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Soundgas hosting Adrian Utley charity auction Soundgas are currently hosting a charity auction for the Moog Little Phatty used by Adrian Utley as the main instrument for his tours and gigs with Portishead over the last 10 years

Kenya Grace is leading the next generation of bedroom producers: “If you can use a DAW, you can do anything you want”“I feel like I’ve learnt so much over the past few months,” says South Africa-born UK-raised singer, songwriter and producer Kenya Grace, whose enchantingly soft viral d’n’b hit Strangers reached number one in the UK Singles Chart in October. As if this achievement wasn’t enough, the track’s breakthrough also resulted in a record-breaking milestone: alongside the legendary Kate Bush, Grace is one of only two female artists to hit the top spot as a sole writer, producer and performer. Strangers also ended Doja Cat’s five-week reign at number one, and sat above all of Drake’s latest releases…. no biggie.

READ MORE: Barry Can’t Swim: “Producers can often overthink – I’m at my best and most creative when I’m underthinking”

Since then, Grace’s rise has been suitably stratospheric. She’s played shows across Europe and the UK; this month, she’ll head on a US tour, too. “It’s been pretty mental, especially the tour, because these are my first ever shows of this size and playing in different countries,” Grace tells MusicTech during a break from rehearsals ahead of her gig at Village Underground in London. “It’s been a very intense process.”

Her ever-growing social and streaming numbers justify such emotions. While Grace’s social media following has grown massively (on Instagram, for example, from under 100k in January to 640k now), her videos have racked up 13.7 million likes on TikTok and, with over 30 million monthly listeners, she’s currently the 126th biggest artist in the world on Spotify. It’s easy to see why Grace says her life has been “a whirlwind”, then.
However, success has been far from overnight. In fact, she’s been putting in the work for over a year, particularly on TikTok and Instagram. “It’s blown my mind how insane it’s gotten,” she says of her popularity on the video-sharing platforms. “It’s definitely changed my entire life.”

Grace grew up with music. The London-based artist – whose conversational vocal style shares similarities with Lily Allen – first got into singing thanks to the choirs she was in while at nursery. At home in Hampshire, her mum would play a lot of neo-soul music – artists like Corinne Bailey Rae and Erykah Badu – which she still loves now (“the vocals are always so on-point”). When she was in junior school, Grace got into musical theatre: “It was then that I started falling in love with singing especially”. After being given a keyboard, she began to write her own songs at home.
Pure and innocent this journey may seem, it’s only half of Kenya Grace’s musical experiences. Going to illegal raves, house parties, and festivals as a teenager led to Grace discovering her favourite genre: drum ‘n’ bass. “It’s always been d’n’b,” she says, citing Camo & Krooked and Chase and Status among her favourites.
Kenya Grace, Image: Bella Howard for MusicTech
“Basically every person I knew was a DJ or an MC at that time,” Grace recalls. She also feels that being from Southampton – by the bass-heavy Boomtown festival – had an impact. “I fell in love with the sound; when you go to a club or illegal rave and you hear the bass and drums that loud… it changed something in my brain. I was like ‘this is fucking it! I love it.’”
It was around this time that, while studying music at college, Grace taught herself music production. Inspired by what Kaytranada and Disclosure were releasing – “it was that era when they were topping the charts everywhere; I was obsessed” – she was keen to follow in their footsteps. Despite her course not having much of a focus on music tech or production, Grace’s self-imposed dedication resulted in her staying behind after college to teach herself how to use Apple’s DAW, Logic Pro.
“It’s such an empowering time – back in the day, it would have cost thousands of pounds to get a studio and now it’s relatively affordable and you can have it in your house”
But it wasn’t an easy start. It took her a lot of time to learn the ins and outs of the software. Some time later, Grace dived into YouTube tutorials, which “changed everything,” teaching her the fundamentals of Logic Pro and music production.
This confidence-boosting development came at the right time as, post-college, Grace’s fellow producer friends were asking her to record vocals for their projects. “Once I had a little more knowledge of what was going on, and watching other people on Logic, I felt more confident about going into [recording] sessions.”
Kenya Grace, Image: Bella Howard for MusicTech
Studying what her peers were doing led to an epiphany. “I clocked in my head that if I wanted to release music, I was going to have to be able to make it – and make it on a computer – so I could eventually release it.” Despite this, Grace says she “could never voice what I wanted to say and how I wanted it to sound. I then realised, ‘I have to make myself good at this so I can actually do it’.”
After she mastered the production side of things, Grace began sharing snippets of her songs with the world via TikTok and Instagram Reels. Mostly recorded in her bedroom, Grace’s simplistic videos – on which she was either perched on her bed with her Native Instruments Maschine and Aston microphone or sat with the same equipment but in her garden – conveyed a very DIY ethos.
Kenya Grace, Image: Bella Howard for MusicTech
Filming herself singing and building the songs from scratch arose from her love of watching videos of beatmaking and finger drumming (“I just think it’s really cool”). Grace thinks this setup, in particular, is engaging to see. “The Maschine and the singing; I see so many cool musicians doing different things on TikTok like that, and I think it fits in there.” This performance style has since crept into the eye of the mainstream, thanks to artists like Grace and the viral videos of Fred Again..’s explosive Maschine performances.

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Switching between backdrops helped to keep her content intriguing, she considers, although points out that “it wasn’t a calculated decision”. It was purely because she would get bored of doing something one way, and then decide to try something else. “I always want to keep it interesting and try new things,” she says of her approach to social media.
After lots of “random posting”, she started to find an audience: her 2022 single Oranges reeled in over one million Spotify streams, the 2023 follow-up Afterparty Lover surpassed three million, and Meteor blasted off to the tune of four million. But it was Strangers which sent Grace’s career stratospheric: as well as climbing to the top of the UK Top 40, it currently sits at 337 million streams on Spotify alone and has soundtracked over 1.4 million different Instagram reels.
Not bad for a track that Grace and her team initially had “low expectations” of.
“The best thing I ever did was teach myself how to produce – even just in a basic way. If you can use Logic Pro, you have so much power. You can literally do anything, at any time, anywhere you want”
“We were going to release a different song originally, but, after we left it on TikTok and Instagram for a few weeks, something happened and it exceeded everything,” she recalls. “I knew something was slightly different with that video, just because so many more people were using the sound [on their own TikTok videos], so I noticed a difference there… but I did not expect it to be like this. I don’t even think I tried that many things, that’s the craziest thing,” Grace recalls, having uploaded the video only three separate times. In an age where constantly feeding the algorithm and persistently changing up content is often key to viral success, her clips for Strangers connected relatively quickly – much to Grace’s surprise.
“It’s been absolutely mental,” she says.
Kenya Grace, Image: Bella Howard for MusicTech
The track has led to Grace infiltrating myriad online niches – ranging from the gamer community to anime fans and petrol heads. The latter was particularly surprising. “It’s so cool,” she says. “I didn’t realise the car community was such a big thing. I had no idea about it until this,” she adds. “I feel like I’ve learned about so many different groups of people.”
The success of Strangers, and that of its ethereal trance-meets-breakbeats follow-up, Only In My Mind (which has clocked up nearly 12 million streams on Spotify), has resulted in Grace playing a string of headline live shows.
Recently, she trialled her works in progress, including freshly-released single Paris, for fans during an in-the-round gig at Corsica Studios in London. “It was so scary,” she says, after performing to just over 300 hardcore fans while streaming live to her TikTok and Instagram. “It was the first time I had ever performed all these songs and the crowd were so supportive of me.” Despite a few technical mishaps, Grace is happy to report that “the vibe was absolutely amazing. I’ve never had people sing my lyrics back to me before, but they were singing along.”
Kenya Grace, Image: Bella Howard for MusicTech
This month, she’ll head out on her first live tour across America. Having been in rehearsals the week that MusicTech speaks to her, she details her show as a live/DJ hybrid. “At the moment, the set is me, the Maschine and singing,” she says. “Everything is connected; I made loads of transitions to go in between songs… Hopefully people like it.”
While Grace says she tries not to plan too far into the future “because it makes me so stressed”, she hopes to release an EP or a similar small project. “I have so many songs that I’ve put online but never released”, she teases; “and I feel like some of them need to live on Spotify now.” Although she doesn’t have an exact release date, she’s excited to get more music out into the world and, one day, release an album – “That’s my dream.”
Though Grace’s output will remain a solo project, she’s also open to more artists joining her on her journey. “I really would love to do collabs but I feel that with this project I’ve been making, I have done everything myself, so I want to get that out and then move on afterwards.”
Kenya Grace, Image: Bella Howard for MusicTech
Alongside multi-talented artists like herself, PinkPantheress, Nia Archives, Venbee and Charlotte Plank, Grace has undoubtedly helped to birth a new generation of DIY bedroom producer. “I love it,” Grace says of the increased accessibility; “I feel like it’s such an empowering time. Back in the day, it would have cost thousands of pounds to get a studio and now it’s relatively affordable and you can have it in your house.”
She’s eager to spread this message and encourage others to follow suit. At the end of a recent show, a fan approached Grace and asked what her tips would be for aspiring musicians. “For me, the best thing I ever did was teach myself how to produce – even just in a basic way,” she recalls. “If you can use Logic Pro, you have so much power. You can literally do anything, at any time, anywhere you want.”
Beyond that, her advice is: “get on TikTok and Instagram; it’s a huge marketing tool in your pocket. It’s insane. You see it so much with so many people – how many people you can reach, how many people have had their lives so greatly affected just by making videos.”
Kenya Grace, Image: Bella Howard for MusicTech
She recognises that it doesn’t happen for everyone, or straight away, however: “It’s tough – it’s really hard sometimes. You get bad comments, or your videos don’t reach anyone, and there are a lot of things that stand in the way. But, once you do have a moment where you can cut through a little bit, it’s really amazing.”
With artists like Kenya Grace at the forefront of an ever-expanding and endlessly exciting online scene, the future of bedroom beatmaking comfortably remains in inspiring hands.
The post Kenya Grace is leading the next generation of bedroom producers: “If you can use a DAW, you can do anything you want” appeared first on MusicTech.

From Sony Music’s deepfake takedowns to iHeartMedia’s $100m BMI sale proceeds… it’s MBW’s Weekly Round-UpThe five biggest stories to hit our headlines over the past seven days.
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Audiolatry Releases RetroSynth And FREE RetroSynth Lite Synth Plugins
Audiolatry just released the RetroSynth and RetroSynth Lite virtual instrument plugins for Windows and macOS. RetroSynth is now available for €8, which is 71% off the list price of €28, and the RetroSynth Lite is free! The sounds for the RetroSynth Lite are based on vintage synthesizers, although Audiolatry has added manipulation with effects for a [...]
View post: Audiolatry Releases RetroSynth And FREE RetroSynth Lite Synth Plugins

Spotify Wrapped live in London: A Top Of The Pops-style end-of-year celebration at IKEA-turned-superclub DrumshedsSince its arrival almost a decade ago, Spotify’s ingenious digital marketing tool Wrapped has grown from a platform for stans to prove their dedication to a cultural moment in its own right.
READ MORE: 
However, until this year’s edition, the meme-spawning phenomenon – whose new-for-2023 highlights include an AI DJ and video messages from artists for their top fans – has remained a virtual affair. Yes, it’s dominating Instagram stories and rightfully sparking discussions on fairer artist pay and shady data collection, but there’s not yet been a physical manifestation to match the frenzy on socials.
That all changed last night (30 November), however, as the debut Spotify Wrapped live show brought a handful of the year’s biggest breakthrough artists (and some well-established names) to Tottenham’s IKEA-turned-superclub, Drumsheds.
Spotify Wrapped Live. Image: Getty
Live-streamed so that those not lucky enough to bag a ticket could still watch, albeit from the comfort of their homes, the choice to broadcast the first Wrapped on TikTok made perfect sense – especially because many of the songs performed throughout the show first went viral on the platform.
The lineup skewed towards 2023’s most popular genres (d’n’b, rap, pop and Afrobeat) and felt like an edgier counterpart to next weekend’s comparatively-commercial Capital FM Jingle Bell Ball at London’s O2 Arena. With the Wrapped hosts, social media favourites Harriet Rose, Big Zuu and Max Balegde, mingling among the crowd on the dancefloor and chatting to celebrity special guests including Louis Theroux, it also felt like a throwback to Top Of The Pops.
Spotify Wrapped Live. Harriet Rose, Big Zuu.Image: Getty
Kicking the night off with a vocally and visually impressive performance of their number one hit Unholy, Sam Smith took to a square stage in the middle of the crowd and was joined by a troupe of suited men inside what looked like a box made out of neon lasers. On the same stage, chart-topping MusicTech cover star Kenya Grace brought her d’n’b-pop hit Strangers to vibrant life in front of pink strobes; Libianca glowed in a ruffled golden dress while delivering the strongest vocal of the night with her track People; and Charli XCX raced through a UK-exclusive live rendition of her huge Barbie-soundtracking hit Speed Drive.
Spotify Wrapped Live, Chase & Status. Image: Press
Spotify Wrapped Live, Sam Smith. Image: Press
Towards the end of the show, the action moved to the huge main stage as London rapper Strandz and a group of dancers worked the runway for Us Against The World, before Chase & Status closed proceedings with their bass-heavy top-five smash Baddadan. Considering d’n’b’s mainstream renaissance this year, scheduling the latter as the finalé made a real statement.
Overall, the pacing of the night’s individual sets felt a little rushed and the general consensus on the train home concluded that there was too much filler chat between acts. Nonetheless, it was undoubtedly a fun way for fans (and industry types) to catch a glimpse of some huge names in quick succession.
Spotify Wrapped Live. Image: Getty
While the sprightly show may have only lasted for just over an hour, with each performer allocated just one song, the first Wrapped delivered on its aim: to present a concise yet sonically-diverse snapshot of the year’s most popular music trends. If Wrapped Live is to become an annual event, we’d like to see more focus on the music next time.
The post Spotify Wrapped live in London: A Top Of The Pops-style end-of-year celebration at IKEA-turned-superclub Drumsheds appeared first on MusicTech.

Jenny Hermanson, Spotify’s MD for the Nordic region, to exit company after 14 yearsSPOT's Sweden-based MD for the Nordic region, Jenny Hermanson, is leaving the company
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Hainbach says his 1 million annual Spotify streams earned him $2,160 before taxBerlin-based electronic composer Hainbach has detailed his earnings from the 1 million streams he’s garnered from Spotify this year.

READ MORE: UK government intervenes after London Mayor rejects plans for MSG Sphere in the city

Breaking down the data in a thread on X/Twitter, Hainbach shares that one of the main drivers behind the numbers is his instrumental track The Guide.
“Since I released it in 2020 it has gathered 560,000 views, and stills finds about 12,000 listens per month,” he writes.
“Another surprise hit was The Wooden from my album Voice Magnetic on Seil Records with 116,000 listens in 6 months. I made this with the most hated-on instrument of recent times, the Teenage Engineering Choir.”
As for the, ahem, million dollar question, ‘How much do a million streams a year pay?’ Hainbach reveals that “It averages out at about $2160 a year or $180 per month for me, before tax. Nothing to sneeze at, it covers my utilities bill.”
That said, the musician adds that Bandcamp or going to a live show is “still the best way to support me and other artists”.

(1/5) I am super-stoked about reaching 1 million streams this year on @Spotify – it means the world to me that so many of you are listening. Thank you! (But how much is that in cash? Look below) #SpotifyWrapped pic.twitter.com/zOi99JNF5V
— HAINBACH (@Hainbach101) November 30, 2023

Spotify has long come under fire for its modest payouts to musicians, with “Weird Al” Yankovic putting the streaming service’s artist payout system on blast this week on his Spotify Wrapped video.
“It’s my understanding that I had over 80 million streams on Spotify this year,” Yankovic said in the clip. “So, if I’m doing the math right that means I earned $12. Enough to get myself a nice sandwich at a restaurant. So, from the bottom of my heart, thanks for your support, and thanks for the sandwich.”

The legend Weird Al criticizing what Spotify pays artists in the video he made FOR Spotify. pic.twitter.com/wASQunepBg
— Ray Padgett (@rayfp) November 29, 2023

Last month, Spotify announced that it would phase out operations in Uruguay after the country passed a law requiring “equitable renumeration” for artists.
Citing the new law’s ambiguity as the primary reason behind its cessation of operations in the country, the streaming giant said that “changes that could force Spotify to pay twice for the same music would make our business of connecting artists and fans unsustainable.”
“Without clarity on the changes to music copyright laws included in the 2023 Rendición de Cuentas law – confirming that any additional costs are the responsibility of rights holders – Spotify will unfortunately begin to phase out its service in Uruguay effective January 1, 2024, and fully cease service by February,” says the company.
The post Hainbach says his 1 million annual Spotify streams earned him $2,160 before tax appeared first on MusicTech.

RELEASE DETAILS
Release title:
TROOPS
Main artist name:
Kazi
Release date:
1st Dec, 2023
https://publme.lnk.to/TROOPS
#newmusic #Release #Music #indepedent #artist #hiphop #rap

UK government intervenes after London Mayor rejects plans for MSG Sphere in the cityThe UK government has intervened to stop London Mayor Sadiq Khan from torpedoing plans for London’s controversial MSG Sphere.

READ MORE: Listeners think human creativity is still the most essential part of music creation amid rise in AI, report finds

According to The Standard, levelling-up secretary Michael Gove has ordered a six-week pause as he considers calling in the mayor’s decision to pull the plug on the development of the Vegas-style venue in Stratford, East London.
Mayor Sadiq Khan rejected MSG’s plans to build the sphere last week, siding with local residents and councillors who raised concerns about health risks, light pollution, and strains on local infrastructure and heritage sites.
“London is open to investment from around the world and Sadiq wants to see more world-class, ambitious, innovative entertainment venues in our city,” a spokesperson for the mayor told the publication.
“But as part of looking at the planning application for the MSG Sphere, the Mayor has seen independent evidence that shows the current proposals would result in an unacceptable negative impact on local residents.”
Gove’s department is now planning to instruct Khan not to abandon the planning proposals via a letter to the London Legacy Development Corporation (LLDC). It reads: “The Secretary of State hereby prohibits Your Local Planning Authority from implementing the Mayor’s direction of November 20 to refuse permission.”
Should Khan attempt to thwart the venue’s development, the secretary of state has the power to overrule the Mayor on his decision. Gove also indicated his interest in examining the development, which received approval from the LLDC last year.
Designed by architectural firm Populous, the MSG Sphere would have been comparable in height to Big Ben and in diameter to the London Eye. U2 opened the first-ever residency at the Las Vegas Sphere back in September. However, the venue recently reported a $98.4 million loss, and its CFO resigned amid reports of “yelling and screaming” from MSG boss James Dolan.
The post UK government intervenes after London Mayor rejects plans for MSG Sphere in the city appeared first on MusicTech.

How This Record Label Sells More Vinyl Than StreamsThis week, Ari is joined by Terry Cole, owner and operator of Colemine Records and Plaid Room Records.

Alphabet/Google is now in the music rights management business buying stake in Broadcast Music Incorporated (BMI). Expect fireworks. Very interesting.
#MusicIndustry #MusicBusiness #Google #MusicTechnology #AI #Google #BMI
https://www.musicbusinessworldwide.com/3-observations-on-the-sale-of-bmi-and-googles-entrance-into-music-rights-management/

The Dorian Scale for Jazz ImprovisationUnderstanding the Dorian Scale

Dorian is the 2nd mode of the major scale. So if we start any major scale on the 2nd degree we get a dorian scale.

Step 1 – We are going to play the major scale and then the related dorian scale. 

A useful variation of this step is to understand where the half-steps are in the dorian scale and then play all dorian scales without considering the related major scale.

Step 2 – Play all dorian scales by thinking of where the half-steps are and the degrees that you’re playing. The formula for dorian is W H W W W H W.

And the scale degrees are 1 2 b3 4 5 6 and b7.

Chordal Implications of the Dorian Scale

If we stack notes from the Dorian scale by 3rds, we get a m7(9,11,13) chord.

So this scale is ideal for related 2 chords. Related 2 chords are m7 chords that are followed by the related V chord.

For example: in a Dm7 G7 progression, the Dm7 is the related 2 chord of the G7 chord because Dm7 to G7 is a 2-5.

But, not all m7 chords are good candidates for the Dorian scale. In the progression Cmaj7 Am7 Dm7 G7, the Am7 does not want to be paired with the dorian scale. And that’s because Am dorian contains an F# which is not part of the C major scale. And of course Am7 is not part of a 2-5.

Another possible use of the dorian scale on m7 chords is on modal tunes, like in Recorda-me. In this case the Am7 pairs well with the Dorian scale. You can even see how the F# is part of the melody under the Am7 chord.

It is also worth noting that the 13 in Dorian is a tricky note to use on a m7 chord acting as a related 2. And that’s because the 13 creates a tritone with the b3 of the chord. In a Dm7 the 13th is B and the b3 is F. These two notes create a tritone F to B which is exactly what the V chord (G7 in our case) uses to create tension. That does not happen in a modal context -as I’ve shown you before in Recorda-me.

Step 3 – Play the dorian scale in 3rds like this:

Notice how we are arpeggiating the m7 chord and then we introduce tensions 9 and 11, and finally tension 13.

Pay attention at how tension 13th sounds in this m7 context. It turns the sound of the m7 into a dorian modal sound.

Applying the Dorian Scale

The last 3 steps are more about lines using the dorian scale in a 2 -5 progression.

Step 4 – Play an arpeggio with the 9th as an approach tone, and we end up landing on the 9th, which is the 13th of the V chord.

Bebop-izing the Dorian Scale

We turn the dorian scale into a Bebop scale using a chromatic passing tone. 

Step 5 – Start on the root of the scale and use the maj7 as a passing tone between the root and the b7. The cool thing about the bebop scales is that all the chord-tones from the m7 chord are played on the downbeats, while the rest of the notes from the dorian scale are used as passing tones.

Step 6 – We’re going to add two chromatic passing tones, which allows us to start on the 9th of the dorian scale.

If you’re looking for a complete course on the modes of the major scale and how to use them for jazz improvisation, you can check out Jazz Scales & Modes Vol.1: A Guide To Improvisation available for Piano, Bass Instruments, Bb and Eb Instruments.

Learn more on mDecks.com

The Major Scale (Ionian) for Jazz ImprovisationThe Major Scale (Ionian)

The major scale serves as our “source scale,” the point of reference for its related modes. We will delve into the intricacies of this scale, explore its unique properties, and discover its role in improvisational music.

The Concept of Source Scales

In the realm of musical modes, the Ionian scale takes center stage as the most familiar and frequently employed scale. We designate it as our “source scale,” a reference point from which we derive all related modes within its group. 

Whether it’s Dorian as the 2nd mode or Lydian as the 4th mode, these modes find their origins within the Ionian scale. The choice of the source scale is primarily based on its prevalence in musical practice, and there are no intrinsic properties guiding this selection.

Understanding the Ionian Scale

Step 1 – Play the Ionian scale in all keys.

Throughout the book we will use a modulation pattern of a perfect fifth down. This is the most-often-found root movement in music.

Step 2 – To deepen our understanding of the Ionian scale, we’ll explore its structure in terms of whole and half steps. This perspective helps us navigate any scale more intuitively and utilize its degrees effectively. 

The half-whole pattern of Ionian is: W W H W W W H

This gives us all major/perfect degrees: 1 2 3 4 5 6 7.

Chordal Implications of the Ionian Scale

Stacking notes from the Ionian scale by thirds reveals a maj7(9,11,13) chord. We’ll investigate the unique relationship between the 11th and the 3rd, understanding the dissonance they create in tonal contexts. In modal harmony, we can leverage these tensions to emphasize the Ionian sound.

Step 3 – Transformation of Maj7 to 6 Chord

The Ionian scale’s adaptability allows us to transform a maj7 chord into a 6 chord, a valuable skill in jazz improvisation. We’ll explore this transformation and its applications.

Bebop-izing the Ionian Scale

Much like Dorian and Mixolydian, we can enhance the Ionian scale by adding a chromatic passing tone between the 5th and 6th degrees, creating a Bebop scale. This alteration aligns chord tones with downbeats.

Step 4 – Play ascending bebop scales.

Step 5 – Play descending bebop scales.

The Passing Diminished Chord

By integrating all passing tones into the major Bebop scale, we form a diminished chord. This chord plays a significant role in jazz, facilitating reharmonization of passing tones. 

Step 6 – Play ascending scales using passing diminished chords.

Modal Perspective of the Ionian Scale

In a modal context, the Ionian mode presents unique challenges due to its tonal implications. We’ll focus on the characteristic tones, the 4th and 7th degrees, and explore their role in defining the modal sound.

To further our modal understanding, we’ll construct altered quartal voicings using the root, 4th, and 7th degrees. This unorthodox yet captivating sound adds depth to our Ionian explorations.

Putting It All Together

Step 7 – Combine modal quartal voicings with melodic lines. This comprehensive approach helps us grasp the full potential of the Ionian scale within the realm of improvisation in a modal context.

If you’re looking for a complete course on the modes of the major scale and how to use them for jazz improvisation, you can check out Jazz Scales & Modes Vol.1: A Guide To Improvisation available for Piano, Bass Instruments, Bb and Eb Instruments.

Learn more on mDecks.com

Recent Classical Highlights for November 2023Each month we review a variety of classical music from different eras, countries, and genres. This month, many of the best releases were instrumental music, although there were several great vocal releases also. Organist and choral conductor Anna Lapwood released her sophomore solo album to well-deserved acclaim, while award-winning ensemble Third Coast Percussion (pictured) gathered a few new, inventive compositions.