bad.  Rather than sleep, I had restless dreams where I’d repeatedly be MIDI mapping a knob in Ableton – it was bad mojo.  I had learned the techniques and developed a vast set of technical skills.  I knew my gear end-to-end (and I have pro gear).  But, there was no electricity, no satisfaction – the music was not “musical”.  This was because I was asking “how.” I should have been asking “why”.

The Wandering Path… Again…

There’s more to my story than discouragement, though.  My Frankenstein Syndrome was just a necessary step on my path to enlightenment.  My intellect was literally exhausted trying to get my lifeless corpse (to continue the Frankenstein metaphor) to have a beating heart.  Since EDM can be setup to run on autopilot (using 8-bar loops, quantizing and tempo-sync) that is a very common approach.  In fact many of the tools for modern music production incentivize artists to let their computers do ALL the heaving compositional lifting.

I intuited (falsely) that EDM was formulaic and so, I thought it would be easy to compose and create.  And the kind of EDM that is static and lifeless IS easy – its just not the least bit electrifying or satisfying (think 24 Hour Fitness). My discouragement turned to enlightenment when my intellect finally collapsed under the weight of the unsolvable problem.  Slowly, my unstructured creative intuition took over.  How became why.  It was a very important moment for me.

What is “Why”?

“Why” comes from a creative source – the intellect isn’t involved.  There’s no middle man.  “Why” is a direct channel for creativity to manifest itself in reality.  It wouldn’t surprise me if most artists occasionally say to themselves “stop what you’re doing!  Why are you doing anything at all?!”

The “why” should and MUST be answered first.  “Why am I using a distortion pedal?”… “Why am I playing this solo or fill?”… Answering these kinds of fundamental questions helped me to establish a direct connection with my original, authentic, ultimate source of my creativity.  Prior to asking why, I was asking how and as a result I was always just talking to my intellect about technique.  That conversation wasn’t getting me anywhere.  Thus, my EDM tracks were a hot mess.

“Forget All That and Just Wail”

So, I crawled back to Ableton with hope in my heart.  Mute the “how”, turn up the “why”.  Next, I made my devices expressive (it turns out that’s what mod wheels are for!).  I started seeing a totally different outcome from my EDM tracks – sourcing all my creative ideas from the why was breathing life into my music.  By changing the way I was thinking, I connected with a creative source that made it much easier to make better music.

Finally, I’ll  conclude with an aside – the technical aspects of how stuff works is really important.  I don’t mean to diminish the value of practicing or studying music at all.  Before I could expressively bend a guitar string I needed to figure out HOW and then practice it, technically and practically.  This article is a reflection and explaination of a creative catharsis that I went through.

Discipline is still an really important artistic step, though.  As Charlie Parker said “You’ve got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail.”

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Walking Bass Line Tutorial in 3 Steps (with Bass Tab) https://www.musicprotest.com/2017/05/02/walking-bass-line-3-steps/ https://www.musicprotest.com/2017/05/02/walking-bass-line-3-steps/#respond Tue, 02 May 2017 23:02:54 +0000 http://musicprotest.com/?p=83 FavoriteOverview of a Walking Bass Line An awesome walking bass line uses chord tones, common tones, contour and flow. Read on and learn how you can build walking bass guitar lines.   This bass tutorial includes audio samples, walking bass line tab and a custom jam track.  So, lets get started! The bass line is often the … Continue reading Walking Bass Line Tutorial in 3 Steps (with Bass Tab)

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Overview of a Walking Bass Line

An awesome walking bass line uses chord tones, common tones, contour and flow. Read on and learn how you can build walking bass guitar lines.   This bass tutorial includes audio samples, walking bass line tab and a custom jam track.  So, lets get started!

The bass line is often the lifeblood of any song or live performance.  A “walking” bass line is popular because it provides both energy and stability. If the bass lacks energy, then the song or performance will lack energy, too. In addition, if the bass is unstable, the song becomes unstable as well. The simplest way to elevate the emotional impact of your song is with a great bass line.  This is true, whether you’re playing your a synth, upright, cello or bass guitar.

First and foremost a bass line must be stable.  This is because it is, quite literally, the base (pun intended) upon which your musical structure stands. Like the foundation of a building, the bass line has to support all of the activity that depends and relies upon it. Fortunately, we can achieve this stability easily.  We start by focusing on every musician’s best friend – the arpeggio.

Arpeggios Create Stability

Arpeggios will make your bass line stable by creating a solid link to the harmony (a.k.a. chords).  Using arpeggio tones will spell out the harmony for your listeners. Since an arpeggio consists of the same pitches in any given chord, arpeggios function like chords. Great bass players make sure they’re using the notes in the current chord at all times. This takes effort and time to study and learn. However, learning to do this is essential, so…   It’s like learning to mix concrete correctly before pouring the foundation of your house!

“Walking” Creates Motion

Next, an awesome bass line will convey plenty of energy.  This gets people moving on the dance floor. Plus, it will animate the other musical elements in the song (like the melody or harmony).  To help me make my point, I’ll replace the term “energy” with “motion” as we continue.

Motion in a bass line does 3 important things:

  1. Animates all of the other elements in the song
  2. Keeps the listener engaged
  3. Keeps feet on the dance floor

When a bass player continually moves between chord tones (notes in an arpeggio), they are well on their way to playing a walking bass line. When you hear it, a walking bass line has inherent motion.  It *sounds* like walking *feels*.  Hence, it is called a “walking” bass line – kinda obvious, right?!


Since an arpeggio consists of the same pitches in any given chord, arpeggios function like chords.
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Now, we have a way to stablize our bass guitar lines.  We’ve also talked about creating motion (a.k.a. energy). In the following pages and paragraphs, we’re going to define a very simple, 3-step process for extracting a great walking bass line from ANY chord progression.

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]]> https://www.musicprotest.com/2017/05/02/walking-bass-line-3-steps/feed/ 0 83 Art, Business, Talent and Authenticity https://www.musicprotest.com/2016/07/11/authenticity/ https://www.musicprotest.com/2016/07/11/authenticity/#respond Mon, 11 Jul 2016 15:50:37 +0000 http://musicprotest.com/?p=4 FavoriteArt is Risk Authenticity in music is risky… if you are social… and value the opinions of those around you.  Expressing my authentic reaction is a commitment of solidarity with those who agree with me. But, it is a commitment of antagonism toward those who disagree with me (which sucks if everyone disagrees with me). … Continue reading Art, Business, Talent and Authenticity

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Art is Risk

Authenticity in music is risky… if you are social… and value the opinions of those around you.  Expressing my authentic reaction is a commitment of solidarity with those who agree with me. But, it is a commitment of antagonism toward those who disagree with me (which sucks if everyone disagrees with me).  Those are the facts.  Authenticity is a path where someone walks the walk, talks the talk and accepts the consequences. Artists often walk the path of authenticity.

Business is Risk-Averse

On the other hand, it is necessary to do whatever we must in order to survive – in the most basic sense of physical survival.  It is necessary to eat and procreate.  It is absurd to expect someone to seek approval and consensus from everyone around them before feeding their child (dare I say, inhuman!). These are also facts. Survival is a path where someone plays by the rules or they are taken out – no second chances.  Business often walks the path of survival.

Talent is Inherently Authenticity

We all have god-given talents – art and business are two possible talents that each of us *might* have.  Some have both.  Let’s do a thought experiment where you imagine that your god-given talent is music (or art generally).  Now, imagine what steps you’d take to create some music.  You might dig deep emotionally and try writing lyrics for a song about someone important to you or you might play chords and melodies on an instrument, refining as you go until everything seems beautiful and perfect.

At some point you’ll decide that your work is complete… your expression is complete so you talk the talk – “check out my new song…” – and you accept the consequences (mom loves it, but your roommate isn’t crazy about it).  Although it might mean your roommate doesn’t like your song, authenticity is the mechanism that you must use to complete your work.  For the artist, authenticity is not an option anymore than survival.  These are just 2 sides of the same coin.  If an artist doesn’t create with authenticity they will not survive artistically. Creative authenticity isn’t any easier for big stars either – read about how Beck, Kendrick Lamar and Tom Waits view authenticity.

Authenticity in Business

We all have god-give talents.  Some people count business savy among their talents.  Without preconceptions about the goodness or badness of business, I suggest we continue our thought experiment by imagining what steps you’d take to create a business.  You might start by building a machine that solves a problem that a lot of people need to solve (like a selfy stick) or you might build a bunch of gizmos, market them and see which ones everyone likes.

At some point, you’ll have a product and you’ll talk the talk – or at least your marketing consultant will.  You’ll start advertising and you’ll face the consequences (millennials love them, but Gen-X doesn’t care).  Even though your product doesn’t speak to everyone, you’re best shot at surviving as a business is to craft the best selfy stick a millennial could think of – and run the risk of alienating millions of Gen-X consumers.  This is not cynical business practice, this is authenticity applied to business.

Allowing the Path to Wander

I’ve been a musician most of my life.  Music fascinates me and I love what it does to me… and other people.  I’ve struggled with the question of my own authenticity (the catch-phrase is “artistic integrity”), but I have also been a victim to a common misunderstanding – that authenticity and all of its noble influence belongs exclusively to my life’s sun-center… music & art.  It doesn’t.  Authenticity exists alongside any talent.  But, it often looks like a different beast.





Bob Marley Challenged War with Authenticity

In 1978, Bob Marley practically ended a civil war when he and the Wailers played “Jammin” at the One Love Peace Concert in Kingston Jamaica.  Steve Jobs created a technology empire at Apple Computers and defined an era of technology, making billions of dollars in the process.

What do Bob Marley and Steve Jobs have in common?  Maybe it was talent… but more than that – I think it was authenticity.  In response to some common experience, they express their genuine reaction and it is something that other people know to be true.  They gained allies among those who find the truth empowering as they gained enemies among those who find the truth threatening.

Bob Dylan said that “the world has enough songs” and I’d agree.  I think its important to point out that songs can represent art, business, talent and/or truth.  Assuming the question is “Do we have enough art and business to survive?”, then yes, the answer is “the world has enough songs”.  “But,” says Dylan “a person who has something to say, that’s a different story.”  He means (and I’m paraphrasing, here) that there DEFINITELY is not enough authenticity.  There is ALWAYS room for that!

Authenticity is Currency

Having something to say (a.k.a. authenticity) could be the only really currency in the art (or music) game.  Over my years as a musician, I’ve found that it was important to wander in and out of music.  Sometimes I’ve been a dad instead.  Sometimes, I’ve been a student or a desk jockey or whatever.  The point is that my path has wandered… a LOT.  Allowing temporary departures from music has helped to develop and refine my authenticity with music – which is actually key to my survival.

Music Doesn’t Have to be Business

Business is shy about taking sides on social and political issues – when there is an actual debate (and the most need for constructive exchange).  Then, when the issue is resolved, business quickly advertises their “authentic” support for the winning side.  Business is an amoral mirror that reflects the lowest common denominator.

If you’re like me, you hope that authenticity is still a widespread influence in music at every level of commercial music, right?  But, how can it be when commercial music is fundamentally based on business-style authenticity?

I saw ColdPlay a few years ago.  The lights, mega-screens and sound were pretty awesome, but overall the show felt a bit… prescribed.  Like a Michael Bay movie, the show seemed like a sure thing (at least on paper).  But I’d hoped it would hit me in the gut.  But, it didn’t… until the “Fix You” encore.  My wife and I were really beat down by life at that point and that song lifted us up big time!  But, I don’t think the mega-screens were the reason that song mattered.  I think it was because the song spoke to our hearts – because of who we are. The screens and lights were there, but they didn’t matter in that moment.  All that mattered was the music and our experience of it.

Do Everyone a Favor – Be Authentic!

Never before has so much technology been at a musician’s disposal (and within their credit limit).  But, amps and mics don’t make music hit me in the gut – I think you’d agree.

It doesn’t seem to be common sense that musical greatness would owe so much to having something to say.  On the contrary, it seems like greatness is tied up with arena gigs, mega-screens and roadies who bring you vintage guitars.  Hell, Keith Richards has a guy hanging around just to put talcum powder on his left hand when he’s recording in the studio!  Unfortunately, it seems like common sense to link fame and fortune with musical greatness. We should look much deeper – at the heart of what a musician has to say.  But, if you’re an artist (and I hope you are) then walk the walk, recognize what business is (and is not) and allow your path to wander.  Then everyone will be better off.

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Music Protest & Live Performance https://www.musicprotest.com/2016/06/24/why-music-protest/ https://www.musicprotest.com/2016/06/24/why-music-protest/#respond Fri, 24 Jun 2016 04:20:40 +0000 http://musicprotest.com/?p=1 Favorite pro·test noun prōˌtest/ a statement or action expressing disapproval of or objection to something. Music Protest is a source of information and perspective for musicians and artists.  Most artists and musicians suffer significant sacrifice to make music the focus of their career.  We believe music is a gateway for human beings to express and understand life (and other … Continue reading Music Protest & Live Performance

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pro·test

noun
prōˌtest/
  1. a statement or action expressing disapproval of or objection to something.

Music Protest is a source of information and perspective for musicians and artists.  Most artists and musicians suffer significant sacrifice to make music the focus of their career.  We believe music is a gateway for human beings to express and understand life (and other people).   Many music careers start with an academic education.  I’m VERY grateful for everything that I learned from the academic world of music, but I think it is a misleading institution that should evolve.  So, Music Protest supports a different paradigm in music education.  Of course, we have music theory lessons, but we supplement your skills with perspective and a refreshing viewpoint.  Music Protest promotes a holistic approach to music, artistry, performance and more…

Unfortunately, the “music industry” is also a misleading institution.  Music can be a money-maker, no doubt.  But, music is MYSTICALLY powerful, important and transformative. Yet, we constrain the production and distribution of something so relevant to its commercial prospects?!  That is not always what the music industry does, but it’s the rule (not the exception).  Truth be told, the modern music industry would no longer “authorize” the making of many of the greatest and most revered albums in music history.  There was a time when musicians were at the helm and the business folks were along for the ride.  These days, its the exact opposite and Music Protest can change that misunderstanding at a grass roots level.

Why I Founded Music Protest

I have a technology background… and a music background.  I’m a good problem solver, a composer and recording engineer.  I can probably relate helpful ideas about anything typical that anyone is trying to do with music (or a career in music).  Music Protest is a channel for that relationship.  I look forward to learning from the diverse, global music community.  Please subscribe, comment and share.  I’m glad you found me and I invite you to participate and get in touch 🙂

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