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Scotto

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Scotto last won the day on June 5

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About Scotto

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    A Muse's Muse

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    http://www.soulpunchmusic.com

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    Male

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  • Lyricist, Composer or Both?
    Both
  • Musical Influences?
    Rock

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  1. Scotto

    Music isn’t the Same

    Music hits me less than it used to but when it does it hits me harder. I was at a bar and this 7 piece was squeezed onto a stage somehow too small for a 4 piece. They had all these harmonies and were playing some odd b sides with some good off the beaten path covers. Classic rock. Anyway they went into Woodstock the CSNY version and I was blown away. They were nailing it with all the harmonies. The guitar player was bluesing it up and just nailing it. Wall of sound. I've been listening to the song now for 2 days on and off. I keep coming back to it. I never appreciated it for what it was. Live music does help with that though there have been times when just listening to something hits me the same. Also I rarely watch sports on TV these days. I do go to baseball games 2-3 times a year and enjoy the atmosphere. Same for NHL Hockey. I pick out about 2 concerts to go to as well. A good live band hits me right in the feels. Probably more so than when I was younger as my "focus" has changed somewhat.
  2. Scotto

    Collaboration Challenge: Emotional Impact

    Music bed is done here. I'll begin vocalizing this week. Things are on track and I'm pretty happy so far. Poor grey beard hasn't heard anything yet though.
  3. Scotto

    Collaboration Challenge: Emotional Impact

    Just to clarify I try to think of Prosody but this could be a little more than that. A bigger emotional element to enhance prosody...
  4. Scotto

    Collaboration Challenge: Emotional Impact

    Update: Graybeard has given me a lot of lyrics to ponder and I've finally picked one out that I think will meet the challenge quite nicely. We've assigned our emotions from the list and I am ready to start moving forward on song construction. With emotions in mind I hope to inject some of that musically (great challenge to force me to think about it this way/I should of been thinking of it this way). Interesting that of the lyrics he gave me, it wasn't my favorite lyric. The best one was a little more abstract emotionally. Or more complex and had emotions not listed. The one I picked seemed to line up the best to listed emotions. I suppose we are moving fairly slowly but given the October 20th deadline I have no problem with that and this lyric is music ready. The cadence is steady and I can hear it with minimal changes. Plus my day job that pays the bills currently hates me... Plenty of time and I have no doubts about getting finished product out there where there was none. Note: Already as a lessons learned I could see adding a step to song construction where I assign simple emotions to the lyric and then try and accentuate that musically.
  5. Scotto

    Collaboration Challenge: Emotional Impact

    I got my first batch of lyrics tonight and I'm excited to get some music flowing. Gong to be a totally different direction for me. What a great challenge.
  6. Scotto

    Collaboration Challenge: Emotional Impact

    Well at least not until the reveal phase and I realize how bad mine sounds next to everyone's creations...
  7. Scotto

    Collaboration Challenge: Emotional Impact

    I was in the room recently while someone was watching one of those competitive cooking shows. You know the kind... they take normal people that love to cook and turn that love of cooking into the 3rd circle of hell on earth torturing the poor people with impossible challenges and timelines, crushing their spirit right before your very eyes. Makes for great TV I guess... They had a cooking challenge going where the cooks had to meet certain conditions. Not unlike what we are doing here (minus the soul crushing of course). The best dish didn't win that day because said contestant ignored the challenge. They did not meet the criteria though the judges commented it was absolutely delicious. For ignoring the challenge the poor soul was on the bottom and had to face some sort of impossible elimination face off challenge gauntlet in order to stay in the competition. Minus the stress in the scenario above I can see that happening to us. A good song might get knocked down if we don't quite get the emotions they were shooting for. One could argue that all songs should come from an emotional premise anyway and the best songs will connect with their emotions. Good experiment. Also in one of the collab contests a while back, the international one, I finished last with what most folks felt was a good song. Mainly because I had trouble connecting with the contests requirement to have the musical style match the country of your subject choice. So judging to the contests rules isn't a new idea. It just tends to happen more naturally I think.
  8. Scotto

    Instrumental Structure

    SUre to a certain extent, however there is a commonality in worded lyrics where ideas are conveyed. Verse chorus bridge rinse repeat. There are always outliers. They work until they don’t. I was writing instrumentals that way because it is where I come from. Mozart or Brahms didn’t come from that time or space. So really it’s just me trying to get a feel for what is possible. Coming in last in an instrumental comp got my narrow mind spinning. I had an approach that brought me to a place of questioning it. Certinly any approach that is musical is correct. Just cause we can... Of course I want it to be good and within a narrowed view of musically acceptable and something someone would listen to or use. So I ask my questions best I know how. I do think that instrumentals can be more free form. Within the bounds of structure that we impose on ourselves it feels like it could be more liberating.
  9. Scotto

    Instrumental Structure

    Well I thought I was going to bail on this instrumental idea but… Hey I got it out there anyway! So I was fed up with it and was thinking I was probably going to wipe all ideas out completely on it and maybe keep the drums. Anyway that discouragement caused me to take a month off from recording music. Self rejection… it's a thing. Anyway after some time away I fired this up and took a listen and I didn't hate it as much after separating myself from it for a while. So I thought I'd give it a whirl and put it out there. Instrumental structure is the topic so that was the focus. I programmed drums and then built this thing with guitar. It's a Reverend Double Agent. P90 at the neck and a hum bucker at the bridge. It's a rough mix right now that I've only tested on my studio head phones. Essentially I tried to blend some radically different parts. The section names are made up nonsense. Section 1 - Quick Intro - This was a happy accident that occurred while putting the song together. I always have a drum 'count in' part when building a song. I don't usually keep them in there. Just helps me start on beat. Anyway in a later part I came up with this bell tolling kind of sound on the guitar in the background and I really liked it. At some point I decided this would be the theme. Now this is the Bob Ross approach. That happy little bell lives… right there. You should hear it beginning middle and end. SO that is what I named this beast. The bell theme drove some key decisions once I landed on it. Section 2 - Walk About - Not sure why I called it that. The rhythm guitars are pirate Rolling Stones inspired. They're dirty and have a bit of slop in the playing. I like doing little inner chord hammer ons. Playing acoustic it always sounds cool. Via the electric it added a bit of dirt to the rhythm I think. The P90 pickup sounds great doing this kind of thing. For build the first version of this section starts out just bass. The rhythm slowly fades in and the melody is single guitar with harmonies fading in at the same pace. So by the second section of the walk about you get everything up and pumping by time the melody changes. I ended up liking the melodic movement here. Section 3 - Funky Breakdown - Even with the build in the last part I ended up taking such a hard right that the energy jumps up quickly. It actually took a bit to figure out how to get that to work and blend. My ear now ends up liking the change. The Bell tolling guitars are underneath there and this part is full on throughout right now. This section doesn't have any progression. It hangs there at that energy the whole time. Part of me likes it. The bell is tolling and that is why I am doing it that way in this section. Part of me thinks I should subtract some things and layer them in as the part progresses. Maybe even change up the melody here as it stays the same. I also had thoughts of adding some midi key work but I think if this gets changed subtractive would be better. There is a lot going on right out of the gate and plenty to work with. I have left it this way for now though. The bell is tolling and the energy stays the same. That was my thought anyway. There is a little break in the music at the end of this section. Gives us a nice reset to start the build over. Couple of dirty pirate guitar strums and we reset back to the walk about section. I could put a bell toll in there. Thinking on that. I think I like everything dropping out though. Section 4 - Walk About Twisted - So all the drum rhythm guitar and bass are doing their thing. Melody is now turned over to the wanky guitar player. He does his thing ;). I'm not unhappy with this section. The lead escalates in intensity to put us into the next section which is a big build and release. Section 5 - Breakdown - Syncopated build section that climbs and releases. That release puts us back on the path to the traditional walk about part of the song. Same release as before. Section 6 - Walk About - No build. You get all the rhythm and melodic harmonies throughout. The melody moves on in this section so I like a full section to display all the work… Section 7 - Funky Break Down - Finish it up with full on bell tolling 1/2 section but we strip things back and the bell finishes it on its own. There is finger noise and string buzz in the guitars when things quiet down. I ended up leaving it in there. Why not? Or should thee be a more clinical approach? Anyway I was thinking about structure and how to make it work better. Did I succeed? I wonder if picking a theme in advance and trying to build to that theme might be fun and end up more tight. I sometimes like to see where the music takes me. Some might think that is wrong.
  10. Scotto

    The saddest number ones ever...

    Saddest songs are anything sung by Karen Carpenter. Even if it isn't a sad song that voice of glass just has that quality. My wife freaks out every time she comes on. Change it! I'm gonna cry!
  11. Scotto

    Chord Progressions

    For sure. His noodling is quite good. I learn a thing or 3 every now and then. He's just playing around but comes up with some cool riffage.
  12. Scotto

    Chord Progressions

    Back when my kiddo was that age he would of given you a list! I got him guitar lessons for a good part of his younger years. He would bring the songs he was interested in to the teacher and the teacher would break it down for him on the spot. Not only teaching him the song but also showing him why it works. Now that he is older he has stopped lessons to be a busy high schooler but he "speaks guitar". Picks them up all the time and strums away for his own enjoyment. That is all I could ever hope for. He also inherited hand tremors from me and the guitar work helped on that front when he was younger supposedly.
  13. Scotto

    Chord Progressions

    Hey JOe my set list is the same man. 3 to 4 chorders no changes required are prevalent throughout. The key to making it good and fun and interesting is layers and intensity. Here are some I can think of we do. Can't Always Get What You Want - Rolling Stones - 2 chords all song long... We play it in A. A D with a B when it is "time to try sometimes". We speed it up slow it down and take solos. Now my bass player doesn't want to kill me... as much. I used to beat on the Djembe to really shake it up. I think we cut out a verse for instrumental mayhem. No one cares. They just sing along with the chorus and enjoy the jam. I find it rather fun to play this way. Evil Ways - Santana - Same 2 chords all song. Gm C with a D when you "can't go ooon". Same song structure as the Stones above. It is a jam. I slip into walking on the sun by smash mouth for a second on this one for fun. It's really weird and I wasn't sure it would work. Bass player heard it and I tried it. I think it works out. People seem to like it. I might try to find something else though. Soloing over that one is fun. Major to minor works really well with the Latin feel. Can't you see - Marshall Tucker - 4 chorder - D C G D - Though I think we might have moved this key somewhere else. Not sure. Muscle memory now... I think we do it in A. With or Without you by U2 was another 4 chorder but I have to really focus on singing on that one so I certainly don't mind the 4 chords simplicity there. There is a general intensity focus on that one that increases as it goes. I like this one but have moved it off as it's vocal difficulty level is up there on a 3 - 4 hour night of singing. If I do it I hit it early in the night. For the record U2 stuff seems to be tuned a half step down on the recording. It's easier to pull off that way for sure. I think the coolest thing about these simpler songs musically is that they can give you room to focus on other things. Performance and vocalizing or guitaring you ass off over a simple progression can be a damn good time. Especially when they are giving me beer. Cheers!
  14. Scotto

    Instrumental Structure

    That would be fun. I'm always afraid of timelines as this one is going to take me a while at my current pace. Too many time constraints in the summer... But it is a great excuse to get it done!
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