[BETTER] Download Triple M Songs

Thing is, that song took like.. 3 weeks or something to get approved. By the time it was approved, my next song is already out (because I've been releasing singles every 2 weeks - very new to this though, only have 4 songs out..).

But since I don't know what to do with the songs once they're on Triple J - like, how do I get people to consider giving them a spin, on this platform.. I don't want to delete either of my first two tracks, since I haven't shared them with anyone.

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Playing Advice: Clawhammer and Old-Time Styles

ARCHIVED TOPIC: Songs for triple C tuning

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A lot of blues and bluesy tunes work well in triple C. Since a strum across the strings produces only two notes, C and G, there is basically a power chord of root and 5th notes. Double C sometimes sounds "too sweet" for a bluesy song.Omitting the open E note helps in getting a bluesy sound, but also the flatted 3rd and 7th notes are right handy on the 3rd fret. I've posted two such songs on BHO: "Baby Please Don't Go" and "Sad and Lonesome Day." I'll link them here for convenience. "Sad and Lonesome Day" is the second song at the Howlin' at the Moon video.

Adult Alternative Airplay (also known as Triple A or Triple A Airplay, and formerly Adult Alternative Songs and Triple A Songs) is a record chart currently published by Billboard that ranks the most popular songs on adult album alternative radio stations. The 40-position[1] chart is formulated based on each song's weekly radio spins, as measured by Nielsen Broadcast Data Systems.[2] The earliest incarnation of the chart was first published on January 20, 1996,[3] as a feature in Billboard sister publication Airplay Monitor. In 2006, Airplay Monitor ceased publication after Billboard parent company VNU Media's acquisition of rival radio trade magazine Radio & Records,[4] which then subsequently incorporated Airplay Monitor's Nielsen-based Triple A chart.[5][6]

Menken teamed with Stephen Schwartz to write this stirring ballad from Pocahontas, the fourth song from an animated Disney film in seven years to spawn a Triple Crown winner. Remarkably, Menken co-wrote all four of these songs. The song, which expresses empathy for indigenous peoples, was a kind of a corrective to the Frontierland vision of company founder Walt Disney. The song was performed twice on the film soundtrack, by Judy Kuhn and by Vanessa Williams. Williams, whose single reached No. 4 on the Hot 100, performed it on the telecast.

We are beyond thrilled to announce our partnership with Triple Scoop Music. Known for their hand-picked audio and roster of independent songwriters, artists and composers around the globe, we have added tons of their songs into Adobe Premiere Rush, and they are royalty-free for Rush users. Choose from a collection of high-quality songs that are catchy enough to top the charts. Additionally, our audio library is packed with thousands of sound effects and music tracks available in this release. Plus, we continue to expand our audio library to give more and more ways to bring your videos to life. With video creators around the world looking for the perfect sounds, it has never been easier to level up your edits with audio.

[36] In pure duple, at the lowest level of the metric hierarchy there are two measures in each hypermeasure, at a higher level there are four two-bar hypermeasures in the full eight-measure span, and at the highest level there are two four-bar hypermeasures; everything, in short, is grouped in twos or multiples of 2. Similarly, in pure triple, at the lowest level of the metric hierarchy there are three measures in each hypermeasure, and at yet a higher level there are three three-bar hypermeasures in the full nine-measure span; everything is grouped in threes. If we assume the eighth note as the basic unit, pure duple is equivalent to 4/4 meter and pure triple is equivalent to 9/8 meter.

[61] The hypermetric narrative of the song might be conceived of as a journey from pure triple (9/8) toward pure duple (4/4) that stops just short of its goal, or that reaches a goal that seems real but is really only illusory, because of the shadow meter and the missing beats mentioned above. The B section of the song makes an analogous journey from mixed triple (6/8) to mixed duple (3/4) but also falls short, because of the composed-out deceleration and the apparent asymmetrical division of the last four bars. Interestingly, the 3/4 hypermeter at the end of section B and the 4/4 hypermeter at the end of the song are illusory for opposite reasons: in the first case, the passage looks right but sounds wrong; in the second case, the passage looks wrong but sounds right.

How is gp supposed to get tired when they will release 3 songs completely different from each other? And with the release dates, Starship already decided one in specific that they hope will get interest from gp.

Earlier this week, triple j revealed that 23 acts made their Hottest 100 debut with the 2022 countdown, and that 57 songs were from Australian artists. Six songs that featured in the 2022 countdown were uploaded to triple j Unearthed.

The earthquake, tsunami, and nuclear accident that struck Northeast Japan on March 11, 2011 (3.11) prompted an array of local, national, and global musical responses. Based on ethnographic fieldwork, this article examines three songs that were newly composed in response to 3.11. I argue that these songs serve as means of optimistic attachments that simultaneously emphasize currently unachievable fantasies of the good life (Berlant 2011), and also foster the Japanese sociocultural aesthetic of gambaru (to persevere, to endure). I demonstrate how these songs serve as catalysts to inspire movements toward recovery and revival for 3.11 survivors.

"For the first time in 10 years, I was home more than a few days at a time. I loved having the extra time with my wife, Gabi, and our dog, Moose, however it also gave mea lot of time to pick up the guitar and just play for fun. I wound up writing a bunch of new songs and creating almost a whole new album from the perspective of reflecting on my last decade yet also keeping an eye towards where I want to go."

"There was always the plan that we would cross it to pop," Tombrink says. "And we also knew there were at least two other songs on the album that were even more pop friendly from a marketing standpoint."

If you are a Pandora subscriber/user (I am not), you'll find that some of their musical suggestions are based on meter. Typically in pop songs, when you have symmetrical compound meter, like 6/8 or 12/8 time, the songs are slower and more lilting. This song is a good example of 12/8 time that moves very quickly. If you have students playing a piece that's in a quick 6/8 or 12/8 time, this might be a good listening example to reinforce playing 6/8 at a fast tempo.

No one critical apparatus can sustain a sufficient reading of Nina Simone, an artist celebrated in part for having stylized a heterogeneous musical repertory of songs for nearly four decades. A classically-trained pianist who shifted into jazz, pop, cabaret, and folk performing in the mid 1950s as a way to support her education and subsequently to shore up her income, Simone gained notoriety for having moved fluidly from playing the music hall chanteuse by covering Gershwin's "I Loves You Porgy" (inspired by Billie Holiday's interpretation) and the Norwegian folk lilt of "Black is the Color of My True Lover's Hair" to "Duke Ellington compositions, Israeli folk songs, and songs by the Bee Gees" (Bernstein B6). She was the ultimate queen of popular music "crossover" in the most exhilarating and unconventional sense of the word, and she deftly and consistently called upon this ability to mix and match musical forms as a way to break free of the racial and gender circumscriptions placed upon her in popular music culture. Simone frequently commented on the significance of her generic moves, boldly proclaiming that "'It's always been my aim to stay outside any category'. 'That's my freedom,'" she insisted to one reporter. But it was a "freedom" that, according to biographer David Nathan, "drove industry pundits and the music press crazy as they tried to categorize her" (Nathan 232). [End Page 176]

In many ways, Nina Simone would shape the bulk of her career in response to an aesthetic conundrum: what should a black female artist sound like? Some of Simone's most famous song titles summed up this query. Through her music she sought to make her listeners grasp how "it would feel to be free" and to be "young, gifted, and black," as well as female. Her songs thus served as sonic struggles in and of themselves, as embattled efforts to elude generic categorizations as a black female performer. These points would likewise resonate throughout much of Simone's intense and absorbing memoir, I Put a Spell On You, a text in which the artist assails the cultural myopia of critics too obtuse to read the aesthetic range and complexities of her material. "[S]aying what sort of music I played," Simone observes, "gave the critics problems because there was something from everything in there" (Simone and Cleary 68-69). For Simone, the constant (and, in her mind, completely erroneous) comparisons to Billie Holiday were signs of the music press's inability to read the depth of diversity in black female musical expression. People, she argues, "couldn't get past the fact we were both black. . . . Calling me a jazz singer was a way of ignoring my musical background because I didn't fit into white ideas of what a black performer should be" (Simone... e24fc04721