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Month: June 2021

Shez Raja: “Harmony in Indian music is ultra-simple – where the rhythm and melody get mind-blowing, the rhythm and melody are incredibly interesting.

London-based songwriter and bassist Shez Raja made a name for himself touring with Elephant Talk, Loka and MC Lyte before embarking on a solo session and career.

His previous records featured stellar musicians such as Wayne Krantz, Trilok Gurtu, Mike Stern and Randy Brecker, and his new album, Tales from Punjab, continues to explore a rich range of musical and cultural inspirations.

The album, the result of Raja’s 2020 visit to Lahore in Pakistan’s Punjab, has a crowd of guests. These include bansuri flute player Ahsan Papu, sarangi player Zohaib Hassan, tabla maestro Kashif Ali Dani, singer Fiza Haider and cajon guru Qamar Abbas.

If you’re not familiar with these instruments, or even how a bass guitar fits into them, you’ve come to the right place, because the man himself is here to explain how it all fits together.

Tell us about the inspirations behind the new album, Shez.

“At the start of 2020, just before the pandemic, I went on an adventure traveling in the Punjab. My dad is Asian and what I wanted to do was explore my Asian heritage as a musician. I had only been there a handful of times in my teens, so one way to do that was to immerse myself in music. It has been incredibly inspiring. ”

Where did you register?

“In Lahore, which is an incredible city. I have associated with amazing musicians and have been honored to perform with them. I met them in the recording studio and practically recorded. We started playing and I knew within moments that something really special and magical was happening. ”

Shez raja

(Image credit: Monika Jakobowska)

Tell us about the instrumentation.

“There is the bansuri, which is a bamboo wood flute. He was played by Ahsan Papu, who is a legend. He has performed with Nusrat Fateh Ali Khan, the legendary Qawwali singer, and is not only a master musician, he makes his own instruments. He brought about six of them to the studio. Then there is the sarangi, which is a bowed string instrument without frets.

“I love the sound. There is a vocal quality – a real shimmering sound, almost like a horn. You hold it vertically and play it with a bow. The guy who played it, Zohaib Hassan, is an innovator, because you normally play this instrument with three fingers on your left hand, and he uses his fourth finger, which opens up a lot more possibilities. ”

Is there a tradition of the bass guitar in this kind of music?

“Not at all. The other musicians said to me, ‘This is completely new, this music has never been made before.’ I was just following my heart with this album. ”

So how does the bass fit in?

“In a really organic way. The instrumentation is drastically different from my previous six albums, because instead of drums we had tabla, and there weren’t any harmonic instruments at all. Not only that, everyone was playing on a continuous drone from an electronic drone box. Also, when I was working solo I was putting on more double stops than usual and surfing in multiple modes. ”

We used western scale shapes on the album, but I was also using Hindustani thaats from North India, which is what they call “parental scales”.

Tell us about the theory behind the music.

“We used western scale shapes on the album, but I was also using Hindustani thaats from northern India, which is what they call ‘parental scales’. Ideally, six of these are the first six modes of the major scale that we use in the West.

“The other four are super interesting. You have the Bhairav ​​scale, with a flat two and a flat six, and the Poorvi, Marwa and Todi scales. I’ve been playing these scales for several years anyway, but now I have the opportunity to do it in a pure context. It was so much fun. “

And the rhythms?

“Well, the harmony in Indian music is super simple, but where it gets mind boggling, incredibly interesting, is the rhythm and the melody. Not only do you have things in hand, but the interpretation of the melodies is also rich in ornamentation, which gives the music expression and emotion.

“In Western terminology we would call it grace notes, glide notes, and vibrato, but vibrato is a special type of oscillation using trills and microtons. And on top of all that, there are hundreds of ragas, which are essentially sequences of notes, or rather interpretations of thaats. They have very specific conventions around the order in which you play the notes.

“For example, if you go from the fourth to the second, you can never play the third in between, or if you go from the fifth to the octave, you can only play the sixth or the seventh between them. All of these rules are designed to produce a certain emotion in the player and the listener. Melodically, it’s just another world. ”

This music is in my blood. I learned to appreciate his musical language by osmosis while I was growing up

What amazes me is that your bass parts on the album are really fast and smooth, and yet you navigate through these strict and complex conventions as you play.

“Well, this music is in my blood. I learned to appreciate his musical language by osmosis as I grew up. ”

At the same time, you had to work hard to get it under your fingers.

“Oh yeah, exactly. For years, I would wake up in the morning, do meditation, and then spend crazy hours on bass. I mean, hours and hours! ”

What bass equipment did you use on the album?

“I used my Fodera Emperor custom five-string in tenor tuning, which really suits my style as I like high register solos. It was also useful for the chord vocals on this album, while also being perfect for tons of low end groove. I also like that kind of hypnotic groove. My bass has a wenge touch, which gives me all the warmth that is a property of this wood. I am also Aguilar approved and use DR strings. ”

Effects in the chain?

“My effects setup is at the heart of my sound, so I use a Boss GT-10B multi-effects unit. My goal with the effects is to create a distinctive sound for each composition. The reason I use this particular unit is that it has two channels. I keep one channel for my pure and clear sound and the second for my effects.

“On this album, I was looking for a more natural and earthy sound, so I used the effects in a very subtle way. How do you get your tone clear? When it comes to sound, I think the equipment is crucial, but 70% of your sound comes from your musicality, what goes on in your brain, the musicality that you develop over years of experience, by interacting with other musicians.

“Obviously the mechanics of your technique with your fingers is very important. I have had the chance to travel to Cuba several times. I did a stint with a band on an island just off the Cuban mainland, and these guys were using amps that were in terrible shape, but they sounded awesome, with incredible musicality. Their timing, their choice of notes and their passion were all there – and it was a very interesting lesson for me. “

I apply certain tricks like playing in complete darkness, because it encourages and invites error

How do you find songs?

“I’m a serial jammer and I have two or three jam sessions a week, often with drummers but also with other musicians. I use them to test new ideas and make new suggestions on how ideas can be developed, playing without an agenda in a totally free, organic and liberated way.

“I apply certain tricks like playing in total darkness because it encourages and invites error. Something I’ve worked on is the limitation – I find it can be an incredible artistic boost. ”

In what way?

“Well, I remember talking to a lot of bass players at a Masterclass at the London Bass Guitar Show a few years ago about the Apollo 13 space mission and how it had been doomed since the beginning. start, because everything that could go wrong went wrong. . Their oxygen tanks exploded and the reserve tank was square in shape and was to be installed in a round shaped circular port.

“Mission control solved the problem of installing a square peg in a round hole with a very creative solution, due to the limitations imposed by the resources available on the spacecraft. To extend this idea to music, the specific limitations I might impose could be a particular rhythm, or playing a very small number of notes. I demonstrated this by playing an A minor over a D7 groove, limiting myself to two notes, A and G. I had to dig really deep rhythmically to make it sound interesting to me, let alone the audience.

“One of the great advantages of this approach is that it can produce new and tangible ideas that you might not come up with if you had more options. Another is that when you do this over time, more sophisticated rhythmic ideas become part of your improvisation vocabulary. Your subconscious generates these interesting ideas which should make your solos more interesting. ”

If it can appease people in any way, or make a little difference for a handful of people, then its job is done.

Do you sometimes use a looper when coming up with musical ideas?

“Totally. If I find a cool harmonic idea with a chord progression that inspires me, I record it, loop it, then try out various melodic ideas. When I find a melody that I really like, I go then propose one or two different chord progressions, loop the melody and change the chords below.

Thanks Shez. The new album is great.

“Thank you. People seem to get a lot of joy and a sense of peace in music, and I was like, ‘What better time than a pandemic to listen to it?’ If that can appease people in any way. either, or make a little difference for a handful of people, then its job is done.

“You know, I think every time you play music with anyone, in any style of music, there is a spiritual connection whether you like it or not. I was in a state. meditative most of the time while we were recording, and that connection between my emotions and the songs is why it’s the most heartfelt music I’ve ever produced. ”

  • Tales from Punjab is out now via Ubuntu Music.


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Obituary of Melody Jones (1962 – 2021) – Bryan, Texas

Melody Ann Jones

November 27, 1962 – June 6, 2021

Melody Ann Jones, 58, of Bryan, Texas, died Sunday June 6, 2021 at St. Joseph’s Hospital in Bryan. Mrs. Jones was born on November 27, 1962 in Elkhart, IN to E. Dean and Janice (Miller) Hedman. Melody graduated in 1981 from Brethren Christian School in Osceola, IN and had attended both Indiana State University and Indiana University. In his youth, Melody had worked at Hedman Music and was active in 4-H. She also participated in her church orchestra and participated in an archaeological dig in southern Indiana.

Ms. Jones moved to Bryan, Texas in the early 1980s from Indiana. On May 15, 2011, Melody married Raymond C. Jones Jr .; he predeceased her in death on August 24, 2020. While in Texas, Ms. Jones worked as a secretary at Rest Ever Memorial Park, Callaway Jones Funeral Home, and Gastec, all in the Bryan, TX area. Ms Jones was an honorary member of the VFW and a life member of Elks Lodge.

Survivors include her son, Dylan (Mary) Hubbard of Bremen, IN; daughter, Stephanie Bodish of Bryan; two grandsons, Colton and Austin Hubbard, both of Nappanee, IN; granddaughter, Baylee Bodish-Primus of Bryan; mother, Janice (Robert) Neidigh of Nappanee, IN; sister, Harmony Schmitt of Goshen, IN and six nieces and nephews.

Friends can meet at Thompson-Lengacher and Yoder Funeral Home in Nappanee, IN at 10 a.m. on Monday, June 21, 2021 and there will be a procession that will travel to South Union Cemetery, Nappanee, IN for a funeral service at 11 hours with Reverend Kevin Reed officiating. Memorial contributions can be made on Melody’s behalf to the Hearing Loss Association of America, Michiana Chapter.

Arrangements are with Thompson-Lengacher and Yoder Funeral Home, Nappanee, IN.

Posted by The Bryan-College Station Eagle on Jun 16, 2021.


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Video Lesson: Turn Any Song Into A Chord Melody Solo

Extract from the July / August 2021 issue of Acoustic guitar | By Greg Ruby

THE PROBLEM: You want to create a chord-melody arrangement based on your favorite interpretation of a song, but you don’t know where to start.

THE SOLUTION: Tailor a transcription using chord voicings for longer melody notes and thirds or single notes on faster passages. Try this approach to create a chord melody version of Django Reinhardt’s iconic rendition of “I’ll See You in My Dreams.”

WORKING FROM THE RECORDING

The first step is to find an accurate transcription of the piece you want to adapt and learn. While it is strongly recommended that you do the transcription yourself, there are usually many available online and in print. The next step is to spend some time learning to play with the original recording. In doing so, you internalize the rhythms, phrasing, dynamics, chord progression and choice of notes. I recommend slowing down the recording to an achievable speed. There are many applications and computer programs available that can decrease the tempo of a recording without changing its pitch (even YouTube – just click the gear icon on any video to find variable playback speed. ). Once you can play alongside your favorite musician, you are ready for the next step.

FIND THE RANGE

Observe the highest and lowest notes in the transcript. It is a good idea to keep the range between the third D fret on string 2 and the 12th E fret on string 1. Sometimes you will need to transpose in order to play the melody in this range. For “I’ll See You in My Dreams,” which I’ll come back to in a moment, I moved the melody up one octave, so that the lowest note was D in the third fret. While some notes extend above this range, the majority of the melody fits quite well, with just a few frills to cut.

THINK LINEARLY

While guitarists generally play melodies “in position”, learn the melody on the highest two strings only, as this will provide enough range below the melody for the chords. Example 1 illustrates the first eight bars of Reinhardt’s “I’ll See You in My Dreams” in the original scale. Example 2 Transposes it an octave up and places it on strings 1 and 2.

CHOOSE YOUR VOICES

Most of the great old jazz standards use major triads in their chord progressions. But you might want a more harmonious color. To achieve this you can add any note in the diatonic scale to a major triad, for example, if you take a G major triad (GBD) and incorporate one of the remaining notes from a G major scale. (A, C, E, or F #), you can enhance the color of the G without changing its major chord function. Example 3 shows a G triad played in various inversions, while Example 4 add E rating for G6 (GBDE) and Example 5 add F # for Gmaj7 (GBDF #). You can mix and match the same chord with different notes added, as you will see in the arrangement.


PLAY “I SEE YOU IN MY DREAMS”

On June 30, 1939, Django Reinhardt, with Pierre “Baro” Ferret on rhythm guitar and Emmanuel Soudieux on bass, recorded a sublime interpretation of “I’ll See You in My Dreams”, the popular 1924 song by Isham Jones. and Gus Kahn. From the first notes of the opening statement to the end, it’s pure brilliance.

Reinhardt’s first chorus is a very relaxed and moving take on the melody, with fills, syncopated rhythms and a few of his classics. Example 6 arranges this opening chorus as a chord-melody solo. After the chromatic triplet playbar, bars 1 to 2 express the D, F, G, and A notes as the top notes of a B-flat major triad. This changes their names in bar two to Bb6 and Bbmaj7. In measure three, use an up stroke with the pick on beat two while holding Bb6 (9), then play Bb6 on beat three with your middle finger while pressing the third and fourth strings. Aim for the space between the two ropes. If this is not possible for some reason, you can also drop the F note on the fourth string and fret the third Bb string with your second finger.

In measure 5, the Fmaj7 and F6 / 9 chords are used to express the notes A and C. Use your first and third fingers for both chords, as this will help in a smooth transition. Measure 8 offers a very trendy “pregnant” Reinhardt licking. This group of notes move too quickly to harmonize with a chord, so just play them on their own. In bars 9 and 10, the melody is harmonized with a third below. The B note is natural due to the diatonic resolution of a D7 chord being G major.


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In measure 18, hold the Bb triad while adding the other melodic notes. Reinhardt’s original melody in bars 21-23 was a bloom of notes outside of the guitar scale in that octave, so I replaced them with the melody. In measure 25, touch the diminished chord by locking your index finger on the tenth fret, which allows you to lift your third finger to play the D note while holding the chord.

Once you’ve worked your fingerings, try practicing the Reinhardt recording at half speed before gradually bringing it up to tempo. Then you’ll be sure to turn heads on your next swing jam, which is hopefully just around the corner.

Greg Ruby is a guitarist, composer, historian and professor specializing in jazz from the first half of the 20th century. His latest book is Oscar Alemán’s Songbook, Vol. 1. Ruby teaches classes on Zoom. For more information, visit gregrubymusic.com.

Musical notation for the acoustic guitar chord melody lesson page 2
Musical notation for the acoustic guitar chord melody lesson page 3
Musical notation for the acoustic guitar chord melody lesson page 4

This article originally appeared in the July / August 2021 issue of Acoustic guitar magazine.



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Prayer is like a musical score, giving melody and meaning to life, says Pope

People must find harmony between prayer and the demands of daily life, Pope Francis said.

“It is inhuman to be so absorbed in work that you can’t find time to pray. At the same time, prayer that is removed from life is not healthy, ”the Pope said during his weekly general audience.

“Time spent being with God rekindles faith, which helps us in the practical realities of life, and faith in turn nourishes uninterrupted prayer. “

The audience was held in the San Damaso courtyard of the Apostolic Palace, where the Pope spent the first 30 minutes chatting at length with individuals, blessing them or the items they had brought, signing books and greeting the children. .

While the Pope was maskless, attendees were required to wear masks, but many ignored social distancing rules when they gathered along the barricades to greet and speak with Pope Francis.

In his main audience address, the Pope continued his series on prayer by examining the importance of perseverance and ceaseless prayer.

How is it possible to stay in a constant state of prayer, especially when people’s lives are busy or filled with disturbances or distractions? asked the Pope.

One tradition offers what is called a “prayer of the heart” and is based on repeating in faith the words: “Lord Jesus Christ, Son of God, have mercy on me, a sinner”, until these words match the rhythm of the breath, and it’s spread throughout the day, he said.

“Indeed, we never stop breathing, even while we sleep, and prayer is the breath of life,” he said.

Vital: “Prayer is a kind of musical score, where we put the melody of our lives. »Photo: CNS

Having a heart in a constant state of prayer, he said, was like having a flame perpetually alight even while doing daily chores, walking or standing in line.

Even short, brief prayers, like “Lord, have mercy on us” or “Lord, help me” is enough, he said.

“Prayer is a kind of musical score, where we put the melody of our lives,” he said.

Prayer was therefore not intended to conflict with daily duties and obligations as it acts as “the place where every action finds its meaning, its reason and its peace,” he said.

It’s not easy to do, Pope Francis said, but just remember “that God, our Father, who is to take care of the entire universe, always remembers each of us. Therefore, we too must always remember ”and find time for him.

Work and prayer are complementary, he says, like the symmetry of the human body with its two hands, eyes and ears.

So while it is inhuman to have to work so much that you do not leave time for prayer, he said, it is also harmful to live a prayer life far removed from real life. In this case, the prayer becomes “spiritualism, or worse, ritualism”.

Remember, he says, that Jesus did not remain in his glory forever on Mount Tabor but came down from the mountain with his disciples to resume his daily journey.

This spiritual experience has remained in their hearts as the light and the strength of faith and a light and a strength for the days of trial to come, the Pope said.

Prayer rekindles faith, which sustains daily life and nourishes prayer, creating a positive feedback loop that now “ignites that flame of Christian life that God expects of us,” he said.


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Prayer is like a musical score, giving a melody of life, meaning, says the Pope

VATICAN CITY (CNS) – People must find harmony between prayer and the demands of daily life, Pope Francis said.

“It is inhuman to be so absorbed in work that you can’t find time to pray. At the same time, prayer that is far from life is not healthy, ”the Pope said on June 9 during his weekly general audience.

“Time spent being with God rekindles faith, which helps us in the practical realities of life, and faith in turn nourishes prayer without interruption,” he said.

The audience was held in the San Damaso courtyard of the Apostolic Palace, where the Pope spent the first 30 minutes chatting at length with individuals, blessing them or the items they had brought, signing books and greeting the children. . While the pope was maskless, attendees were required to wear masks, but many ignored social distancing rules when they gathered along the barricades to greet and speak with Pope Francis.

In his main audience address, the Pope continued his series on prayer by examining the importance of perseverance and ceaseless prayer.

How is it possible to stay in a constant state of prayer, especially when people’s lives are busy or filled with disturbances or distractions? asked the Pope.

One tradition offers what is called a “prayer of the heart” and is based on repeating in faith the words: “Lord Jesus Christ, Son of God, have mercy on me, a sinner”, until these words match the rhythm of the breath, and it’s spread throughout the day, he said.

“Indeed, we never stop breathing, even while we sleep, and prayer is the breath of life,” he said.

Having a heart in a constant state of prayer, he said, is like having a flame perpetually alight even when performing daily chores, walking or standing in line. Even short, brief prayers, like “Lord, have mercy on us” or “Lord, help me” are sufficient, he added.

“Prayer is a kind of musical score, where we put the melody of our lives,” he said.

Prayer is therefore not intended to come into conflict with daily duties and obligations because it acts as “the place where every action finds its meaning, its reason and its peace”, he declared.

It’s not easy to do, Pope Francis said, but just remember “that God our Father, who is to take care of the entire universe, always remembers each of us. Therefore, we too must always remember ”and find time for him.

Work and prayer are complementary, he says, like the symmetry of the human body with its two hands, eyes and ears.

So while it is inhuman to have to work so much that you do not leave time for prayer, he said, it is also harmful to live a prayer life far removed from real life. In this case, the prayer becomes “spiritualism, or worse, ritualism”.

Remember, he said, that Jesus did not stay in his glory forever on Mount Tabor but came down from the mountain with his disciples to resume his daily journey.

This spiritual experience has remained in their hearts as the light and the strength of faith and a light and a strength for the days of trial to come, the Pope said.

Prayer rekindles faith, which sustains daily life and nourishes prayer, creating a positive feedback loop that now “ignites that flame of Christian life that God expects of us,” he said.


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Find harmony between daily prayer and the demands of life, says Pope – Catholic Philly

Pope Francis greets people during his general audience in the San Damaso courtyard of the Apostolic Palace in the Vatican on June 9, 2021. (CNS Photo / Paul Haring)

VATICAN CITY (CNS) – People must find harmony between prayer and the demands of daily life, Pope Francis said.

“It is inhuman to be so absorbed in work that you can’t find time to pray. At the same time, prayer that is far from life is not healthy, ”the Pope said on June 9 during his weekly general audience.

“Time spent being with God rekindles faith, which helps us in the practical realities of life, and faith in turn nourishes prayer without interruption,” he said.

The audience was held in the San Damaso courtyard of the Apostolic Palace, where the Pope spent the first 30 minutes chatting at length with individuals, blessing them or the items they had brought, signing books and greeting the children. . While the pope was maskless, attendees were required to wear masks, but many ignored social distancing rules when they gathered along the barricades to greet and speak with Pope Francis.

In his main audience address, the Pope continued his series on prayer by examining the importance of perseverance and ceaseless prayer.

How is it possible to stay in a constant state of prayer, especially when people’s lives are busy or filled with disturbances or distractions? asked the Pope.

One tradition offers what is called a “prayer of the heart” and is based on repeating in faith the words: “Lord Jesus Christ, Son of God, have mercy on me, a sinner”, until these words match the rhythm of the breath, and it’s spread throughout the day, he said.

“Indeed, we never stop breathing, even while we sleep, and prayer is the breath of life,” he said.

Having a heart in a constant state of prayer, he said, is like having a flame perpetually alight even when performing daily chores, walking or standing in line. Even short, brief prayers, like “Lord, have mercy on us” or “Lord, help me” are sufficient, he added.

“Prayer is a kind of musical score, where we put the melody of our lives,” he said.

Prayer is therefore not intended to come into conflict with daily duties and obligations because it acts as “the place where every action finds its meaning, its reason and its peace”, he declared.

It’s not easy to do, Pope Francis said, but just remember “that God our Father, who is to take care of the entire universe, always remembers each of us. Therefore, we too must always remember ”and find time for him.

Work and prayer are complementary, he says, like the symmetry of the human body with its two hands, eyes and ears.

So while it is inhuman to have to work so much that you do not leave time for prayer, he said, it is also harmful to live a prayer life far removed from real life. In this case, the prayer becomes “spiritualism, or worse, ritualism”.

Remember, he said, that Jesus did not stay in his glory forever on Mount Tabor but came down from the mountain with his disciples to resume his daily journey.

This spiritual experience has remained in their hearts as the light and the strength of faith and a light and a strength for the days of trial to come, the Pope said.

Prayer rekindles faith, which sustains daily life and nourishes prayer, creating a positive feedback loop that now “ignites that flame of Christian life that God expects of us,” he said.


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I want a Sonic & Sega All-Stars rhythm-action game – Destructoid

Promoted from our community blogs

[Destructoid user Ninjaspeed is here to remind you just how fantastic some of the soundtracks for Sega games are and make a case for a rhythm-based Sega All-Stars revival. They definitely sold me on the concept.

I hate karaoke in real life, but if you don’t absolutely adore Yakuza 0’s wonderfully over-the-top karaoke minigame, I’m going to go out on a limb and say that you will probably never truly be capable of experiencing love. It’s amazing, and the absurdity of seeing a dangerous killing machine let loose and bust out the trusty old air guitar after a few drinks is something legitimately special.

If Sega could tighten up the actual gameplay into a full-fledged rhythm game starring Sonic and the cast from the many other delightful games published under its name, while still opting for the fun visual delivery in Yakuza, we could absolutely be looking at a total banger. – Kevin]

In 2012 I was more than excited for Sonic & All-Stars Racing transformed. The tracks, characters, and game mechanics were amazing. I had fun playing it, and I had no idea how the developers at Sumo Digital could surpass the quality of this game in a future installment. I guess Sega felt the same, since the Sega stars the series has been on hiatus since.

The Sega stars the series has always felt like a celebration of Sega throughout every installment. Whether it is the mini-game focused Sega Superstars, sport based Tennis Superstars Sega, or registrations to the races of Sonic and Sega Star Races and Sonic & All-Stars Racing transformed, I love seeing this colorful cast of characters together.

As a result of the return of intellectual property in recent years, as Streets of rage and Sakura Wars, it would be fantastic to see the Sega stars series are also coming back (among many others). However, I’m not sure if Sega wants to continue racing titles after the 2019 release. Sonic Racing Team. Aside from returning to the minigame or sports format of the past, I thought music would be a great way to bring back the All stars Games. The announcement of Kingdom Hearts: Rhythm Melody just solidified those thoughts.

One aspect of Sega games that is well known and loved is their music, down to “SEGA!” song. Sega simply does magic when it comes to their music. Whether it be Virtua tennis, Super monkey ball, Comic zone, Shinobi, Where Post-combustion, composers always know how to arouse emotions in the player. On the occasion of Sega’s 60th birthday, I’m going to review the music of some Sega series to accentuate the concept (of love).

The Radio Jet Set The series is bursting with style and the music is an integral part of its identity. While the games feature licensed music, the original funky beats are courtesy of Hideki Naganuma with additional tracks from Richard Jacques and Tomonori Sawada. They created all kinds of melodies including Radio Jet Set‘s “Let mom sleep, “Awesome radio” and “Electric toothbrush” as good as Jet Set Radio Future‘s “Love concept. “

Streets of rage has an absolutely fantastic music selection, thanks in large part to Yuko Koshiro and Motohiro Kawashima. Of Streets of rage‘s “Opening scene” and “Music Boss” To Streets of Rage 2‘s “Go straight” and Streets of Rage 4‘s “Call the cops, I would like to hear Streets of ragebranded electronic dance music in a rhythm game.

The Nights The series is packed with wonderful heartwarming tunes from composers Naofumi Hataya, Tomoko Sasaki and Fumie Kumatani. Nights in dreams‘”Paternal horn” and “NIGHTS and Reala”Bringing the dream and nightmare worlds to life. Nights: travel of dreams‘”Sailing together” and “Wizeman Theme”Easily find this magic.

To go past is one of Sega’s most beloved arcade games and composer Hiroshi Kawaguchi provided the soundtrack for a car ride. Some of the jams in the series include Exceed 2‘s “Wave splash, “Risky ride, “Shining world,” and “Night flight. “

Space channel 5The energetic and jazzy rhythms of us were brought by Naofumi Hataya, Kenichi Tokoi, Tomoya Ohtani and Mariko Namba. The songs include Space channel 5‘s “Evila: Attack of the Perfect Reporter, “Coco Tapioka the huge dancer, “Spaceship: strut,” and “Morolien! Monroe! : Gemini fast in the monitor. “For a series with a strong rhythm focus, the composers went above and beyond to deliver a memorable selection of melodies.

The music in every Sonic the hedgehog play is also an important highlight. The music in this series is loved so much that there is no way I can present it all correctly. Instead, I’ll select a few songs from the following three eras Sonic Generations‘ naming convention. These eras will include the Genesis Era (1991 – 1997), the Dreamcast Era (1998 – 2005), and the Modern Era (2006 – present). Please note that I will exclude some obvious choices like “Green Hill Zone”.

Age of Genesis:

Dreamcast Era:

Modern era:

Composers such as Jun Senoue (member of the band Crush 40), Masafumi Ogata, Tomoya Ohtani and Tee Lopes have helped bring the music of the Sonic series to life. The iconic soundtrack for the series was brought to us by Masato Nakamura, who composed the first two Genesis games.

I would also like to mention a few other games. Burning prowlers is appreciated for its jams from the late 90s as “i just smile” and “We burn Rangers. ” Golden ax is full of heroic fantasy music such as “Turtle Village” and “The path of the demon. ” Arcadian Skies is a cult classic with sweeping epics and intense songs such as “Vyse theme” and “Boss theme. “Finally, imagine Yakuza songs like “Friday night” and “Fatal conflict”In a rhythm game!

I would expect the majority of playable characters from previous entries to return, but in addition to them I would love to see other game characters like Bayonetta, Character, and Chronicles of Valkyria make the cut this time. Damn, throw it in Segata Sanshiro also!

The gameplay could be similar to other Sega rhythm games like Samba by Amigo or Atlus’ Character dance games. Additional challenges and multiplayer could make it a popular board game as well. While I recognize that a game like this could be a licensing nightmare for all the songs from different games, I would like to think they could pull it off, especially given all the music from the previous one. Sega stars Games.

It’s hard to imagine it’s been almost a decade since Sonic & All-Stars Racing transformed published! This game had compelling replay value, really tight gameplay, and (of course) a great soundtrack of remixed songs. I really hope the series returns in one form or another for the next generation of consoles. For now, all I can say is Happy 60th Birthday Sega! Thank you for the great gaming memories and the amazing soundtracks that came with them.


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3 Ways To Get Creative With Your Rhythm Guitar Play Like Van Halen, Rush, Soundgarden, and Nile Rodgers

Guitar lessons: In this lesson we look at three general concepts for rhythm guitar. The first is the idea of ​​combining rhythm guitar and lead.

Most musicians do it and groups with only one guitarist are the main representatives: Rush, Van Halen and Jimi Hendrix for example. This is a broad subject, so it may be best to focus your practice on rhythm and direction separately and rely on inspiration to put your ideas together.

We are also looking for odd and sixteenth note style funk beats. And if you’re bitten by the weather bug, Soundgarden’s Outshined weaves the 7/4, 4/4, 6/4, and 5/8 time signatures, so it’s a good idea to dive into it!

1. Combine rhythm and lead guitar

Click at the top right of the tab to enlarge the view

(Image credit: Avenir)

Few guitarists are as adept at combining rhythm and lead as Eddie Van Halen. Our EVH-inspired line features melodic flourishes at the end of bars 2 and 4. It’s a great way to kick-start your riffs, so if you’re struggling, try skipping the chord. D previous to start rather than abandoning the colorful melodic pieces.


2. Odd hour

(Image credit: Avenir)

Any guitarist working on their rhythm skills should think about common time and odd time. The first is the 4/4 beat, where you typically count to four to keep the beat.

Our riff is in the “odd” time signature of 5/4, so you count to five. Listen to bands like Soundgarden and Rush for some weird time inspiration.


3. Be funky

(Image credit: Avenir)

Nile Rodgers and his Fender Stratocaster (nicknamed ‘The Hitmaker’) have featured on countless top 40 hits, first with Chic but also with Duran Duran, David Bowie and Daft Punk.

You will need a stable down-up style strumming approach to get closer to his style. Try to hit only two or three strings at a time for full funky effect.


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TEST THE LAPS | Dayglow brings more sunshine to Harmony House

After shamelessly falling in love with “Can I Call You Tonight” after hearing it a thousand times on TikTok last summer, Dayglow’s debut album Blurry brain became my quarantine soundtrack. When the world was depressing, I turned to happy music, and nothing served me better than Blurry brainis lively and bright indie pop. Hearing these songs now fills me with nostalgia for the times I drove through the Arizona desert with my sister because we had nothing better to do with our time. Dayglow’s music was our escape. Needless to say, I was extremely jealous when I found out that because I was a freshman I barely missed Dayglow coming to Cornell.

Now, as we begin a new chapter in our lives with a return to normalcy on the way, Dayglow is back with their second album: House of Harmony. If you liked Blurry brain, you will love this album too!

House of Harmony began as the soundtrack for a fictional sitcom. Sloan Struble, the man behind the music / daylight, took inspiration from the soft rock of the late ’70s and early’ 80s, as well as the old TV show Cheers. From synths to lyrics, the whole album is imbued with the welcoming and nostalgic vibe of an old sitcom. The album is about change, a theme exemplified by the song “December,” Struble’s favorite song from the album. The song reads like one of these classic good times to learn on a sitcom. “So, my friend, you just remember that every year has its month of December,” he sings, a line borrowed from his great-grandmother’s favorite poetry collection. He continues, “There will be days when you don’t feel like you, but the seasons do, they change! This chorus is without a doubt my favorite lyrical moment on the album and a perfect tip that will stay with me.

Sonically, although different from the scintillating, anthemic pop of Blurry brain, House of Harmony still sounds like the Dayglow we know and love. As Blurry brain, Struble did the whole album alone in his bedroom. Even though he rose to fame from his first album, he still composes his music on his own, which I really enjoy as a fan. This time around, the songs are more piano-oriented and often bouncy, with a distinct ’80s influence throughout. There’s also a fun Easter Egg to look for throughout the album: The melody defined by the opening track “Something” can be found in one form or another on every track on the album. Yes House of Harmony is the soundtrack to a sitcom, so “Something” is most likely the main theme.

I believe there is a song for everyone on House of Harmony. It starts with a series of indie pop bangers – I know I’ll be dancing to “Medicine” and “Balcony” all summer long. I have also jammed on the first single from the album “Close to You” since January and I think any fan of pop music would love the addicting beat of the song. The album’s dramatic centerpiece, “Crying on the Dancefloor”, is a glamorous rock song straight out of the 80s.

The second half of the album is more ballad oriented with slower and more personal songs. If you liked Rex Orange County’s “Pluto Projector”, you’ll enjoy the last two tracks, “Strangers” and “Like Ivy,” which blend together harmoniously to form a sentimental and nostalgic close to the album. Their beautiful dark melodies and orchestral production immediately reminded me of “Pluto Projector”.

Personally, I love good pop songs, so my favorite songs should be “Medicine” and “Close to You”. However, the album is certainly not perfect. My least favorite song has to be “Something”, because I find the bass pattern to be squeaky and jarring with the rest of the song. Also, I find that some instruments, melodies and samples are a bit out of place (why is there a random airhorn?). I will skip it in the future.

Overall, this is a great album to check out for any indie pop fan. The happy, vibrant vibes are perfect for summer, and there are plenty of songs for your road trip playlist. The timing of this album could not have been better: it arrives just at the beginning of the summer, our first months of return to an almost normal life. You can broadcast House of Harmony everywhere on May 21, and you can also see Dayglow live at the House of Harmony tour later this year.

Lauren Douglass is a freshman at the College of Arts and Sciences. She can be reached at [email protected]


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Harmony’s fifth star destroyed after DWTS moment with James Van Der Beek

Fifth Harmony ally Brooke was destroyed after James Van Der Beek was eliminated from Dancing with the stars (Photo: Getty)

Fifth Harmony star Ally Brooke has claimed she felt “destroyed” while on Dancing with the Stars.

The 27-year-old singer appeared on the show in 2019, but her experience on the series deteriorated after the judges chose to save her in place of Dawson’s Creek star James Van Der Beek, who was still struggling with losing his wife’s pregnancy at the time.

She explained on The Ally Brooke Show, “It was horrible. And especially the week he had the devastation of losing a baby. Him having the strength to go to the show again, perform and dance.

“To me, it just didn’t make sense. I’m like, “This doesn’t make sense. There is no way. I know America supports him and voted for him.

The singer continued, “It was just a bunch of mixed emotions… He was the one to watch during the season because he always performed well.”

Although she moved on to the next round, Ally revealed that she wanted to quit the show at the time.

Ally was rescued by the judges the same week James’ wife miscarried (Photo: ABC via Getty Images)

The former X Factor star added, “I remember right after the show I wanted to stop. I want to give this to James. I don’t want to be here. I was done.

“It was such an emotional punching bag for me and on top of that I had a lot of hate because the judges saved me.”

Ally claimed the backlash from the moment she reminded him of her time on The X Factor.

The singer – who joined Fifth Harmony after auditioning on the show –
explained: ‘You don’t understand how much this can destroy someone. It destroyed me and brought me back to the really bad space I was in after X-Factor.

“My hearing was aired and I had so much hate there and it tore me apart. And then also, it brought back a lot of memories of hate online for, you know, my body or my dance in Fifth Harmony. I just felt like a man, I can’t stand this.

Bachelorette star Hannah Brown and professional dancer Alan Bersten were announced as the winners at the end of the DWTS season.

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