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He plays around with what I’m calling the bridge, by taking the material and chopping it up randomly to make what I can only call a “second bridge.” He even chops up these lyrics to put them in the outro, and again, not in an established sequence! The second half of the choruses are pretty cool, how he shoves three stanzas into two bars. I’ve probably written over 200 songs myself, and I can’t remember ever doing this. Study it, people. Try it on for size.
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Although most of these modes have been used quite sparsely in Western popular music (and mostly in jazz-fusion), some of them have been used more. The mode built on the fifth degree of a Harmonic minor scale, Phrygian (Major third), for example, has been used in heavy metal by guitarists such as Yngwie Malmsteen or Ritchie Blackmore, while the mode built on the seventh degree of the Melodic Minor scale is commonly used in jazz over altered dominant chords (for example, try to use G# Superlocrian on a G#7(♭13) and unleash its altered, dissonant character).
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Ke$ha made a smash hit in 2009 with “Tik Tok.” The video went viral and even became a couch gag for The Simpsons. It recounts Ke$ha’s previous night out after waking up in a bathtub and disappointing her family, before going out for a drive and then hitting the clubs again for another round of partying.
Lulu’s creation mirrors the themes of its plot. Berg started writing it after being emboldened by the success of his first opera, Wozzeck, in the 1920s. He made significant progress but abandoned the project following the death of Manon Gropius, a muse of Berg’s and essentially he and his wife’s adoptive daughter. By the time the violin concerto he dedicated to Gropius debuted, Berg himself had already died at age 50. Blood poisoning took his life on Christmas Eve in 1935, and Lulu was left only one-third orchestrated.
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