HSM – Get Your Head In The Game

Here is a sample video of “Keep Your Head In The Game” from Disney’s High School Musical. Would suggest all cast members view this in preparation for our production in 2007.

Q&A – What is the best tempo for a song?

UPDATE: “Getting the Tempo Right” – additional info at:
https://www.conradaskland.com/blog/2007/09/finding-the-right-tempo/

Email received:
I am an artist from Adelaide, Australia and am curious to know how top producers/engineers detremine what tempo a particlar song should be played at.

Much of my songwriting stems from a vocal melody, and when everything seems to be “built” around that, the overall song tends to somewhat drag a little.

Is there anything I should go by in order to get the perfect tempo (slow down vocal or riffs)?
I hope you can be of some assistance and thank you immensely for you time.
Kind regards
Michael G

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Hi Michael,

What an incredibly fantastic question! As usual I busy myself with complicated things thinking I am making a difference in the world. You know, I have never addressed this question online – So here you go.

Your fast answer is this: There is no correct tempo for any song.

I know, not very helpful. Try this: The environment a musical piece is performed is what will dictate the “proper” tempo. Quick proof of this is to think of all the song remixes out there. A fusion jazz group may take a standard and play it at lightning speed. Or a choir may take a faster song and slow it down for a more reverent a capella presentation. (Or as a recent auditioner called it: “All Compalla”)

That is the aesthetic side of tempo, now let’s go back in history a bit:

The declaration of tempos and phrasing has becoming more specific over time. In early music composers would not notate tempos (or phrasing for that matter). It was assumed that any musician was trained enough to just “know” the correct tempo. As you can imagine, many pieces sounded different than we hear them today due to varying tempos. Even up to the Baroque Period (1685-1750) tempo markings were virtually non-existent. In my manuscripts of Bach there are not tempos or phrase markings. Editors have added these, usually in lighter print, to indicate how the piece is USUALLY played.

As a composer I cannot even describe the pain to hear someone play your own piece incorrectly. I once wrote a book of progressive etudes for piano. The book graduated in difficulty for serious piano students. I had to listen to a university professor play my pieces entirely wrong. I still hold a grudge over that and I hope that an eternity of fire awaits him for his transgression. Back to tempo…….

Over time composers have realized if they want a piece played a certain way they are obligated to mark it so. A hundred and fifty years ago songs might include tempo markings like “Allegro”, “Andante”, etc. Then more info like “Allegro non troppo” or “Moderato con anima”. In modern music it’s common to see specific metronome markings like MM=116 – which usually means the quarter note is going to be 116 beats in a minute (depending on your time signature, blah blah blah).

All of that to let you know this: I would suggest you mark a specific tempo in your music with a definate metronome marking of beats per minute. Example: MM=120 or simply write: 120bpm.

HOW TO SET TEMPOS
In hip hop music I’ve found artists don’t like to push the beats, so I set tempos on the slower side for rap. If an artist says it “feels right” at 92bpm, then I’ll click it to 90bpm. Rock bands like to push things a bit, so if I’m setting a grid and the band says it feels right around 112, I might click it to 115 or so.

In general I’ve found the tempos I set during production need to be bumped a bit for the final. If I write a song at 120, it’s just a habit to start bumping it up to 124 as I work on pre-production.

THE REAL TEST – Don’t settle on a tempo until you’ve heard it several ways. Keep bumping up a tempo until you’re absolutely sure it could not go any faster. Then take it so slow that you’re absolutely sure it can’t go any slower. This starting point gives you your window. Want to know how I learned that? By clients who knew little about music telling me to bump it up. I can think of several songs that I had started to work on around 120bpm and ended up being in the 150’s. When the client told me to bump it up I would roll my eyes at them – but you know what – sometimes it works. Experiences like that make me very humble, and I have to always remind myself that the most genius ideas can come from anybody at any time.

SETTING SONG TEMPOS
Finally to your real answer – most songs just have a groove where they feel right. Once you’ve identified the window, don’t settle on a tempo until it feels like “ah…….that’s it”. To me, it quite literally feels like you finally settled down into a bean bag chair. It will just feel right, and you’ll know it. During preproduction I absolutely OBSESS over the tempo and key, and it’s not uncommon for me to change either several times before laying real audio tracks. Sometimes I’ll even give songs a bump of two or three BPM’s during the final mix.

Some genres have fairly defined tempos – Euro Dance is almost always 130bpm. An example of Euro Dance would be “Barbie World”. 60-70bpm is a good tempo for healing music and audio therapy, many people like the purity of the clean 60bpm. I’ve done a lot of rap soundtracks in the 68-86BPM range. It always feels too slow at first, but the artists lock it down if their rap is seasoned.

Have confidence in your tempos. It is one part of what makes your productions have “your” sound. And remember, they are hiring YOU for your sound, so you need to do what YOU hear. Stick to what YOU hear, and you will never have to second guess how things should be. The next producer will set it at a different tempo according to their ears. My biggest suggestion, don’t settle on a tempo until you feel in your gut that it’s right.

I had a production where the director ordered me to bump tempo of all songs because the show had no energy. As a result, all of the songs lost the “pocket” feel for me, I didn’t like it at all. To me this is an incorrect use of tempo. Tempo is about groove and feel for a piece, not for pumping caffeine into a dead horse. But I always yield to the Director, it is their vision you need to feed into. They were happy with this so I did it, but with much pain. I hope you don’t find yourself in a similiar situation. Always know the pecking order, and always know who you need to answer to. Some day you’ll be the head producer, and you will really appreciate others following your lead when you have a vision for a piece.

I hope this helps. I’m happy to provide more info….but I have blathered on so long you are probably currently asleep at your keyboard with drool running down the monitor.

Conrad

keywords: tempo, finding right speed, improve groove, find speed song

Planned Forum Outage

Some of our forums will appear to be down as they are moved to a new location. This will only be for select forums as I prepare our Christmas Day gift launch for forum members.

Forums will not actually be down, but DNS transfer will be propogating. Most members will probably not notice it. I’ll be doing it after midnight USA PST probably sometime the week of 12/10/06

I am not posting this as a network wide bulletin because I anticipate most users will not notice any downtime.
I think you’ll enjoy the Christmas Day surprise.

Royal Court Theater and Censorship

The Royal Court Theater has been taking votes for the #1 favorite production from their venue. The winner was Rocky Horror Show. RHS was possible in 1973 following a change in laws that lifted the oppression of censorship.

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Excerpt: “Censorship is implicitly to blame for the fact that the whole panorama of British theatre contains only a handful of plays dealing at all controversially with sex, politics, the law, the Church, the Armed Forces and the Crown.”

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Visit the Royal Court Theater and Rocky Horror Show vote results

THE PEOPLE’S CHOICE

Earlier this year the Royal Court asked the public to vote for their favourite Royal Court plays, and the votes have come in thick and fast for the last three months. The plays that are the people’s choice can now be revealed. In third place is DEATH AND THE MAIDEN by Ariel Dorfman, which received its UK premiere at the Royal Court in 1991 (in association with LIFT and the National Theatre Studio), directed by Lindsay Posner. In second is LOOK BACK IN ANGER by John Osborne, the first production of which opened on 8 May 1956, directed by Tony Richardson. In first place is THE ROCKY HORROR SHOW by Richard O’Brien, which opened in the Theatre Upstairs in 1973, directed by Jim Sharman. The three winners of our People’s Choice vote will be commemorated by special events during our 50th celebrations.

CENSORSHIP

Between 1824 and 1968 British theatre was controlled by censorship. As Kenneth Tynan described it, “Censorship is implicitly to blame for the fact that the whole panorama of British theatre contains only a handful of plays dealing at all controversially with sex, politics, the law, the Church, the Armed Forces and the Crown”. When the English Stage Company was founded in 1956 with a programme of staging the very best contemporary drama, it was bound to come into conflict with the Office of the Lord Chamberlain.

The key productions of the English Stage Company’s first twelve years all involved at the least skirmishes (LOOK BACK IN ANGER) or full-blown battles with the Censor. Plays like John Osborne’s A PATRIOT FOR ME and Edward Bond’s SAVED were refused licence to be performed at all. The fact that they were seen at all involved the theatre transforming itself into a private members’ club. Even so the production of SAVED brought criminal proceedings against it.

But as the 1960s really began to swing the writing was on the wall for the whole idea of censorship. By the time Edward Bond’s next play EARLY MORNING was performed in April 1968, despite the fact that it contravened almost every taboo that censorship sought to preclude, no prosecution was brought and on September 26, 1968 a new Theatres Act became law, effectively abolishing the power of the Lord Chamberlain Office over the theatre.

We will be looking back over the detail of this turbulent era with the help of critic and author Nicholas de Jongh and featuring performed extracts from some of the key moments both before and after censorship. We will bring the debate on censorship up-to-date with a panel of distinguished guests.

High School Musical Auditions Extended To Saturday 12-9-06

Because of overwhelming response to auditions for High School Musical, we are extending auditions to Saturday (ahem…..unofficially). So if you’re reading this and for some reason didn’t get signed up to audition but want to please email me to set that up. You can email through Friday 12-08-06. Please leave Saturday open for your assigned time.
My email address is:

email1.jpg

Most of the roles are for high school age or high school age “looking” cast, there are some adult roles. There is no declaration in the script for ethnicity or gender of many roles. It’s “open” to all. If you’re ultra hip and cool, there’s a part for you. If you’re mousy and nerdy, there’s a part for you too. And yes, anything in between.

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In case you don’t know – the cast features a basketball team, brainiac club, thespians and lots of hip hop music. So we also need those gifted with a basketball, which as far as I know is unique to musical theater.

Theater Arts Guild of Skagit Valley, the organization producing the show, is one of the first groups licensed to perform this show. We will set the bar high for others that follow. 🙂

See you at auditions!

Best Musicals of All Time

List of 180 best musicals of all time. Musicals_Ballot.pdf

List of Top 25 Musicals of All Time
AFI 2006 (American Film Institute)

25. Moulin Rouge (2001)
24. Show Boat (1936)
23. Guys and Dolls (1955)
22. Beauty and the Beast (1991)
21. Seven Brides for Seven Brothers (1954)
20. Grease (1978)
19. On the Town (1949)
18. Yankee Doodle Dandy (1942)
17. The Band Wagon (1953)
16. Funny Girl (1968)
15. Top Hat (1935)
14. All That Jazz (1979)
13. 42nd Street (1933)
12. Chicago (2002)
11. The King and I (1956)
10. Meet Me in St. Louis (1944)
9. An American in Paris (1951)
8. My Fair Lady (1964)
7. A Star is Born (1954)
6. Mary Poppins (1964)
5. Cabaret (1972)
4. The Sound of Music (1965)
3. The Wizard of Oz (1939)
2. West Side Story (1961)
1. Singin’ in the Rain (1952)

More Musician Jokes

What’s the difference between a puppy and a singer?
Eventually the puppy stops whining.

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Why do bands have bassists?
To translate for the drummers.

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How do you know when a singer is at your door?
They can’t find the key.

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How many bassists are needed to screw in a lightbulb?
None, the keyboardist does it with his left hand.

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What do a guitarist and a lawsuit have in common?
Everyone is relieved when the case is closed.

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Two musicians are sitting in a car. Who’s driving?
The policeman.

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What is a relative minor?
A country & western musician’s girlfriend.

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The difference between a singer and a terrorist?
You can negotiate with a terrorist.

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What does M.I.D.I. mean?
Musician In Debt Instantly.

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Difference between guitarist and harmonica player?
Guitarist can yell at the band during his solo.

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Difference between a bassoon and oboe?
You can hit a baseball farther with a bassoon.

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And finally…A young boy says to his mom “When I grow up I’d like to be a musician”. She says, “Now Tommy, you know you can’t do both”.

Censorship

……..they first came for the Communists,
and I didn’t speak up because I wasn’t a Communist.

Then they came for the Jews,
and I didn’t speak up because I wasn’t a Jew.

Then they came for the trade unionists,
and I didn’t speak up because I wasn’t a trade unionist.

Then they came for the Catholics,
and I didn’t speak up because I was a Protestant.

Then they came for me —
and by that time no one was left to speak up.

– Pastor Martin Niemöller
In reference to WWII

Who Attempts Censorship?
From the American Library Association
In most instances, a censor is a sincerely concerned individual who believes that censorship can improve society, protect children, and restore what the censor sees as lost moral values. But under the First Amendment to the United States Constitution, each of us has the right to read, view, listen to, and disseminate constitutionally protected ideas, even if a censor finds those ideas offensive.

How Do Censors Justify Their Demands That Material Be Suppressed?

Censors might sincerely believe that certain materials are so offensive, or present ideas that are so hateful and destructive to society, that they simply must not see the light of day. Others are worried that younger or weaker people will be badly influenced by bad ideas, and will do bad things as a result. Still others believe that there is a very clear distinction between ideas that are right and morally uplifting, and ideas that are wrong and morally corrupting, and wish to ensure that society has the benefit of their perception. They believe that certain individuals, certain institutions, even society itself, will be endangered if particular ideas are disseminated without restriction. What censors often don’t consider is that, if they succeed in suppressing the ideas they don’t like today, others may use that precedent to suppress the ideas they do like tomorrow.

What Are The Most Frequently Censored Materials?

Throughout history, books have been challenged for many reasons, including political content, sexual expression, or language offensive to some people’s racial, cultural, or ethnic background, gender or sexuality, or political or religious beliefs. Materials considered heretical, blasphemous, seditious, obscene or inappropriate for children have often been censored.

Since the dawn of recorded human expression, people have been burned at the stake, forced to drink poison, crucified, ostracized and vilified for what they wrote and believed.

WHAT WIKIPEDIA IS NOT
Wikipedia and Censorship
Wikipedia may contain content that some readers consider objectionable or offensive. Anyone reading Wikipedia can edit an article and the changes are displayed instantaneously without any checking to ensure appropriateness, so Wikipedia cannot guarantee that articles or images are tasteful to all users or adhere to specific social or religious norms or requirements. While obviously inappropriate content (such as an irrelevant link to a shock site) is usually removed immediately, some articles may include objectionable text, images, or links if they are relevant to the content (such as the article about pornography) and provided they do not violate any of our existing policies (especially Neutral point of view), nor the law of the U.S. state of Florida, where Wikipedia’s servers are hosted.

Wikipedia – Author would like to point out that Wikipedia is currently the largest single repository of public accessed and updated information (Google only directs to information sources, it does not contain it with user input). And please note, Wikipedia is not censored. It is regarded by many as the “real” source for the facts.

LINKS:

Censorship – American Civil Liberties Union
Excerpt: Censorship, the suppression of words, images, or ideas that are “offensive,” happens whenever some people succeed in imposing their personal political or moral values on others. Censorship can be carried out by the government as well as private pressure groups. Censorship by the government is unconstitutional.

Censorship – Global Internet Library Campaign
Excerpt: Censorship — the control of the information and ideas circulated within a society — has been a hallmark of dictatorships throughout history. In the 20th Century, censorship was achieved through the examination of books, plays, films, television and radio programs, news reports, and other forms of communication for the purpose of altering or suppressing ideas found to be objectionable or offensive. The rationales for censorship have varied, with some censors targeting material deemed to be indecent or obscene; heretical or blasphemous; or seditious or treasonous. Thus, ideas have been suppressed under the guise of protecting three basic social institutions: the family, the church, and the state.

DEFINITIONS OF CENSORSHIP

Censor: One who supervises conduct and morals: as a) an official who examines materials (as publications or films) for objectionable matter; b) an official (as in time of war) who reads communications (as letters) and deletes material considered harmful to the interests of his organization. Censorship: The institution, system or practice of censoring; the actions or practices of censors; esp : censorial control exercised repressively.
–Merriam Webster’s Collegiate Dictionary

Censorship: The use of the state and other legal or official means to restrict speech.
–Culture Wars, Documents from the Recent Controversies in the Arts, edited by Richard Boltons

In general, censorship of books is a supervision of the press in order to prevent any abuse of it. In this sense, every lawful authority, whose duty it is to protect its subjects from the ravages of a pernicious press, has the right of exercising censorship of books.
–The Catholic Encyclopedia (a publication of the Catholic Church)

What Is Censorship? Censorship is the suppression of ideas and information that certain persons — individuals, groups or government officials — find objectionable or dangerous. It is no more complicated than someone saying, “Don’t let anyone read this book, or buy that magazine, or view that film, because I object to it!” Censors try to use the power of the state to impose their view of what is truthful and appropriate, or offensive and objectionable, on everyone else. Censors pressure public institutions, like libraries, to suppress and remove from public access information they judge inappropriate or dangerous, so that no one else has the chance to read or view the material and make up their own minds about it. The censor wants to prejudge materials for everyone.

For the ALA, technically censorship means the “The Removal of material from open access by government authority.” The ALA also distinguishes various levels of incidents in respect to materials in a library which may or may not lead to censorship: Inquiry, Expression of Concern, Complaint, Attack, and Censorship.
–The American Library Association
The word “censorship” means “prior restraint” of First Amendment rights by government.
–Morality in Media (Morality in Media is “a national, not-for-profit, interfaith organization established in 1962 to combat obscenity and uphold decency standards in the media.”)
Censorship
1. The denial of freedom of speech or freedom of the press.
2. The review of books, movies, etc., to prohibit publication and distribution, usually for reasons of morality or state security.
–Oran’s Dictionary of Law
Censorship: official restriction of any expression believed to threaten the political, social, or moral order.
–Encyclopedia.Com

Censorship – the prevention of publication, transmission, or exhibition of material considered undesirable for the general public to possess or be exposed to.
–Fast Times’ Political Dictionary (Fast Times is “a nonpartisan publication on contemporary world affairs & media with no political, ideological, or religious affiliation of any kind.”)

Censorship: the cyclical suppression, banning, expurgation, or editing by an individual, institution, group or government that enforce or influence its decision against members of the public — of any written or pictorial materials which that individual, institution, group or government deems obscene and “utterly” without redeeming social value,” as determined by “contemporary community standards.”
–Chuck Stone, Professor of Journalism and Mass Communication, University of North Carolina

Censorship is a word of many meanings. In its broadest sense it refers to suppression of information, ideas, or artistic expression by anyone, whether government officials, church authorities, private pressure groups, or speakers, writers, and artists themselves. It may take place at any point in time, whether before an utterance occurs, prior to its widespread circulation, or by punishment of communicators after dissemination of their messages, so as to deter others from like expression. In its narrower, more legalistic sense, censorship means only the prevention by official government action of the circulation of messages already produced. Thus writers who “censor” themselves before putting words on paper, for fear of failing to sell their work, are not engaging in censorship in this narrower sense, nor are those who boycott sponsors of disliked television shows.
–Academic American Encyclopedia

Censorship: supervision and control of the information and ideas circulated within a society. In modern times, censorship refers to the examination of media including books, periodicals, plays, motion pictures, and television and radio programs for the purpose of altering or suppressing parts thought to be offensive. The offensive material may be considered immoral or obscene, heretical or blasphemous, seditious or treasonable, or injurious to the national security.
–Encarta Encyclopedia

EARLY THEATER CENSORSHIP
William Shakespeare Censored and Banned

For much of the past five hundred years restrictions on public theatrical performance were perhaps the pre-eminent manifestation of censorship.

That was because the theatre (later replaced as a bugaboo by film and broadcasting) was perceived as a uniquely powerful mechanism for influencing emotions and for the delivery of seditious ideas. It was often a space in which people of all social orders mixed promiscuously. And, perhaps as importantly, it was amenable to censorship through –

* licencing of commercial venues
* prohibitions on commercial performances outside those venues
* pre-performance examination and licensing of texts, with subsequent monitoring of theatrical productions.

In the United Kingdom, for example, licensing of commercial venues and vetting of scripts was in place by the time of Elizabeth I. Stage works were subject to pre-production censorship by the Lord Chamberlain (an officer of the Royal Household) under the Stage Licensing Act 1737, an enactment that with amendments remained in force until 1968 and resulted in curiosities such as a ban on performance of Shakespeare’s King Lear from 1788 to 1820. The legislation is discussed in Vincent Liesenfeld’s The Licensing Act of 1737 (Madison: Uni of Wisconsin Press 1984).

China Defends Internet Censorship

On this day, most results of Google search for “business and censorship” concern China’s censorship of internet access. They seem fit to censor ideas that might pollute the general public’s mind – Like Tiananmen Square.