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developing songs further in studio and rehearsal space. continuing development

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Mixing and recording

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Jaw clench occurs when you want to get a higher note and tension starts to form in the jaw and it can cause lots of strain on the singer

Exercises for this are

Lip trills: “brrrrr” up and drown a scale and this relaxed facial tension and vocal tension

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Always on the run Lenny kravits

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wasnt in due to mental health

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vocal closure (adduction)

controlling air flow is important when belting as if you have too much air the sound will be breathy and not powerful, therefore restricting air flow allows you to have a much clearer, brighter powerful sound. you need less air to sing higher.

Exercises:

1) 'You - Wahh - Ooh' - Open Close Open position.

2) 'Yaa - Ooh - Wahh' - Close Open Close position.

3) 'You - Wahh - Ooh' - Close together notes. Voice transition and better blend.

Exercise Benefits

Improve strength

Increase volume

Better blend

Increases tonal quality

Sing more confidently

Develop dynamics

Improve performance

Increase range (taken from padlet)

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ths week we learned about:

-oscillation

-synthesis

-VST synthesizer

the frequency of sound waves is related to what the pitch we hear Waveform oscillations can move at different speeds, or frequencies. The faster they move, the higher frequency they have. The higher the frequency, the higher pitched the resultant sound is to our ears. (taken from padlet)

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this week our song was black dog by led zepplin and our teacher sarah didnt like the misogynistic nature of the original lyrics so our task this week was to rewrite the song in a way that would uplift women or challenge the weird pedo stuff in zepplins song . i took a very volatile approach to the songwriting as i really love the 90s female led punk 'riot grrrl' movement and my favorite band from that time might be bikini kill.

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reducing vocal fatigue

vocal fatigue occurs when there is far too much going in the throat and it is causing strain on the muscles. when the muscles are too active it causes tension and restricts sound and air from travelling out, which is where you'll hear the strain.

there is a warm up for vocal fatigue and strain which using a straw while voicing is called a semi-occluded vocal tract.

the exercise is to blow into a straw either in water or out, if its in water, hold it slightly above the water, while humming. you can buy a vocal straw or use a regular straw if you don't have one. this warm up increases the length of the vocal tract which encourages airflow.

benefits of this Exercise are:

builds core strenth

relaxing facial tension

reduces strain in throat

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What is your current approach to music creation - do you tend to focus on producing a high quantity of work or prioritise honing the quality of each piece

I tend to just do what I can to be honest, I do need every song I write to be perfect or if I feel like I can't develop it further I just leave it. So I guess my focus is quality over quantity

How do you define success as a musician? Is it based on the number of compositions or performances you produce, or is it determined by the impact and emotional resonance your music has on listeners?

I think your a successful musician when you have a real audience that resonate with the music, not just "stans" which can be really loyal listeners but only out of admiration for the artist themselves and not the music, some people will actually dislike their fave artists new album but still stream and listen in support. I don't think that's constructive or productive, it's giving sheep

Consider this chapter quatity vs quality challenge / a recent project you worked on. Did you feel more fulfilled by the sheer volume of work you produced, or did you find greater satisfaction in meticulously refining and perfecting a smaller selection of pieces?

I definitely felt a little disheartened when I couldn't complete the song as I felt like there was nowhere to go. But I think it's because some of my songs aren't huge lyrically, there isn't always a clear verse Bridge and chorus section. I think I need to get a band together to help as some of my songs need large musical breaks. I feel fulfilled by the quality of a piece more than its length.

Do you believe that prolific output is essential for artistic growth and finding your unique voice, or do you think quality is a more significant factor in establishing your musical identity?

I think practise makes perfect so you can write a bunch of shitty songs and never release them as they help you to improve and learn from the mistakes. I definitely think quality is way more important in having a consistent flow and sound

Consider a time when you produced a large volume of work in a short period. How did this affect your overall creative output? Did it enhance your skills or lead to burnout and diminished quality?

It depends. Sometimes I'll write long ass songs back to back and some months I won't be able to write anything at all. So I guess my problem is balance. I do loads of writing in the space of 20 minutes and then not write for like 3 months.

Reflect on a piece of music that you spent a considerable amount of time refining. How did this process influence your emotional connection to the music and its reception by others?

It definitely made me feel like the song was my baby but I simultaneously feel repulsed by it. I don't know why that is. It definitely increased my emotional connection to the original version in comparison to the refined, in terms of lyrics. But musically I'm always open to development

Consider a time when you received feedback on your music. Were the comments more focused on the quantity of work you produced or the depth and impact of the music itself? How did this feedback influence your future approach to music-making?

I got feedback more based on the depth of the work and that songs need developing further, things like harmonies etc. I guess I understood the feedback and where it came from but some songs that I write don't need harmonies because it takes away from the artistic purpose of the song. Often it's a monologue not a conversations. Harmonies add that depth but it's not true to the soul of the song. Artistic integrity over everything even though it might be to my detriment.

Reflect on your long-term musical goals. Do you believe that prioritising quantity or quality will be more critical in achieving these aspirations?

Absolutely not. Wouldn't want entire albums and albums of mediocre work that I didn't genuinely love. I don't think it would do me any favours either. Kind of like putting your best food forward, only opening ur mouth if something kind will come out of it, showing your best face to the world

Do you tend to compare your creative output to others? How does this comparison influence your perception of the balance between quantity and quality in your music?

Always, I see people doing way more than me and writing more than me but I have to remind myself everyone is on their path and journey. I'll get to where I need to get to at my own pace. Some people have a great balance of quantity and quality and my perception isn't hugely impacted by other people's journeys, its their own and I have my own

Qu 10: How do you feel about the idea of embracing both quantity and quality in your creative journey? Do you see them as conflicting or complementary aspects of your artistic growth?

I definitely believe there needs to be a balance of the 2 to create something amazing but also enough of that amazing to feed ur audience. I think they complement one another and it's important to not put too much pressure on your self when your in a creative flow as it leads to burn out

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Procrastination
(Noun) putting off or delaying, specially something urgent
V
motivation
(Noun) what inspires, drives you to do something

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Active listening is listening with intention, paying full attention to a track to be able to critically analyze

Passive listening is background listening, the way you listen to music in a restaurant, the music isn’t there to be critically analyzed it is there for ambience

D ynamic
R rhythm

S tructure
M elody
I nstrumentation
T exture
H armony

Apply Dr. Smith To your own track for the assignment

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Follow the steps below to help improve your breathing.

1. Breathe deeply from your lower lungs - imagine a rubber ring around your waist (your diaphragm)

2. Breathe in and try to push the ring outwards.

3. Breathe in through your nose and out through your nose and mouth.

4. Avoid raising your shoulders as you breathe in - keep them relaxed and level.

5. Relax! Tension will prevent you from making a good sound.

This was taken from canvas ⤴️

Semi occluded vocal tract was taken from the Latin 'occludere' which means shut or closed. SOVT exercises involve narrowing at any supraglottic point on your vocal tract to maximise interaction between sound production and sound filter to create resonance. Basically exercising your voice with a closed or half closed mouth.

One exercise is 'Shhh' this is using your diaphragm and it restricts your airflow therefore making your muscles do the work

This can strengthen core muscles, make for stronger range, reduces strain in your throat etc.

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Your PMR101 CMP Project Proposal & Timeline

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Your PMR101 CMP Project Proposal & Timeline

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Creative music project management week 4

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Creative music project management week 4

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LOS
Quality or quantity?
2 Songwriting tasks

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As part of my strategy, I want to do backing vocals for other artists, this is an opportunity to collaborate with another artist and develop a working relationship. 

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As part of my strategy, I want to do backing vocals for other artists, this is an opportunity to collaborate with another artist and develop a working relationship. 

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Week 3 your strategy, mind map about the 2 areas of music you wanna specify in and the working relationships in that field

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I went away and decided to warm up and try the song. I have a video of a section of the warm up and after this I found the song to flow naturally from me, without strain

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This lesson we did chain of fools and we decided to change the style to hip hop. In this first video I was singing higher, and really straining my voice as I hadn't been warmed up vocally. In this session I truly understood the importance of a vocal warm up

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Creative composition project management week 2-your development 

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Creative composition project management week 2-your development 

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Pros and cons based on feedback from the assignment

Pros:
-displayed adequate professionalism
-video diaries, diagrams and photos
-competent level of detail

Cons:
-more specific + detailed information
-supported information with relevant sources
-track your progression + development more comprehensively

My biggest takeaway is to stop writing like a hippy. I tend to write what I want, because I just like to write sometimes, but a lot is not relevant to my process or the technical development that has taken place in the duration of the semester.

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What motivates you when your feeling unmotivated?

- fags
- coffee
- water
- a sweet treat after
- seeing some friends or live music
- clean your space
- take a shower
- do a face of makeup
- journal it out
- watch someone else do it/ buddying up
- listen to music

Procastination Quiz:

Q1) I often procrastinate on tasks where others may judge my performance.

A) 3- highest

Q2) If a task is more difficult or frustrating than I expected, I often give up.

A) 2

Q3) I often put challenging tasks off until I am clearheaded & confident I can do a good job.

A) 3

Q4) I worry that others will lose respect for me or think I am incompetent if I make a mistake or am not the best at something.

A) 3

Q4) I get upset when I make a mistake.

A) 3

Q5) I don’t like to start something if I don’t feel certain I can do it well.

A) 1

Q6) If someone does something better than I do, it makes me feel inferior.

A) 3

Q7) When I procrastinate, I feel guilty and tell myself I should get started.

A) 3

Q8) I tend to get behind in my work because it takes me a long time to get things done right.

A) 3

Q9)  criticize my own work so much that I don’t feel like I’ve accomplished anything.

A) 3

Your result:

9/10

16–30: Perfectionism definitely contributes to your procrastination.

Procrastination Quiz - Am I a Warrior?

Q1) I have trouble staying organised, especially with work.

A) 3

Q2) Sticking with things is difficult for me.

A) 1

Q3) I have trouble concentrating on just one thing at a time.

A) 3

Q4) I put things off because I don’t feel like doing them.

A) 3

Q5) I have trouble sticking with assignments I find boring.

A) 3

Q6) It is easy for me to put important tasks out of my mind and become distracted with other things.

A) 2

Q7) There are many tasks that I find boring and am not committed to or don’t feel enthusiastic about.

A) 3

Q8) I get restless easily and want to get up and move around.

A) 1

Q9) I often start things but don’t finish them.

A) 1

Q10) It is hard to sit still for very long unless I am totally engrossed in what I am doing.

A) 1

Your result:

6/10

6–15: You have some warrior traits that encourage procrastination.

Q1) I tend to put others’ needs before my own.

A) 2

Q2) I feel guilty when I procrastinate and tell myself I should just do it.

A) 3

Q3) When I feel uncertain about something, I put off making a decision.

A) 2

Q4) I often agree to do things I don’t really want to do and then put off getting them done.

A) 3

Q5) It is hard for me to say no to someone.

A) 2

Q6) I have things I should do that I don’t feel committed to.

A) 3

Q7) If I state an opinion or preference and others are upset by it, I feel responsible.

A) 0

Q8) I am more comfortable if others make decisions for me.

A) 3

Q9) I often put off talking to someone if I know what I have to talk about might upset that person.

A) 0

Q10) I don’t like to disappoint people.

A) 3

Your result:

8/10

16–30: You are definitely a pleaser, which contributes a lot to your procrastination.

Q1) If I don’t think something is fair, I won’t do it.

A) 1

Q2) I don’t think people appreciate what I do get done.

A) 0

Q3) People think I’m stubborn.

A) 1

Q4) The more pressure people put on me to do something, the less likely I am to do it.

A) 2

Q5) If someone wants me to do something that seems silly to me, I won’t do it.

A) 0

Q6) If I am committed to something, I will get it done no matter what.

A) 0

Q7) I often think people are bossy and controlling.

A) 1

Q8) I’ll disagree with people just for the sake of disagreeing.

A) 2

Q9) I’m easily annoyed when something or someone gets in the way of what I want to do.

A) 2

Q10) I’m an independent thinker.

A) 3

Your result:

4/10

6–15: You are a moderate rebel, and this contributes to your procrastination.

PMP100 CMP Diary Entry 6 - Create a post that explores and reflects on your 'WHY' as a musician/producer and within the context of your work for this module.

1. Discuss and evaluate what you have learnt about yourself from the results you gained from taking the Procrastination quiz. How do you think you can use your knowledge to inform your practices in this module?

2.  Continue to implement, evidence and evaluate your Personal Practice Routine progress. Evaluate - What's going well? What's not? Why? What are you working on this week? Are you making progress against your SMART Targets

3. CONTINUE TO DEVELOP & EVIDENCE CREATIVE IDEAS for your Summative Assessment (2 x contrasting tracks) in your Multi-Media Development Diary (e.g. audio clips, scratch lyrics, chord patterns, tabs, demos, videos, titles, mood boards, concepts etc.)

Always consider: What skills & tools from your classes and digital content can you draw upon that will inform your personal practice and your Creative Music Production Assessment (PMP100)?

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In this lesson we were making an orchestra to the track lithium by nirvana. It was kinda fun and somewhat easy as I just played the keys everytime and then just manually changed the sound and note using logic, it was actually kind of fun also

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This is the lyrics of the riverboat song in bionic writing which helps with neurodivergent people, thanks to steph for providing this 

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This is the version at CPW after taking it down instead of singing high and speeding up tempo as the feedback was that the song was dragging

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Ariana Grande Sings "Humble" Genre Goth Rock

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This week we reflected on our assignments again and estimated what we would've graded ourselves as well as identifying our weakest points from the march scheme. Mine were:

-tuning
-pitch
-artistry
-confidence in style
-expression/live
-stage presence
-presentation

We were also asked about what we thought having a balanced voice was. I thought this was singing while accessing different parts from where the voice comes from also known as tonal placement, pitch, diaphragmatic breathing, phrasing, onset and offsets and raspiness

As this term we are changing the genre of our songs each week, we watched a video of Ariana Grande singing songs I'm different styles. This version is one of my favourites! We took note of the way she moved her mouth and how she breathed to access those different sounds, unusual compared to her own music.. a good singer can do this! Sing in different genres and styles.

We were asked to investigate the way that the singer of the riverboat song sang as that is the song this week. We found that he sang with a raspiness and a little growly. There was staccato on the verses and legato on the chorus. He also used compression which is that little breathe at the end and beginning of a line which adds emotion. Glissando was also used, this is sloopy sliding sounds.

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Ariana Grande Sings "Humble" Genre Goth Rock

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"You could be earning £8 per hour in the studio, or £80." As a backing singer

"On average, statistics show that backing vocalists can earn anywhere between £18,000 to £80,000 a year. Those numbers alone should demonstrate how varied this career"

Single performance fee (max 3 hours) plus rehearsals on same day (max 3 hours)
Venue of less than 200: £172 per musician
Venue of more than 200: £192 per musician
https://musiciansunion.org.uk/working-performing/gigs-and-live-performances/live-engagement-rates-of-pay/casual-stage-rates

Mission statement:
Im a singer songwriter looking to perform live with bands as a backing singer and record my own music to play in smaller more intimate venus like jazz bars. I'd also like to ghostwrite songs for other musicians.

A limited company has both and owner (shareholders) and directors (managers)

Sole traders do not have any employees and are self employed

In partnerships you and your partner have sole responsibility for the losses and the bills of the company. They share business profits and each pay tax on their share

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Sheryl Crow, Gwen Stefani, Whitney Houston - all these legendary artists began their careers as professional background singers. Even Dave Grohl did backing vocals while drumming for Nirvana, preparing him for becoming the frontman of the Foo Fighters. But what exactly constitutes being a background singer, and how do I become a background singer?

In this article, we're going to take you through all the vital information about starting your career as a background singer. Whether you want to use your voice while avoiding the stress of the limelight, or you'd like to make the connections necessary to eventually become a renowned solo artist, here's everything you need to know!

What Is A Background Singer?

Background singers provide backing vocals for the front-and-center artist, either in a recording session or live performance. The job title is synonymous with 'backing singer/vocalist', 'backup singer/vocalist', and in some cases 'session singer/vocalist'.

There is a slight difference between a background singer and a session singer. Background singer is a catch-all term, referring to anyone who provides backing vocals; session singers are specifically backing vocalists who are more involved with recording than live performance and work on a session-by-session basis (hence the name). Indeed, background singers may work on a largely freelance session-by-session basis or may be hired by the front-and-center artist as a regular fixture. For example, Taylor Swift has employed her regular background singers - known as 'The Starlights' - since 2012.

With the potential to be employed, background singers have a higher chance of making big money than solo artists. You'll need to be ok with eschewing the limelight though - it's the job of the background singer to support the main artist. Steal the attention too much, and you'll quickly find yourself out of work!

What Does A Background Singer Do?

It's the job of the background singer to deliver their vocal performance as close to the producer's/ composer 's vision as possible.

To achieve this, every successful backing singer needs to have impressive control over their voice - as well as some music theory knowledge. It's a must to have the ability to harmonize, and more often than not, sight-read sheet music too.

As a background singer, you'll be working with many different people on a regular basis. Put simply, backing vocalists are amazing team players! No divas allowed - you need to work in tandem with your fellow background singers to deliver the sound envisioned by the producer/composer.

How Do I Become A Background Singer?

There are multiple routes to becoming a professional background singer. At the end of the day though, it all comes back to that one crucial word: experience. Let's take a look at two different paths you could go down!

What Qualifications Do I Need To Be A Background Singer?

You might be wondering about getting some kind of official qualification in music, or vocal performance. Many creative roles in the music industry do require degrees to get started - but thankfully, background singing isn't one of them.

Now don't get us wrong - a degree in music will absolutely help in taking that first step. As we mentioned before though, experience is king. Project managers won't be asking for your degree certificate, but studying at university is undeniably a fantastic method of gaining experience and making connections.

That being said, background singing requires - obviously - singing ability. If you have never had professional vocal training, then that is clearly your first step. At the end of the day, your qualification is your ability. The quality of your portfolio will determine how successful you are as a background singer.

How To Become A Background Singer Without Qualifications

So if you don't need official qualifications, how then do you actually become a background singer?

As we've mentioned a silly amount of times already, successful background singers need to have experience on the job! But why is this? Well, assuming you're a professionally trained singer and have mastery over your own voice, that skill is only half of the job. The other half involves the know-how surrounding studio recording, live performance, microphone technique, and group vocals. This is the knowledge that can only be learned by doing; as well as working alongside composers, producers, sound engineers, artists, and other backing vocalists.

To get this experience, it's a really good idea to work for free while you build your portfolio. Do any background singer jobs you can here and there - for friends, university projects, or online job listings. The more you work, the more connections you build, and the more working experience you gain.

Additionally, it's a massive help to have your own home studio setup. It doesn't need to be super sophisticated - a decent microphone and a simple Digital Audio Workstation will do. You might occasionally be asked for a vocal demo before getting hired for a project, and the faster you can produce that, the better. The ability to create your own high-quality vocal recordings also demonstrates that you have an understanding of the recording process and that you appreciate the jobs of the producer/sound engineer. A team player is always loved!

Where To Find Background Singer Jobs

It would be helpful if there was a single website dedicated to advertising and hiring background singers, but unfortunately, finding jobs is all about the dreaded word: connections.

This is why we mentioned earlier that a music degree can certainly help kickstart your backing vocalist career. You won't find a more condensed collection of music industry professionals than at university; and if you play your cards right and put in the effort, you could get significant professional experience while you're there. Your lecturers and professors will have extensive industry contacts, so it always pays off to be permanently 'on the job'. You never know when you might bump into someone with a lucrative opportunity, so prepare to conversate!

That rule absolutely remains outside of universities too. On backing vocal jobs, make sure that you don't just turn up, sing, and go home. Network, network, network!

Joining choirs and acapella groups is a fantastic place to start, especially if you've not had much experience singing as a group before. You'll gain the ability to sing in tight harmonies, keeping your voice balanced with the others. Your ear will become increasingly attuned to the group vocals' needs, and you'll be able to control and adapt your voice accordingly.

Additionally, don't be hesitant to work for free - every single background singer has done so! Small gigs, small festival slots, low-budget recording sessions; every little thing helps. Becoming a background singer is very much a step-by-step process. Using your voice as your career is an absolutely wonderful reality, but it can't happen overnight.

Agencies & Websites

Once you've made several lucrative connections in the industry, you might find the opportunity to join an agency. Getting signed up can give you fantastic access to previously unavailable background singer jobs. This is usually how backing singers start to make serious money - the agency will take a cut, but at least that ensures you're getting paid in the first place!

For anyone starting out on a session-by-session basis, there are a number of great websites you can advertise your skills on. Creative music industry professionals often look for talent on these websites, and while you won't be earning the big bucks from these, it's certainly a great starting point. Have a look at Gumtree, Starnow, or Mandy. Search 'background singer jobs near me', and you're good to go.

Salary

Being a performance job in the music industry, the salary of background singers ranges massively. On average, statistics show that backing vocalists can earn anywhere between £18,000 to £80,000 a year. Those numbers alone should demonstrate how varied this career can be!

Most background singers work session-by-session, meaning it's incredibly hard to pin down a single number. You could be earning £8 per hour in the studio, or £80. Once again, it completely depends on your experience and connections. Regardless, with enough drive, passion, and skill, you're already on the path to earning big money.

For backing singers who are regularly employed by artists - such as Taylor Swift's 'The Starlights' - their income is far more regular. However, it still varies hugely depending on the size of the artist in question. No doubt that The Starlights are on the upper echelon of background singer salaries!

Now You Know How To Become A Background Singer

By far one of the most important backbones of a recording or performance, being a background singer is one of the most honorable jobs in the music industry. Vocal harmonies are often the touch of class, intrigue, and satisfaction in any song. Your job is to use your mastery of voice to create the most luscious sounds heard in music, all without stealing the limelight. That's hard to do!

The difficulty of background singing is what makes it so impressive, though. Whether you want to earn a good income and avoid the stress of the limelight, or use your backing vocals to kickstart a successful solo career, it's a role that every singer should consider. No doubt that it's hard work to get started; but you'll start making connections faster and faster, and before you know it, you'll quit your day job to start the career you've always dreamed of.

At the end of the day, you'll be using your voice to make a living; that sounds pretty dreamy to us!

Music Gateway Can Help

We can also help you connect with managers who have worked with huge artists worldwide through our artist management page. As well as help you boost your career and connections with artist development.

We're constantly searching for fresh music from individuals like you! Contact our Music Promotions or Sync Licensing department to learn more about our thrilling services and how we can assist you. If you have songs that you want to share with the world - we want to help boost your career and get them noticed including marketing and promoting your music - and improving your streaming presence!

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Sheryl Crow, Gwen Stefani, and Whitney Houston - these artists began their careers as background singers. But how do I become a background singer?

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What do you want to do?
-studio work for my own music
-mainly a recording artist
-ghost writing, Songwriting
-theatre maybe
-working with bands
-backup vocals
-vocal teacher, what Sarah does
-Small live venues
-singing in a jazz bar

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We were working on the song don't start now by Dua Lipa. In pre prod we all just performed the song as is to begin with and I suggested that we did it slower. This semester it is creative music so we can change the genre, tempo, style. I thought the song was actually lyrically quite sensitive and had a really good story so in stripping back the song we were able to present this. Me and James split up the verses and sang the chorus together, I like working on songs like this, making them into duets because it means I don't have to sing on my own which is nerve wracking, and I can trust that if I mess up, James can pick it up. I do also like the way that our voices contrast and compliment each other. I think the contrast of our voices works well with the song as well. It seems like, in our version of the song, it is a lovers tiff. Two people who may come from different worlds but also love one another. The differences in our voices showcase this.

In LPW, we had to physically show the story which was pretty hard to be honest..as stage presence is something I struggle with already. We were told that we were free to move around and step in the direction of one another, using our hands to gesture to each other to show the story. The first time we sang, it was pretty awful, in terms of presence for myself. However after a few tries and a lot of good feedback from Andy and Chris as well as the other band, the last performance was something I was quite proud of

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Creative composition project management week 1

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Creative composition project management week 1

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What is success?
-financial freedom
-being able to perform live to a packed audience
-having people who genuinely love the music, dedicated fans who buy merchandise and tickets
-maintaining your integrity
-self actualisation- having that feeling of contentment
-having good professional collaborative relationships
-being resourceful in many aspects, connections to merch providers and events
-having a good professional reputation
-having trusted, reliable instrumentalists

Intrinsic motivation is being motivated by things that make you feel fulfilled from the inside

External motivations include material things: wealth, cars, houses, jewellery

Strategies for motivation include- rewards, hydration, mushrooms like lions mane that help with adhd.

Maslows hierarchy of needs
Self actualisation
Self esteem
Love + belonging
Safety + security
Physiological Needs

My goals for this term
-attend all my lessons
-don't break sobriety
-take care of physical and mental health
-write a song on the keyboard
-learn keyboard
-vocal warm ups at least 4x a week

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-include videos of vocal warm ups and keyboard playing

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This week we were asked to reflect on our assessment videos.

One of the prompts was "what were you thinking and feeling". On the performance all I could think was get me off this stage! I was anxious and nervous and I felt like a failed and let myself down. Stage presence was awkward and you could sense my nerves from the video. To remedy this I'll create an alter ego, Roxy. She has a mazzy star kind of presence. She is soft and quietly confident. She owns her emotions in a brave, sensitive way. Her vulnerability evokes emotion from an audience. She is confident in her ability to resonate with a crowd, to connect. She is present, not riddled with anxiety and stuck in her head.

Another take away from this lesson was I need to have more awareness of musical notes, and have a better understanding of the basics of music. This is because the first verse of the song tends to sound bad as I don't know where to place it and where I am starting. I have been going through the aural awareness work on canvas to help with my understanding of tones, semitones and all of the technical stuff.

My alter ego

Dresses....
-black, purple, maroon, royal blue
Flowy Dresses, flared flowy pants
Long sleeved, Bell sleeved shirts
Black boots

Makeup
Eyeliner, or black eyeshadow
Nude pinkish lips

Attitude
Kind and honest
Vulnerable and expressive
Free, not constrained to the spot

Motives
To sing, connect with people
To be free
To fly like a bird
To put love into everything she does

Roxy Rose is a siren, a sea creature who came to land to lure people in with her song. She is compelling, enthralling, capturing, seizing, dominating

Roxy Rose doesn't care what people think of her, I mean everyone else is a mere mortal. She doesn't care how the humans feel, as long as they fall under her spell

Roxy Rose is better than everyone else and she knows it

She's sexy and seductive, she's kind but not a pushover. She's not passive. She is dominant.

She's a go getter, she reaches all her goals. She let's nothing and no one stand in her way.

The reason I want a dominant alter ego,  a powerful presence, is because I feel very passive, I feel like I am not the kind of person who can make decisions. I want her to be very confident and believe she is better than everyone because I feel the exact opposite. I feel inferior to everyone at uni. I was always told growing up that the music stuff was silly, it wasn't gonna get me anywhere. So I didn't do enough. I felt shame in pursuing my music, in talking about it, in taking it seriously. Now that I am actually here and finally telling everyone to screw off, its my life and I'll do what I love, its like I've not done enough. Everyone else, it feels like they've been taking the music seriously from the beginning, like they were encouraged and not belittled. I mean my mum wouldn't even let me listen to music for a long time. She thought it would lead me astray.

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I tend to dread this lesson as I always seem to end up messing about with logic in a way that is hard to come back from lol. This lesson was sampling and I struggled with even recording the sample as when I recorded, no sound would come out. Reuben said that I probably selected the wrong channel for midi? Or something like that. It's a shame as it feels like my feet are cut off before I can even walk, and by my own clumsy hands. I'd really like to work on sampling so that I can create some demos, hopefully an album. And as I'm not an instrumentalist, sampling is the easiest (supposedly) way of creating music.

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downpour - original by roxy w james & steph♡

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An original song from last semester. I am going to write a new original for the assignment and hopefully it will document my growth in terms of lyrical and vocal ability 

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An original song from last semester. I am going to write a new original for the assignment and hopefully it will document my growth in terms of lyrical and vocal ability 

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downpour - original by roxy w james & steph♡

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An original song from before I was even at uni, I hope to demonstrate more competent DAW abilities this term and showcase my growth in that format as well as vocal and lyrical creativity and ability

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Pre Prod week 2, the riverboat song. In rehearsals I tried to sing this song in a punk screaming way and then Hurt my throat so this recorded version has me singing melodic oohs instead. On the CPW lesson I ended up losing hearing in one of my ears so I wasn't able to perform and since then my ears are a little deaf. This is why i need to wear hearing protection

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Tried to add a sample to an online DAW, the DAW froze up, wouldn't allow me to work on this. So I'm saving this sample sound and am going to take it into the mac suites at uni to develop 

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I've also worked on some lyrics

I don't know how to explain oh (all) this kinda pain
I got no words to express oh all this depress
I got this pain in my brain driving me insane
I got this pain in my veins that I wish I had faked

I make a penny on the pound for the big man
I make a cent on the dollar for the white man
We're living check to check money from the govern ment (man)
We can't afford the doctors bills my daddys babies ill
They out here taking money out for our health care
Don't treat us for diseases that they gave
Mistreating our people no it ain't fair
Oh it's crazy
Oh its lazy
Call urself our leaders
How do u answer to the preacher man

I live my life a bandit on the run from
Debt collectors
asking for money I don't have take it to inspectors
Don't ask my grandma where I am Don't you disrespect her
Music break sax

Oh it's crazy
Oh it's lazy
Call urself our leaders
How do u answer to the preacher man

Jealousy is hereditary
See the people out on streets
Live their lives so carefree
They don't worry they just breathe
Jealousy is hereditary
My momma can't stand me
Envious of the normalcy
Girls laughing all round me
When I can't even breathe