NOTION SLE for Miroslav Philharmonik
Just released today, First Playback and Music Notation Tool Designed Specifically for use with IK Multimedia
’s Miroslav Philharmonik
. IK Multimedia
and NOTION Music
have created NOTION SLE for Miroslav Philharmonik™, a special version of the award-winning NOTION3 scoring software that is customized for use with the award-winning Miroslav Philharmonik orchestral library by IK Multimedia.
NOTION SLE for Miroslav Philharmonik features instrumentation and articulation presets that automatically handle all articulation changes in the background, allowing for very realistic playback directly out of the score. Songwriters and composers no longer need to spend hours programming presets, templates and articulation changes — they can now simply focus on creating compositions.
As you write and articulate your score, NOTION SLE will follow your instructions and automatically change to the appropriate Miroslav Philharmonik articulation patch during playback to accurately and realistically perform your score. Additionally, you can take full advantage of NOTION’s live performance features and conduct the full orchestra with an unmatched level of control.
Also included is a 32 stereo channel. Virtual, full mixing console that facilitates mixdown of the score, eliminating the need for an additional DAW. Full export controls are included for producing MusicXML, audio and MIDI. For more information, visit:http://www.ikmultimedia.com/notionsle
Released for the iPhone and iPod touch in August 2009, GrooveMaker has become one of the most popular mobile loop remixing apps. The GrooveMaker Free version has consistently been in the top 100 music apps with over 600,000 downloads, and the entire GrooveMaker family features 11 style-based apps for the most popular genres of music.
GrooveMaker for the new iPad
offers the same smart features and streamlined workflow as the iPhone/iPod version for making music with loops, but also takes advantage of the new larger multi-touch surface to provide enhanced operation with an integrated, advanced controller.
Users will find a convenient mixer-like environment with large slider controls for volume, pan and master volume of the 8 controllable loop tracks, plus instant access to tempo, solo and mute functions all on the same screen.
Also, GrooveMaker for iPad adds even more control when working with loops, providing a new level of creative flexibility. Users can now switch “snapped” grooves with a single touch, plus control the number of loops that are automatically combined during a random mix. GrooveMaker iPad is the perfect addition to a DJ set, providing unlimited creative flexibility in live remixing and DJ applications.
GrooveMaker House, Hip-Hop and D’n’B contain over 300 loops each and are only $9.99/€7.99 from the iTunes App Store.
For more information on the new GrooveMaker for iPad apps, please visit:
Four Easy Steps to Writing A Hit Chorus
by Molly-Ann Leikin, Songwriting Consultant
Want to learn to be better in songwriting? No matter how sophisticated our technology, a melody is still a series of single notes. Nobody ever sings chords or tracks. They sing individual notes.
While creating music, some of us might hear melodic and/or rhythmic ideas in our heads, then high-hurdle the sofa en route to the keyboard to play and record them right away. Others may not hear anything specific, but will feel that lightning urge to create and hope they'll find some magic hidden between the black and white keys. But no matter where we find our music, or where it finds us, a melody is still a series of single notes.
You can't hum a track.
When there are problems with a melody, ( and most of them can't be fixed in the studio), they can be solved very simply by going back to the individual notes. Never mind how good the drum fills or harmonies are, or how cool the sax sounds in the bridge. If you find you have melody problems, and your hooks aren't strong enough, go back to square one - note one, and let's see where the trouble is.
I think of choruses as nursery rhymes for adults - short, repetitive, irresistibly singalongable, easy to remember. This may sound silly or disparaging to those of you with Julliard degrees, or who've been in bands all your lives. But if you aren't getting where you thought you should have gotten by now in your careers, you could change all that for the better in ten minutes.
When my clients are having melody problems, I assign them the nursery rhyme game. That is simply choosing five different nursery rhymes - doesn't matter which ones - "Mary Had A Little Lamb", "Humpty Dumpty", "Jack and Jill", "Itsy Bitsy Spider", "Ring around a Rosie" - any five. All nursery rhymes have just one musical section, which I call the verse. This exercise will show you how to write a simple, repetitive chorus to each of those verses, and that is basic melody construction.
Step One : from the last note of the verse melody, go up a major third to the first note of the chorus. (eg: C to E). Notice I said note, not chord.
Step two : tap a rhythm on your knee or on your desk - a rhythm that is dramatically different from the rhythm of the verse melody. Try several different rhythms, - don't stop with the first thing that pops into your head. Record everything. You never know what'll come up and you may not remember some of the good stuff.
Step three : once you have a rhythm that you like that is unexpected, starting on the note a major third up from the last note of the verse, add individual notes to create a short chorus. Make sure you repeat your chorus's first line somewhere in the body of that section. Beginners will write lines one and three the same, two and four the same, but you can write your choruses however you like. Be sure you don't simplify the process too much, and write predictably. And be careful not to borrow someone else's melody.
Step four : test your chorus with your verse. Is it surprisingly different? Or is it too similar? Could you tweak it a little? Change even one note? Remove two? Vary a rhythm pattern? Record everything and put your files aside for a day or two. Then listen again. If your new "melody" makes it through the night, chances are it's right. And although it's "just a nursery rhyme", you'll have very deliberately constructed a note-by-note melody with a strong hook. When you're 100% happy with it, THEN add the chords and the track.
Change the process, change the result.
For more suggestions on easily strengthening your music and lyrics, please refer to my books, How To Write A Hit Song and How To Be A Hit Songwriter. Both are available in paperback.
© 2010 Molly-Ann Leikin www.songmd.com
Molly-Ann Leikin (rhymes with bacon) is a songwriting consultant with dozens of gold and platinum records plus an Emmy nomination. The author of “How To Write A Hit Song, Fifth Edition” and “How To Be A Hit Songwriter”, and the producer of “Molly-Ann Leikin’s Master Class in Songwriting”, Molly consults with talented writers and artists all over the world, with a view to helping them market their material. She also matches lyricists with composers. And she’s very good at it. Three of her clients have Grammy nominations, another won an Emmy, and so far, 5068 others, with Molly’s help, have placed their work in movies, on TV, CD’s and in commercials. Molly also writes articles for USA Songwriting Competition e-mail newsletters. Her website is www.songmd.com, and you can reach her at firstname.lastname@example.org. If you live in the USA or Canada, you can call her toll-free at 800-851-6588. However, please check her website first so your conversation is as productive as possible.
For more information on the USA Songwriting Competition, please go tp: http://www.songwriting.net
by Ira Greenfield
I have been asked so many times how do you write a good song. Here are five main ways you can use to your advantage:1. Song Structure
We have received many songs at the USA Songwriting Competition. Many songs received are free-formed and hard to follow. Every good song has a good structure such as AABA or Verse/Refrain. Structure such as: verse leads to the chorus back to the verse and then chorus, bridge and lastly chorus is probably the most popular. Let’s stick to what works and then break the rules once you are good at it.2. Compose Good Lyrics
I like songs with a good story or lyrics that actually say something. Avoid cliches such as “I’ll never break your heart, I’ll never tear you apart”, words like that has been done before and you want to say it in a different angle. Write lyrics that would bring imagery to the listener as well as a hook to it. You want a theme to begin with it. A good idea is “Unbreak My Heart”, this shows great sense of craft and artistry even in the title itself. In this case, the writer “created” a word “Unbreak”. If it was “Don’t Break My Heart”, it would have been quite ordinary and would not have the same effect.3. Compose Good Melodies
Many songs we received sound more improvisational than actual composition. You have to sit down to sculpt out a melody for the verse and a melody or hook for the chorus. You want to make the melody chorus sound memorable and sound a little different from the verse. Good melodies are found in the current hit “Need You Now” by Lady Antebellum. The bang on chorus is catchy and well thought out.4. Developing good chord structure and background music.
You need a good chord progression to go with your melody. It doesn’t matter which come first and it doesn’t matter if you collaborate with someone who is a keyboardist, guitarist or producer who writes a great chord progression or produces a music “bed” for you to write your melody. There is no secret many hit songwriters/artists do it this way: Jason Derülo, Beyoncé, Mariah Carey have all written songs this way by going over a piece of background music.5. Artistry And Intangibles
This is probably the hardest to come by. Iconic songs such as “Boom Boom Pow” by Black Eye Peas, “Poker Face” by Lady Ga Ga, “Californication” by Red Hot Chilli Peppers, “Believe” by Cher, “Angie” by Rolling Stones, “My Way” by Paul Anka are examples of songs that have been composed and re-composed over many times before the song can be recorded. Love them or hate them, there is a sense of artistry in each an every one of these songs. I would suggest focus on what you are good at: If you are good at say writing music but not so good at writing lyrics, I would suggest hooking up with a lyricist, someone who can write good lyrics.
Ira Greenfield works in business development at USA Songwriting Competition. For more information on USA Songwriting Competition, please visit: http://www.songwriting.net