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tunesmithth last won the day on December 23 2016

tunesmithth had the most liked content!

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1,080 Nectar Of The Gods

About tunesmithth

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    a work in progress

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    United States of America

Music Background

  • Band / Artist Name
    Tom Hoffman
  • Musical / Songwriting / Music Biz Skills
    singer-songwriter, home studio tech
  • Musical Influences
    Goo Goo Dolls, Springsteen, Allman Brothers, Bonnie Raitt, Clapton, Billy Joel, Keith Urban, Sheryl Crow, Marvin Gaye, The Doors...and countless others


  • Songwriting Collaboration
    Not Interested

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  1. Extremely difficult question, but off the top of my head I'd have to go with "Scenes From An Italian Restaurant" by Billy Joel. As for the "whys"... the strength of the melody the complexity & variety of the song structure serves as a fine example of how to incorporate mood changes & movements into a popular music piece excellent, diverse arrangement serves as a decent example of a nostalgic, story-themed lyric great use of lyrical imagery, artistic & contemporary at the same time and finally, because I've always believed Billy Joel to be one hell of a songwriter/performer. In my humble opinion, anyone out there who's not acquainted with his work, should be! That song would serve as a good starting point. Tom
  2. Welcome to the site Don...appreciate the intro! Tom
  3. While that's certainly True Jenn, with few exceptions the instrumentation (arrangement) isn't covered by copyright...melody is. You can change the arrangement as much as you want, but if the overall melody's the same...or remarkably similar, you've likely infringed. Tom
  4. Melody should always be assessed In context, so my short answer would be yes. Unless that single line of melody is incredibly distinctive, I wouldn't hesitate to use it. Given that a musical key only contains 7 notes + the octave, it would be virtually impossible not repeat at least portions of previously used melodies. Seriously...just do the math...7 total notes = millions upon millions of melodies? Welcome to the site BTW! Tom
  5. Welcome back ! I get what you're sayin' about your version of Christian Rock. The only semi-religious tune I ever wrote fits into that vein ("Sunday Christian"). I never even considered it "Christian" music, till I explored the genre a bit more. Definitely doesn't qualify as "praise"! Anyway...glad to have you back! Tom
  6. Sorry Nelson, Songstuff was never intended to be a hosting platform. Typically members upload to one of the many platforms that do specialize in that (YouTube, SoundCloud, Reverbnation, etc.), then share the link here. Apologize for any misunderstanding. Tom
  7. Put Up or Shut Up / Ted Nugent
  8. Nice job with the intro...welcome to the site Ken ! Tom
  9. When I recommended "playing around with various roll combinations", I was referring to the mixing of elements. Drummers typically construct rolls using combinations of elements (rudiments)....double-strokes, single strokes, triplets, paradiddles, ruffs, flams, etc. This brief vid may give a little clearer idea of what I'm suggesting. It randomly mixes...... - Open-stroke five stroke rolls - double-stroke & single-stroke fills - Paradiddles - 16th note (double-time) triplets You won't be able to utilize anything here as-is. It's intended as a skills development drill for drummers, so there's no breathing room allowed between elements. Bottom line...drummers like variety! If you wish to emulate one, you need to think in multiples/combinations...not single skills. Tom
  10. Sorry, I don't have anything in my reference arsenal that'll be much help with that. I wasn't familiar with "Stay", so I pulled it up on YouTube and took a quick listen so I'd have a point of reference. That drum part is fairly simple, but you won't get there by employing a single rudiment (paradiddles). The feel he's generating with his hands is more random than that. It's as much about where he's choosing NOT to play (rests) as it is what he's playing. The bass drum running underneath is a steady 1-2-3-4...straight quarter notes. If my heads on straight, his hand action is based around one fundamental sequence, with appropriately placed variations mixed in. There's no single tip I can give you to get you where you want to go. Much of your process will be trial & error. Play around with various roll combinations, spacing & accent patterns until you come up with something that works for you. Forget about variations right now (intermixing of toms, high hat & cymbals)...concentrate on coming up with that single fundamental sequence that you like. Once you have that, it should be simple to built around it & mix in variations as you see fit. Hope this helps...good luck with it! Tom
  11. Based on that 18 seconds, ditto what Randy said. Put me down as undecided
  12. I created these a few years ago Eliott. You may find the information here deals with many of the nuances you inquired about. I'll leave you the links to the 3-part text version in my blog. They're also available in video format on my YouTube share links are provided in the blog articles. Good luck...hope you find them helpful. Tom
  13. Very nice job with the intro...welcome to the site MacKenzi Tom
  14. Little Red Riding Hood / Sam the Sham & the Pharaohs
  15. Hey and welcome Rose ! Tom