“writer’s block”

*THE BASIX*

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πŸŒ‘πŸŒ’πŸŒ“βœ¨πŸšͺINTROπŸšͺβœ¨πŸŒ–πŸŒ—πŸŒ˜

*INTRO*

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*πŸŒͺ.SOUNDπŸŒ₯πŸŽ™πŸŒ©CLOUDS.πŸŒͺ*

AUDIO

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*🎬✨CLIPSβœ¨πŸ“½*

VIDEO

[vimeo 10794486]

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*🎸✨CHORDS✨🎸*

CHORDS

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*🎼✨LYRICS✨✍️*

LYRICS

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🧫πŸ₯ΌπŸ§ͺ✨DEVELOPMENT✨πŸ§ͺπŸ₯ΌπŸ‹οΈβ€β™€οΈ

THEMES

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πŸ€–β˜ οΈπŸ›‘β™žβš”οΈπŸ›‘ENSEMBLEπŸ›‘βš”οΈβ™˜πŸ’€πŸ€–

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βœ¨βš‘οΈπŸ”ŒπŸŽ€πŸŒŒPRODUCTIONπŸŒŒπŸŽ€πŸ”Œβš‘οΈβœ¨

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πŸ•΄πŸŽ«πŸŽ­βœ¨PERFORMANCEβœ¨πŸŽ­πŸŽ«πŸ•΄

*SOLO*

*ENSEMBLE*

*V1*
(11.16.17)
(dekalb busking)
(8:00PM – 10:45PM)
(now i can capture ~ 3 1/2 hours of video)
(almost 4-hour springsteen marathon concert)
(who plays the longest concerts as strenuous singers?)
(who has the most durable voice?)
(who has developed as a busker in the gutter like me?)
(and actually improved?)
(not many, i’d say)
(everyone else gains some sort of ‘following’ or ‘break’)
(or else they get ‘broken’)

*SOLO CLIPS*

11.16.17:

(IG)

V1:
(7:00)

4:00
(first attempt)

V2:
(10:33)

0:00
(not acceptable yet)
(decent)
(good second high octave line)
(good “leave this one alone” –> “take it to the limit”)
(good singing on “take it to the limit”!)
(to “NY state of mind”)

V3:
(41:27)

13:05
(good first line)
(keeper 1)

19:20
(good first line)
(decent shaky ‘ooo’)
(too slow?)
(good end “just like her daddy did”)

V5
(9:31)

4:20
(too fast?)

8:55
(shaky slowdown on first line)
(keeper 2)

V6 
(17:06)

2:50
(a bit shaky)
(good vocal arc on “leave this one alone” high octave)

3:31
(good subway announcement on second attempt)
(leave scat out)
(go to song proper)
(keeper 3)

16:30
(good “ooo” yelp in beginning)
(keeper 4)

V7:
(1:04)

0:00
(decent)
(into good version of “take it to the limit”)

V8
(12:49)

0:00
(keeper 5)

8:50
(not good)

V9:
(6:39)

0:00
(keeper 6)
(good octave jump in beginning)
(previous first line a bit better)
(good jump to high octave)

(second attempt same – good “yea” in beginning)
(good singing of “writer’s block”)
(good vocal arc at high octave end into siren)

5:30
(good falsetto at 5:48)
(too fast)

V10:
(4:32)

2:24
(decent falsetto in beginning!)
(more than decent)
(good grind into first lines)

3:25
(keeper 7)
(good singing of “block”)
(into “hey jude”)
(Cmajor to Fmajor)
(the outro to “writer’s block” ends on F)
(use this trick to modulate)
(give yourself a bar to mentally prepare for key change)
(but try to minimize this duration without sacrificing vocal tonal accuracy)

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*βœ¨πŸ¦„πŸ“–βœ¨STORYLINESβœ¨πŸ“–πŸ¦„βœ¨*

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πŸ‘ŽπŸ€·β€β™‚οΈπŸ‘©β€βš–οΈπŸ™€*REVIEWS*πŸ˜»πŸ‘¨β€βš–οΈπŸ€·β€β™‚οΈπŸ‘

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πŸŒŒπŸŒ“πŸŒ”πŸŒ•πŸŽ†πŸŒƒOUTROπŸŒƒπŸŽ†πŸŒ–πŸŒ—πŸŒ˜πŸŒŒ

OUTRO

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πŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œ

πŸ‘ˆπŸ‘ˆπŸ‘ˆβ˜œ*’CUT’ + ‘PASTE’* ☞ πŸ‘‰πŸ‘‰πŸ‘‰
*SONIC CHRONICLE #3*
*ACT 1*

πŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œπŸ“œ

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πŸ’•πŸ’πŸ’–πŸ’“πŸ–€πŸ’™πŸ–€πŸ’™πŸ–€πŸ’™πŸ–€β€οΈπŸ’šπŸ’›πŸ§‘β£οΈπŸ’žπŸ’”πŸ’˜β£οΈπŸ§‘πŸ’›πŸ’šβ€οΈπŸ–€πŸ’œπŸ–€πŸ’™πŸ–€πŸ’™πŸ–€πŸ’—πŸ’–πŸ’πŸ’˜

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*🌈✨ *TABLE OF CONTENTS* ✨🌷*

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πŸ”₯πŸ”₯πŸ”₯πŸ”₯πŸ”₯πŸ”₯*we won the war* πŸ”₯πŸ”₯πŸ”₯πŸ”₯πŸ”₯πŸ”₯