A more recent experiment with the same harmonic structure was my 2015 piece Territories, commissioned by What a Neighborhood! and premiered by the viola da gamba quartet Parthenia. The piece undertakes a spiritual journey from “our” world of the everyday, symbolized by conventional piano-like tuning in the first movement, through a murky in-between harmonic world in the second movement, and finally to a place of “otherness” in the third movement, which undertakes three modulations up through one of those wide whole steps to arrive at the interval of a fifth above, rather than the tritone that would occur in conventional tuning.
The idea behind this concept is to provide an end-to-end management of the production chain that will allow artists to focus on creating their music and that will also facilitate their label’s work by sparing them a lot of hassle, stress and risky investment. Vinyl manufacturing is, indeed, expensive and requires great expertise. (I wouldn’t advise anyone to try and produce vinyl records without knowing a thing about it!)
Sure, watching your play count and “likes” totals go up feels good, but how do you analyze how and why they went up so you can create meaningful progress?
Find out once and for all how streaming and sales royalties work — and how to get the money you deserve — in Soundfly’s free course with Ari Herstand, How to Get All the Royalties You Never Knew Existed.
Few sources of songwriter income are as consistent and dependable as public performance royalties. These are royalties that songwriters earn any time their songs are played in public, such as performed live at a concert, aired on TV/radio, and even streamed on services like Spotify, Pandora, or Apple Music.
*Honorable mentions include Elvis’ Christmas Album (1970) by Elvis Presley and “The Christmas Song” (1967) by Nat King Cole, both high sellers and influential albums in their time, although sales records cannot be accurately estimated against more recently released albums.