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Last minute studio recording

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Studio recording (part 2) | Rehearsal + Journaling

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https://youtu.be/pNj8Vlg0L28?feature=shared

(Result of the studio session)

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This is a screenshot of my guitarist just letting our drummer know what happened in rehearsal, as he couldn’t make it. I mentioned in my journal that we swapped it because they sounded too similar to another song, and we wanted more variation.

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A screenshot of us organising a date for rehearsal during the holiday.

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👍

This is an example of us agreeing on a time for rehearsal.

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1. Our House - Madness

2. Movin' Out (Anthony's Song) - Billy Joel

3. What You Know - Two Door Cinema Club

4. Burnt Bridges - Franek at the Disco

5. Mówię ci, że - Tilt

6. Valerie - The Zutons

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I watched a couple videos of gigs at the Mash House to get a general idea of the venue, to see what it actually looks like, and familiarise myself with it.

References

Edinburgh College Music (2024). Mash House Highlights January 2024. [online] YouTube. Available at: https://www.youtube.com/watch?v=MNDph3NTh14 [Accessed 12 Apr. 2025].

Edinburgh College Music (2023). Music Box Live Day 3. [online] YouTube. Available at: https://www.youtube.com/watch?v=WPCwSPwiljU [Accessed 12 Apr. 2025].

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I forgot to mention a fantastic website that was suggested in class once, and it's been a game-changer! It's so simple but it just makes referencing so much easier, and saves A LOT of time.

MyBib (2025). MyBib – A New FREE APA, MLA, Harvard Bibliography Generator. [online] MyBib. Available at: https://www.mybib.com/ [Accessed 8 Apr. 2025].

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I'm finding it quite fun to learn this song, although there's no piano in the original, so I decided to look at Amy Winehouse's cover.

Looking at Amy's version was very helpful, and helped me figure out what kind of rhythm to play, as well as chord inversions.

References

The Zutons - Topic (2017). Valerie. [online] YouTube. Available at: https://www.youtube.com/watch?v=KM5aqNr9QpU [Accessed 8 Apr. 2025].

Dan Music (2024). Mark Ronson - Valerie (Lyrics) ft. Amy Winehouse. [online] YouTube. Available at: https://www.youtube.com/watch?v=lZQfDoeIMxI [Accessed 8 Apr. 2025].

danielmchugh16 (2006). Valerie. [online] Ultimate-guitar.com. Available at: https://tabs.ultimate-guitar.com/tab/the-zutons/valerie-chords-366394 [Accessed 8 Apr. 2025].

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My part in Movin' Out isn't as accurate as I'd like, so I spent some time working on that today. I used a video of an isolated piano track from the song for reference, and also the live performance (from Old Grey Whistle Test).

It didn't take long to freshen up the bits that I found were lacking, though there's an instrumental at the end which focuses on the pianist playing (in the now major key) for a few bars. I needed to work on my rhythm for that, so I tried to listen and analyse a bit more.

I noticed he has quite a "spontaneous" feel to his style, but with some guidelines. (similar to how I like to play!) Like; the ending piano part's rhythm sounds somewhat improvised, yet he still has a pattern with the chord inversions/voicings he uses.

References

Adventures in Modern Recording (2022). Billy Joel - ‘Movin’ Out’ (Isolated Piano). [online] YouTube. Available at: https://www.youtube.com/watch?v=FsSY_3vh4Vw [Accessed 16 Apr. 2025].

billyjoelVEVO (2019). Billy Joel - Movin’ Out (Anthony’s Song) (from Old Grey Whistle Test). [online] YouTube. Available at: https://www.youtube.com/watch?v=7nfEYV7nWc0 [Accessed 16 Apr. 2025].

maguri (2012). Movin Out Anthonys Song. [online] Ultimate-guitar.com. Available at: https://tabs.ultimate-guitar.com/tab/billy-joel/movin-out-anthonys-song-chords-1175028 [Accessed 16 Apr. 2025].

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We practiced our set-list, and simply went through all the songs a couple of times. Though, for What You Know, we decided to ask Ni to give some feedback, so we played him the song.

We got told that for the main hook of the song, we're wrongly playing a kind of "triplet" feel before it repeats. It was hard to hear, but he was demonstrating and visually showing us the effect it has, and the subtle but noticeable difference it has when it's properly done with 16th notes.

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Today we went through our setlist, and we practiced Movin' Out the most. I actually got a lot better with the rhythm, as I realised it's very helpful to watch the drummer play 8th notes, which I play in my right hand.

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Fri. 25 Apr. 2025

Movin' Out is a great song for me to practice, as it gets me to work more on my rhythm and syncopation in both hands. When playing this, I'm mindful of both the bass AND drums. My right hand mimics the 8th notes that our drummer plays, and most of the notes our bassist plays, and I still need to be mindful of chords.

Musescore is very helpful, as it gives me additional assistance for more precise rhythm and is also educational for my sight-reading.

Measure 19 ("you ought-a know by now") in particular was helpful to view, as I had initially not been sure how to decipher that part where the piano harmonises with the vocals, so I just played in thirds. Now that I can see the full chords, I sound much more authentic to the actual song.

Resources

Musescore (2017). Movin’ Out. [online] Musescore.com. Available at: https://musescore.com/user/1524836/scores/4863410 [Accessed 25 Apr. 2025].

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Friday 25 Apr. 2025

The software I use to practice at home is called Pianoteq (by Modartt), although sometimes I use Logic Pro or MainStage.

The hardware I use, is a semi-weighted nektar Impact LX88+, This is super versatile and brilliant to use. I pair this with a M-Audio SP 2 Sustain Pedal. To connect to my PC/Mac, I use a USB C to USB B MIDI Cable.

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Friday 25 Apr. 2025

To warm up I usually play songs I'm very familiar with, or just improvise some songs for a bit, but I do plan on looking into ACTUAL warm-up techniques, as I feel that'd be more beneficial.

A song I particularly enjoy, is the intro/middle of Firth of Fifth - Genesis. There's a lot of chord jumping in the left hand, and it's full of big arpeggios (for me at least) in the right hand, and lots of sustain pedal timing. I also have to consider the dynamics of the piece, such as pace and velocity.

I have to take into account the physical technicality of this piece, in regards to the fluidity of wrist movement and relaxation in my arms and fingers, as it's likely that I could injure myself from how tense I am.

To exercise this, one of the things I do is to bounce my hand off the piano when I have the chance, and relax my muscles when my hand is in mid air, this way I'm not storing tension as I play; which would ultimately end in having bad cramps halfway through performing.

I see a lot of classical pianists doing this, and while it may look elegant or even quite silly, It's very practical and a great way to stay relaxed and even physically emphasise certain areas of the piece.

References

Genesis (2020). Genesis - Firth Of Fifth (Official Audio). [online] YouTube. Available at: https://www.youtube.com/watch?v=Rz-tHZEr37I [Accessed 9 May 2025].

Elektrik Hob (2016). Genesis - Firth of Fifth Piano Intro - Sheet Music + PDF. [online] YouTube. Available at: https://www.youtube.com/watch?v=Fivs-MX8xEg [Accessed 9 May 2025].

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I know Billy Joel is a great musician, but I don't actively listen to him. Though when I do, I always notice that he has such an intriguing style in which he plays the piano, but I never took the time to really analyse it. Not until today. I decided to look up some videos to see if anyone had broken it down, or if there were any videos of him explaining his technique.

I found a short video of him explaining rhythm and percussion on the piano, and I love and fully agree with his analogies. It's also great that he demonstrated a quick example of Movin' Out, as it's in our setlist.

References

The Howard Stern Show (2024). Billy Joel Demonstrates How He Creates Rhythm With the Piano. [online] YouTube. Available at: https://www.youtube.com/watch?v=TluMiRjGiUc [Accessed 15 Apr. 2025].

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Wednesday 30th Apr. 2025

We went through our setlist twice, as we've just been trying to get used to going through our songs in specific order. It's good that we're doing that, because it gives more structure to the rehearsal, rather than just picking random songs to play. It's very important as well, because we have to memorise the order of the songs for when we're on stage.

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Wednesday 7th May. 2025

We played our whole setlist a couple of times, and played it again for Ni when he came in, so that he could give us feedback. He really loved it, and he never even gave us anything to practice, and said we're ready. (ill try tidy this later)

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Friday 9th May. 2025

Today we went through our setlist several times, and especially practiced Mowie ci ze. Our vocalist discussed the script with us a bit, and rehearsed his introduction for our band. We're also thinking of adding a guitar solo after the sax solo, so we may need to work on figuring that out soon. I personally think it's a great addition, and everyone that was there seemed to love the idea, but we'll check in with the others.

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My drawing of Phil Collins' vocals throughout various songs | Made with Procreate

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Wednesday 14th May. 2025

I remembered a fun fact today while I was looking at Chromesthesia videos on YouTube, and saw Billy Joel mentioned on a shorts thumbnail.

"Chromesthesia or sound-to-color synesthesia is a type of synesthesia in which sound involuntarily evokes an experience of color, shape, and movement. Individuals with sound-color synesthesia are consciously aware of their synesthetic color associations/perceptions in daily life."

There are two overall forms of synesthesia: projective synesthesia: seeing colors, forms, or shapes when stimulated (the widely understood version of synesthesia) associative synesthesia: feeling a very strong and involuntary connection between the stimulus and the sense that it triggers.

Billy Joel on his synesthesia:

"If I figure it out, somehow the sorcery disappears. Because I don't want to become formulaic with it; I kind of like the spontaneity and the mystery of it all. It's very intriguing to me."

(unfortunately I've already spoiled the mystery for myself a long time ago!)

Synesthesia is such an interesting phenomenon, and there are so many different subtypes that come under chromesthesia.

All the following types of synesthesia can be called chromesthesia:

Musical note-colour (=tone-colour)

Chord-colour

Timbre-colour (and timbre colour/shape)

Key signature-colour

Musical mode-colour

Song-colour, musical genre-colour

General sounds-colour (and general sounds-colour/shape)

Voice-colour (and voice-colour/shape)

It's very inspiring to hear about other musicians experiencing the same things I do when I listen to music, and I believe that it greatly helps me to remember and structure songs in my head when playing. (e.g. "here's the orange part...then that blue part...")

I've always found that music sparked abstract feelings and thoughts that I've never been quite able to put into words, I also find that the more dopamine music sparks, the more vivid those feelings are.

I've actually learned to draw my synesthesia, and it brings me a lot of joy to be able to take what I see in my head and put it into existence.

References

WholeSelfTV (2023). How Some People Hear Colors👨🏼‍🎨 #shorts #viral #youtubeshorts #fact #colors #smellsgood #art. [online] www.youtube.com. Available at: https://www.youtube.com/shorts/EeLMmpK4rnM [Accessed 14 May 2025].

Wikipedia Contributors (2019). Chromesthesia. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Chromesthesia [Accessed 14 May 2025].

Wikipedia Contributors (2018). Synesthesia. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Synesthesia [Accessed 14 May 2025].

Seaberg, M. (2012). He’s Got A Way About Him. [online] Psychology Today. Available at: https://www.psychologytoday.com/gb/blog/sensorium/201205/hes-got-way-about-him [Accessed 14 May 2025].

Pau365 (2022). Chromesthesia. [online] The Synesthesia Tree. Available at: https://www.thesynesthesiatree.com/2021/02/chromesthesia.html [Accessed 14 May 2025].

Music, U.P. (2024). Synaesthesia: The Psychology of Music and Colour. [online] Universalproductionmusic.com. Available at: https://www.universalproductionmusic.com/en-es/news/synaesthesia-music-and-colour [Accessed 14 May 2025].

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Wednesday 14th May. 2025

We went through the setlist a few times, and I'm getting the hang of the order. Our singer practiced the introduction a bit, and decided when and how he'll introduce the band. We decided that we're going to introduce ourselves after the first song, then go through the rest, and save Valerie as a surprise, and as an ending. I'm really pleased with how everything is going, and I'm proud of everyone for the work we've all done!

When I got back home I did some more practice, especially on Movin' Out, because I felt I was a little weak towards the end, where there's a piano outro/fade out, and Mowie Ci Ze, because there's a keyboard solo. I'm more confident now, and I believe we're all ready.

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The night before the gig, I was finding it hard to fall asleep, and I felt kind of sick and a tiny bit irritable all the way up to the performance. I wasn't really sure how to feel, because I felt excited, but also anxious at the same time. My dad was really assuring and helped me to feel more confident in myself. He’s had band and performing experience, so I trust what he says. The performance ended up being great, my dad and brother really enjoyed it, and we had a great audience.

I'm really proud of my band members individually, because I can see and hear how much they've improved over the course. We all sounded so amazing, and I'm so happy I had the opportunity to experience this with them.

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The research I did for this project mainly consisted of looking up lyrics with chords, sheet music, and inspiration/motivation.

The chords and lyrics were so I could have the structure of the song laid out in front of me to memorise the structure and where I am, as some of the songs in our setlist had confusing sections. Sheet music helped with my rhythm and sight reading for personal practice.

This helped me in rehearsals so that I could remember what to play, and when to play.

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I used ultimate guitar for chords a lot, and listened to isolated piano tracks to some of the songs, or just listened very carefully. Musescore helped me with sheet music, though not all of the sheets were accurate enough, so I never relied too much on it, it was just to give me a general idea of the rhythm.

In actual playing, I made sure to relax my hands whenever I could, so that I don't tense or cramp up as often as I would otherwise.

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Honestly, I overthought the padlet part of the project a lot, I'm not used to documenting myself, and it's not something I particularly enjoyed a lot of the time, though I can see the benefits that come out. It's a good way to prove that you're doing the work, and to show that you care. It's also a good way to reflect on your own achievements and see how far you've come; what you were at, and where you are now.

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I've gotten a lot better at communicating in a group setting, and feeling comfortable with playing louder, which I struggled with before. I even forget that I used to be playing so quietly. My rhythm has improved, as well as my physical technique.

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A while before the gig, I was having some fun looking online for some inspiration on what I could do for makeup looks. I also asked my dad for any recommendations. He's very insistent on this and has brought it up several times...

"You need an iconic look for when you're performing. I think you should do a Wes Borland (Limp Bizkit), and paint your face white and get black contacts."

...Absolutely not. He also suggested a Jenna Ortega look, like in Wednesday, because apparently I have a “dead-pan” stare when I’m playing. (I’ll admit, I can’t even argue. At the actual gig, I did look a bit like that, despite the fact I was trying to smile…)

Lots of grungy kind of looks were suggested, and while I’m not against it, I was wanting to try lean into more "light" or "brighter" things, sort of like soft glam.

"What about a pink princess?" he said...a stark contrast. “You could wear a tiara?”

“I could wear a big ball gown on stage as well” I joked.

Admittedly, it was intriguing, and I was getting some ideas, though not quite as bold… Another suggestion was Debbie Harry's makeup style, and I actually really liked that idea.

My brother has mentioned before that I look like Sophie Thatcher, especially when she's in Pavement's music video for Harness Your Hopes. I honestly see it, and I love the makeup she has in that, so I'll definitely try that out.

~

I'm not very experienced with makeup and I rarely wear it, but I adore makeup that makes your eyes and eyebrows look bold, so I've been practicing a lot with that and it's very fun (when you get the hang of it).

I recently followed an Audrey Hepburn makeup tutorial on YouTube, thinking I'd make a botch of it, and to my surprise it actually turned out really nice!

My idea is to follow lots of tutorials, until I can eventually find something that really works for me, and I can personalise it and make it my own. I also love the idea of face paint, so I want to try that out soon!

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I'm really proud that I've gained more self esteem throughout the project, that I'm more confident in my own playing than I was at the start. I'm also way quicker at picking up and memorising songs than I ever was before. I'm also very proud of my band members, as I can see they've worked hard and they've improved a lot musically. The actual performance was fantastic thanks to them, and everybody had so much fun. My brother told me the vibe completely changed, and everybody seemed to swarm in when we started playing. Whenever I looked up from the keyboard, the audience were smiling and and singing, having a great time. It was such an amazing feeling, and I'm so grateful I got the privilege to experience it.

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Rationale

Since starting the course I’ve gained a lot of experience in various areas, such as being a performer, producer, and being a team player in a band setting. In these areas, I have been taught about how to critically listen to music, how to cooperatively collaborate with other musicians, and many recording techniques in Logic Pro.

I’ve improved at my own instrument in rhythm, accompaniment, and sight reading via tutoring. I have gained more confidence in performance and group-work. My taste in music has become more versatile. It’s taken me a while to get used to the college system, but I now feel more settled.

Project Concept

My project focuses on developing confidence in a group setting and improving my performance skills as a keyboardist. I want to contribute to a stage presence that makes the audience feel comfortable, engaged, and happy. To achieve this, I will research stage performance techniques, analyse experienced performers, and practice both solo and group playing.

I’d like to experiment with different ways of connecting with the audience, such as body language and eye contact. Rehearsing with a band will help me build confidence and improve my ability to collaborate.

The outcome will be a live performance at The Mash House where I apply these skills in a real setting. I will reflect on and evaluate my progress through journaling, feedback from band members and our performance lecturer. Resources will include a keyboard + amp, rehearsal space, chord websites, isolated keyboard parts, and access to relevant research materials.

Evaluation

I’ve decided that I’ll journal my rehearsals and group-work in order to reflect on progress, both personal and band. This will also include my progress in contributing my thoughts and ideas to the band as I work on gaining confidence in a group setting. I will ask feedback from band members and lecturers, and set aside time for personal practice.

Project Action Plan and Timetable

Week

Date Week

Beginning

Activity / What you are intending to do - including independent study

Resources / What you will need to do it - including access to workshops

1

24th March

We’re going to rehearse the songs we’ve already agreed on, and maybe discuss if we’re adding any other songs to our set list. We should be communicating and discussing our own thoughts and possibly any difficulties with our list. I’ll be journaling both my solo and group progress for personal reflection, and possibly to bring up any issues we could work on. I’ll also be making sure to do independent practice for sight reading, so I can prepare for my piano lessons. Even if I don’t do much, it’s better doing something than nothing.

2

31st March

Practicing our parts, both solo and in group. I’ll be listening to the songs, and looking up the keyboard parts to learn. If there are no available guides, or even any keys in the songs, I’ll create a part myself to go with the song(s), and ask for feedback from people. We’ll discuss any weaknesses in our rehearsal, and work together to fix them. Hopefully we can sort out the song structures to make it easier to perfect our parts. I will still continue doing my flashcards and practicing a few bars for personal sight reading.

7th April

EASTER HOLIDAY

Hopefully we’ll try come in to rehearse, or at least practice our parts at home. I’ll watch videos of college performances at the mash house in order to get an understanding of the venue, and familiarise myself as I prepare. That way, it hopefully won’t be as daunting when I’m actually there. I’ll also make sure to regularly do flashcards, and practice a couple bars of sheet music for my lessons.

14th April

EASTER HOLIDAY

Either solo practice or group practice. I’ll also be setting aside time for myself so I don’t burn myself out. I’d like to research relaxation methods so I don’t get too scared when it comes to the actual performance. I’d also like to watch videos of professional live performances to feel inspired and motivated.

3

21st April

(Bank Holiday Monday)

Refining our parts and working on whatever our weaknesses are in the songs. This could include timing, rhythm, memorising, or dynamic.

4

28th April

Rehearsal and refining details and timing, maybe discuss stage positioning.

5

5th May

(Bank Holiday Monday)

We’ll be perfecting the songs in our setlist, and making sure everything is good to go.

6

12th May

FINAL GIG

Hopefully we’ll be able to have a quick rehearsal beforehand in order to warm up.

7

19th May

Evaluation and Final Deadline

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For next year, I want to improve my music theory, get better at crafting melodies, harmonies and counterpoint, and how and where to use it. I’d love to improve my knowledge on jazz chords, as well as how to get better at rhythm/timing and learn some complex time signatures.

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To choose a set list, it’s important to know exactly how long you’re allowed on stage. It’s also better to start strong with a song people will love in order to create a great first impression.

You have to keep in mind what you’re capable of, and what your vocalist’s range is, if you have one.

It’s also good to create dynamic throughout the set list, rather than having 100% energy all the time, with the same rhythm and groove.

We chose our set list with the duration of our set in mind, as well as our own instruments. Not every song has a keyboard, a saxophone, and a baritone range, so it’s a little trickier to find fitting songs, but it’s also a good skill to be able to change it up as we see fit.

To have an effective rehearsal, you have to come prepared, practice is important. It’s ideal to have a structured plan on what you’re going to do, in order to get the best out of it. It’s also important to look after yourself; take some breaks, get fresh air, and have something to eat.

You have to be a team-player, be civil, and listen to people if they have something to say. Hear everybody’s point, and find what works for everyone.

References

Keyes, D. (2021). How To Write A Set List For Your Next Live Gig (10 Band Set List Tips). [online] Music Business Academy. Available at: https://www.dk-mba.com/blog/how-to-write-a-set-list [Accessed 23 May 2025].

Cross, S. (n.d.). 10 tips for successful and harmonious band rehearsals. [online] Sound Technology Ltd. Available at: https://www.soundtech.co.uk/news/10-tips-for-successful-and-harmonious-band-rehearsals [Accessed 23 May 2025].