Main study

No main study, using for rehearsal.

No main study using for rehearsal.

No main study ,using for rehearsal

No main study ,using for rehearsal

Sara know Since project week is approaching, I need to talk about my rehearsal schedule. I should be able to accomplish it in March. My song should be finished and ready to go by now. Aside from finishing my songs, I need the song list, to inform my band, and to schedule four to five rehearsals. After deciding who would play, schedule the first two rehearsals as soon as possible. That means I can't goof around; the recital is a 45-minute set that must be precise. For the time being, I have everyone except for someone to sing harmonies. I was thinking of playing an instrument for one of the song, but I concluded it was too ambitious and that I should simply concentrate on my singing. Sara's main concern with my songs is if they are well-arranged and whether they make sense in the song list, as well as the flow and song transition from each song.

Sara has taught me a lot about groove and rhythmic pattern in the last several weeks. Commonality and melody are relatively easy for certain hooks, but it is the rhythm that teaches listeners with no sense of rhythm to syncopate. Even though there are just 12 notes, there is a lot of copying from ancient songs that is repeated.  because it is a classic because it is simple. I received an audition for a gig and told Sara, but she also claim that she already has her own reputation and that's why she don't need go down audition. However, we are not very well-established, so even if we do not accept this gig, there are 20 other bands that do.   1. Sara has never heard of a paid audition but we can take it as an investment if I get it. 2. We don't play often; if this is a method to bring the band closer together and be more established, it will put us under a lot of pressure to put on a fantastic show; and 3. the business is now oversaturated.

We absolutely make songs about ourselves to express ourselves and give a message, aside from making the music spectacular. But who will listen to it all at once? What are we aiming to communicate? Sara advises me not to attempt to perform something extremely amazing for my recital, but rather to stay inside my comfort zone. I should start thinking about topics that truly inspire me. Sara suggested that I develop a list called song seeds, seeds that I would take out and plant and flourish.It may be as easy as waking up in the middle of the night with a tune or seeing something like moments that we will forget if we do not record them. I try to remember as much information as possible so that I can relive the event. This is an excellent starting point for me, and they are all important questions. Sara suggest go check out the differences between my songs and the artists I adore. Why theirs's work but not mine

After attempting to figure out all of my songs, preparation for recital is now a crucial component of my learning process. I wanted to participate in esplanade, but I think I spent too much time on my other module, so I didn't have much time to practice with my bandmates. Sara informed me that this shouldn't be an excuse since, as singers, we should always prioritize our instrument, which is our voice, and what can we even archive in other classes if we don't practice our vocal? So, what were the songs about, and what was the end purpose for my listeners? Was it only about my story, or was it about making the audience feel connected? Everyone has experienced heartbreak, and romance is an easy sell, which is why love songs are so popular. Why is it that certain songs are so much more popular than others? Because people are able to connect with it.

Sara has always been a strict instructor, but I understand it's harsh love. Because Sara's teaching style helps me stay focused and on my course despite the fact that I am a very disorganized learner. I therefore require a solid wake-up call once in a while. The first lesson following project week was today. Due to other modules, I didn't practice much, and I haven't been using my voice. I had a vocal reset by Sara, and now I can use my first-to-second bridge of voice. However,I spent too much time and effort on vocal warmups since I didn't have enough practice, rather of using that time to focus on recital songs. Throughout the session, it is demonstrated that I am capable of reaching such achievements if I put forth the effort to practice because I am able to identify my error and walk the correct path. But with Sara, getting it was lot simpler. It is crucial that a vocalist always has access to their instrument.

My songs are now pouring out lot more easily in terms of delivery; I now know what works for me and how to compose in the way that works best for me. Sara suggests that the substance of my song be the thing that helps me progress through this genre or style of writing and continuing generating new things. Sadness may manifest itself in a variety of ways; if I sit down and just want to write about being sad, I'm not getting anywhere. And let's assume I have a very distinct imagery and a very certain point of view, and I am writing from the other person's point of view, but I'm on the receiving end of all of this. So, what was the conclusion I came to after writing for the previous few weeks? That is something Sara wants me to find out.

90% of the time in degree, you have to actually take something out of the air and make it work into a song, and that is the most difficult thing to go through and what I have learned. But, according to Sara, if I follow the same notion of what we're talking about, interns of my rhythm have a very important role in how my melody comes together, and what gives the song its beat are the words. Don't allow the process of attempting to turn it into a whole song define my songwriting path. because I depend a lot on the word I'm singing and being able to interpret and express what I'm saying and that is something a singer faces a lot, especially me since I am so fixated on singing the melody. And now I've found the genre, the key, the style I'm looking for in my music, the vibe I'm more secure in.

Sara asked me to recite the words to "thinking Out Loud" I struggled at first since my pronunciation was always an issue. Even though I was simply reading the lyrics, the way I read them was quite close to the music made by Ed Sheeran. We also attempted another song that I had never heard before, and when I read the lyrics, I discovered that the melody was identical. Sara even read the song back to me, asking me to pay attention to the rhythmic pattern of the words. And it turns out that it is exactly how the original was phrased. Sara wants me to realize that when I'm attempting to create a song, it's not because I'm inspired, because as artists, we can't wait for inspiration to strike us every day. 

Is like everyone likes to cheer, she started throwing out a few phrases example that I realized that attempting to create melody for these phrases is a waste of work since the phrase itself has a particular type of rhythm and melody when we speak it.Rhythm and words go hand in hand since even speaking can be a highly rhythmic process, which is known as rhythmic cadencing. So the reason my latest songs were so easy to create was because there was a very clear cut direction for what needed to happen content-wise and idiomatic expressions. I have extremely distinct imagery in my mind. Driving around town, knowing they're close by, and the lyrics define it for me.That is why I am able to write so quickly.

Writing a song is more than just writing about being unhappy and going with it. Sara inquires about my songwriting process. This song "Drive" was inspired by my friend's experience as well as my own. I began by writing the concepts, songs, and tale content. Sara asked me to consider all of the songs I've attempted to create that have failed, and what they have in common. All of these songs that I couldn't finish due to instrumentation came out first; this is our biggest challenge as vocalists since we aren't inherently instrumentalists. However, the skill level difference between singing and playing is significant. That is, we generally express ourselves through words, melody, and hooks. We became fixated on the appealing tune since the music lacked direction.

There was a really specific emotion, and I was writing in that way because I was experiencing so much of it. It doesn't happen very frequently; as I was writing the music, I had a precise narrative board in mind.

For the last week, I attempted to study song structure on Bruno Mars and Ed Sheeran, two well-known established in as commercial success and garnered a lot of popularity from it. I've always been a fan of other artists, like as Keshi from 88 Rising, but I recognized I needed to go deeper to understand how certain artists are able to achieve such tremendous heights and archive through their music. Not only the artists I enjoy, but I believe this is something I  learnt from today's main study as well. There is a very clear direction on song writing. A hook is essential, but there are several more ways to characterize a tune. A hook might literally be a rhythmic pattern or a group of words. Words and rhythm work better together than words and music.

I realized that the way I prefer to compose is to have the chorus incredibly catchy, but if my pre chorus and verse are also quite catchy, I will purposefully make my verse and pre chorus less catchy to make my chorus stand out. Hooks that are overly intricate are difficult for listeners to understand. But it can't be oversimplified to the point of seeming wacky. Sara attempts to calrify with me. Song structure is highly important as a song, and as a songwriter, you must have a very clear idea of how your song structure will look.