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Fri, 10/14/2022 - 16:27
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B"E"R"K"L"E"E"""""V"A"L"E"N"C"I"A""""C"A"M"P"U"S""""
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“D#E##A“&#b#a#s#s#i#c###s#o#n#g#s#
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C"O"N"T"E"M"P"O"R"A"R"Y""""P"E"R"F"O"R"M"A"N"C"E"""M"A"S"T"E"R"S"""P"R"O"G"R"A"M""
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C"U"L"M"I"N"A"T"I"N"G"""E"X"P"E"R"I"E"N"C"E""
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A"N"D"R"E"A"""F"R"A"E"N"Z"E"L"
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1 Table#of#Contents#
2# Introduction#.....................................................................................................#3#
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3# Music#...................................................................................................................#6#
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d"
3.1"
3.2"
3.3"
3.4"
3.5"
3.6"
3.7"
Composition,#lyrics#and#arrangement#................................................................................#6"
Recording#and#Mixing#..............................................................................................................#8"
Live#versions#...............................................................................................................................#9"
“Anyway”#....................................................................................................................................#11"
“Easy#love”#..................................................................................................................................#14"
“Run”#............................................................................................................................................#19"
“Steal#away”#...............................................................................................................................#25#
4# Artist#identity#................................................................................................#29#
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5# Promotion#material#....................................................................................#31#
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5.1"
5.2"
5.3"
5.4"
5.5"
5.6"
5.7"
5.8"
Pictures#.......................................................................................................................................#31"
Social#Media#...............................................................................................................................#32"
Artist#bio#.....................................................................................................................................#32"
Electronic#press#kit#.................................................................................................................#33"
Music#video#................................................................................................................................#37"
Videos#from#live#performances#..........................................................................................#40"
Logo#..............................................................................................................................................#40"
Homepage#..................................................................................................................................#41#
6# Performances#................................................................................................#44#
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7# Outlook#............................................................................................................#45#
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8# Appendix#.........................................................................................................#47#
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2"
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2 Introduction#
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When"I"was"14"I"joined"my"first"band."We"were"rehearsing"in"the"garbage"room"of"a"
mental"hospital.""
Our"music"was"depressive"teenage"grunge.""
We"played"one"gig."Then"we"split.""
"
Then"I"joined"my"second"band."We"were"rehearsing"in"the"garage"of"the"guitar"players’"
parents’"house.""
Our"music"was"melancholic"teenage"rock.""
We"played"one"gig."Then"we"split."""
"
In"the"following"years"I"played"in"countless"bands"and"projects"and"at"the"same"time"
was"studying"classical"guitar"in"music"school"and"later"on"at"the"University"of"Music"
and"Performing"Arts"in"Vienna."
But"only"the"conscious"decision"not"to"define"myself"as"a"member"of"a"group"but"as"an"
instrumentalist,"lead"to"the"development"of"my"craft"and"allowed"me"to"become"a"
professional"bass"player"about"10"years"after"my"first"steps"in"the"world"of"indie"music.""
All"this"time"I"have"been"observing"how"people"were"developing"their"music"and"
hopefully"contributed"my"best"to"their"projects.""
The"main"lesson"that"I"learned"is"that"we"devote"ourselves"meticulously"to"the"music"
but"very"often"neglect"all"the"other"important"parts"of"the"project"development"which"
results"in"the"fact"that"a"lot"of"great"music"never"gets"heard…"
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3"
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When"I"started"the"Contemporary"Performance"Master’s"Program"I"already"knew"that"
I"wanted"to"develop"a"project"with"original"music"as"my"Culminating"Experience.""
My"ultimate"goal"was"to"advance"in"my"project"to"the"point"that"I"could"immediately"
start"working"with"it"after"the"end"of"the"program.""
This"included"the"development"of"the"following"tools"and"concepts:""
Music:"Songwriting"
Demo"recording"
Artist"identity""
Artist"bio"
Press"pictures"
Logo"
Social"media"
EPK"(electronic"press"kit)"
Videos:"live"performance,"music"video"
Website"(draft)"
Live"performances"
Outlook"/"Strategy"
„Dea“"is"a"singer/songwriter"project"developed"around"bass"and"voice.""
One"of"the"challenges"I"always"had"to"face,"before"and"during"my"studies,"was"fitting"
into"my"schedule"having"time"for"my"original"music"and"projects."
I"just"love"to"play"bass"too"much"and"have"a"hard"time"saying"no"to"offers"in"order"to"
develop"my"own"music.""
Two"months"before"coming"to"Berklee"Valencia,"I"did"a"performance"singing"“Studying"
stones”"by"Ani"DiFranco,"just"with"bass"and"voice"while"participating"at"“Berklee"at"
Umbria"Jazz"Clinics”.""
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It"was"a"very"interesting"experience"and"made"me"realize"how"unusual"the"
combination"of"voice"and"bass"is,"as"opposed"to"voice"and"guitar"or"voice"and"piano.""
But"although"the"amount"of"welldsounding"chord"voicings"might"be"less"then"on"piano"
or"guitar,"the"bass"is"a"wonderful"instrument"for"accompaniment"due"to"its"rich"sound"
that"frequencydwise"never"gets"in"the"way"of"the"voice.""
After"trying"this"concept"twice"within"the"performance"forum1,"one"time"with"the"
mentioned"“Studying"stones”"by"Ani"DiFranco"and"another"time"with"my"first"original"
song"written"in"Valencia,"“Either"way”,"the"decision"was"made:"my"solo"project"was"
born"and"establishing"it"would"be"my"culminating"experience."
From"January"on,"I"had"the"benefit"of"having"a"collaborator"from"the"business"program,"
Vanessa"Barabad,"which"included"the"development"of"my"project"into"her"Culminating"
Experience."
She"contributed"in"producing"all"promotional"material"and"was"a"reliable"source"of"all"
kind"of"advises.""
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1"The"Performance"Forum"is"a"core"course"within"the"Contemporary"Performance"
program"where"students"perform"and"are"given"feedback.""
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5"
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3 Music#
3.1 Composition,#lyrics#and#arrangement#
In"my"experience,"the"initial"idea"for"a"song"most"of"the"time"stems"from"a"lyric"line.#
Parallel"to"that,"musical"improvisation"is"a"rich"source"for"melodic"ideas"and"chord"
progressions.""
Although"not"intended"from"the"very"beginning"of"the"writing"process,"these"two"
elements"were"combined"in"a"song"format.""
The"songs’"structures"follow"very"much"the"basic"principles"inherent"in"pop"music"
style:"a"verse"–"chorus"–"sequence,"where"the"chorus"should"be"stronger"than"the"verse.""
A"concise"form"with"a"dramatic"evolution"that"follows"the"story"is"given"priority"over"
experimenting"with"the"elements"of"the"style.""
Harmony"
According"to"the"singer/songwriter"style"the"chord"progressions"are"generally"
diatonic"and"in"most"cases"only"use"triads.""
Melody"
The"melodic"lines"and"motives,"as"well"as"the"harmony,"generally"stay"in"diatonic"areas."
Long"notes"usually"are"chord"tones."""
An"important"aspect"of"composing"melodies"is"that"they"have"to"accommodate"to"the"
singers’"capacities."In"my"case,"this"correlation"will"hopefully"lead"in"the"future"(with"
more"vocal"training)"to"a"wider"melodic"range.""
It"is"inherent"in"the"style"that"the"chorus"should"ideally"contain"a"clear"hook"that"is"
catchy"to"the"ears"of"the"listener.""
Lyrics"
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6"
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According"to"Pat"Pattinson2"every"(good)"song"lyric"answers"three"questions:""
Who$is$talking?$
To$whom?$
Why?"
Writing"lyrics"is,"in"my"case,"by"far"the"most"difficult"part"within"the"entire"
songwriting"process."First,"although"I"am"not"writing"a"diary"of"my"life,"it"is"something"
more"personal"than"the"music."Second,"within"very"little"space"a"story"should"be"
outlined"all"while:"
•
Being"easily"understood"
•
Leaving"room"for"imagination"
•
Avoiding"cliché"lines"and"rhymes"
•
Still"the"lines"should"rhyme…""
Not"being"a"native"speaker"is"an"additional"challenge."Regarded"from"a"positive"angle"
it"can"be"said"that"the"majority"of"my"audience"most"probably"isn’t"either."This"
correlation"hopefully"helps"in"the"way"that"the"lyrics"are"clear"enough"to"be"
understood"but"not"meaningless.""
Arrangement"
I"openly"admit"that"I"am"not"a"skilled"arranger,"especially"not"in"writing"arrangements"
without"hearing"them"at"the"same"time."Modern"music"software"is"one"way"to"solve"
that"problem,"yet"I"decided"to"take"advantage"of"the"studio"time"that"was"allotted"to"
each"student"and"made"my"arrangements"by"recording"one"track"over"another.""
Working"this"way,"the"recording"and"arranging"process"became"one.""
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2"Pat"Pattinson"held"workshops"on"the"Valencia"Campus"in"the"spring"semester."
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7"
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In"the"beginning"of"an"arrangement"I"record"a"pilot"version,"which"is"a"onedtrackdbass"
pattern"that"also"serves"as"“livedversion"of"last"resort”."""
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3.2 Recording#and#Mixing#
The"recording"process"for"“Anyway”"was"very"different"than"for"the"other"three"songs.""
“Anyway”"was"recorded"throughout"one"semester,"the"other"three"songs"were"all"
recorded"in"semester"two.""
The"basic"recording"process"turned"out"to"be"the"following:"recording"the"main"bass"
line(s),"chords,"afterwards"recording"vocals"and"backing"vocals"and"finally,"recording"
additional"bass"tracks"and/or"add"electronics.""
For"three"songs,"I"left"the"mixing"process"entirely"to"the"engineer."“Steal"away”"I"mixed"
myself.""
Generally"during"this"project"the"writing,"arranging"and"production"process"merged"
into"each"other.""
Among"the"many"things"I"learned"within"the"process,"two"are"worth"being"pointed"out"
because"they"became"a"principle"in"the"working"process:""
•
Recording"each"layer"of"the"arrangement"on"a"different"track:"
As"beneficial"as"it"is"in"a"live"performance"to"be"able"to"produce"a"bass"line"and"a"chord"
or"a"chord"and"a"melody"at"the"same"time,"in"a"recording"session"the"opposite"is"
preferable."The"recorded"results"may"not"even"sound"much"different"from"each"other"
in"the"beginning,"but"the"advantage"of"recording"on"more"tracks"lie"in"the"mix."More"
tracks"give"more"opportunities;"the"bass"line"can"be"given"a"very"different"sound"or"
effect"other"than"the"chords."
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8"
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In"a"project"like"this,"which"is"by"default"very"limited"in"its"resources,"this"becomes"a"
“survival"kit”"in"the"jungle"of"making"simple"and"sparse"music"sound"interesting.""
•
Doubling"the"same"pattern"
According"to"sound"engineer"and"Berklee"Valencia"instructor"Chris"Wainwright"it"is"
not"very"common"to"double"bass"parts.""
Doubling"is"a"recording"technique"where"the"same"pattern"or"motiv"is"recorded"twice"
or"more"times"in"order"to"receive"a"broader"sound."This"comes"from"the"fact"that"no"
performance"can"be"exactly"the"same."The"minimal"differences"between"the"takes"can"
create"a"chorus"effect"and,"when"combined"with"panning,"produce"a"wide"stereo"image.""
Very"often"this"technique"is"used"when"recording"rock"guitars"to"create"epic"“walls"of"
sound”"or"background"vocals"to"imitate"a"choir.""
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3.3 Live#versions#
The"general"underlining"question"is,"how"can"this"concept"be"realized"in"a"live"
situation"without"getting"repetitive"(and"monotonous).""
After"attending"a"workshop"of"David"Mash3,"who"is"performing"instrumental"music"as"
a"soloist"on"guitar"with"backing"tracks"that"he"interacts"with,"I"decided"to"include"the"
aid"of"technology"to"give"myself"more"options"in"a"live"situation.""
A"conscious"decision"was"that"additional"sounds,"whether"produced"live"on"stage"or"
played"back,"should"enhance"the"arrangement"and"effect"of"a"song,"but"not"change"the"
overall"sound"of"the"project"too"much."The"music"should"still"mainly"sound"like"bass"
and"voice,"just"more"basses"(and"maybe"more"voices).""
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3"Vice"President"for"Information"Technology"at"Berklee"College"of"Music"
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9"
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The"first"reason"is"that"this"soundscape"of"bass"and"voice"is"what"makes"the"project"
unique,"the"second"is"that"having"a"full"“band"out"of"the"box”"would"make"me"feel"like"a"
solo"entertainer."""
This"initial"plan"included"also"that"drum"beats"should"be"made"by"samples"of"my"own"
percussive"sounds"produced"on"double"bass.""
During"the"production"of"the"recording"and"live"performance"of"“Anyway”"I"realized"
that"the"possibilities"of"percussive"sounds"are"limited."It"is"easily"possible"to"get"drum"
sounds"that"are"related"to"a"“kick"drum”"sound"or"a"“snare”"sound,"but"it"is"very"
difficult"to"imitate"a"hidhat"and"impossible"to"have"a"long"sustained"sound"like"a"
cymbal.""
Experiments"trying"toneless"bowed"sounds"to"be"equivalent"to"a"shaker"or"a"snare"
played"with"brushes"proved"to"be"very"difficult"to"treat"in"the"mix"of"a"song."They"
easily"disappear"and"even"when"mixed"louder"they"don’t"contribute"much"to"the"
groove,"due"to"a"lack"of"attack"
Due"to"these"difficulties",and"thanks"to"slowly"evolving"technical"skills,"I"started"to"
program"beats"electronically."In"addition"to"a"wider"range"of"sounds,"the"electronic"
component"makes"the"music"sound"more"modern.""""
For"every"song,"a"“basic”"version"exists"that"can"be"performed"just"by"playing"one"bass"
track"singing"along."It"is"not"the"ideal"or"best"version,"but"essential"to"have"in"case"of"
technical"difficulties"on"stage,"or"possible"performing"opportunities"where"it"might"not"
be"possible"to"have"a"backing"track"or"a"loop"station."""
Generally"I"use"a"footpedal"(Keith"McMillan"Softstep,"borrowed"from"the"exceedingly"
generous"Ben"Cantil)"that"is"midi"mapped"to"control"parameters"in"the"software"
Ableton"live."These"could,"for"instance,"be"tracks"that"are"enabled"or"disabled,"loops"
that"are"recorded"or"effects"that"are"added.""
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A"very"important"issue"when"playing"with"playback"is"that"it"requires"a"continuous"
rhythmic"element"from"the"beginning"of"the"song"in"order"to"stay"perfectly"in"time.""
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3.4 “Anyway”###
Musical"elements"
The"song"structure"is"based"on"two"different"parts,"verse"and"chorus."The"chord"
progression"of"the"verse"also"serves"as"intro,"redintro"after"the"first"chorus"and"
interlude"after"the"second"chorus.""
What"carries"the"verses"is"a"two"bar""/"VIm"–"V"/"IV""
d"IV"V" /"chord"progression"
that"is"repeated"4"times"in"2nd"and"3rd"verse"and"6"times"in"1st"verse.""
The"transition"from"verse"to"chorus"does"not"need"a"predchorus"because"the"chord"
progression"of"the"verse"has"many"elements"of"a"cadence:""
All"the"chords"play"relevant"roles"in"a"cadence:"dominant,"subdominant,"and"the"VIm"is"
a"representative"for"the"tonic."
Because"the"IV"chord"lasts"twice"as"long"as"the"other"chords,"more"harmonic"weight"is"
shifted"on"this"chord."The"following"VIm"chord,"which"is"the"beginning"of"the"next"
harmonic"cycle,"brings"the"effect"of"a"deceptive"cadence.""
After"being"repeated"6"times"(in"the"first"verse,"4"times"in"the"2nd"and"3rd"verse)"the"
cadence"is"finally"resolved"into"the"tonic,"which"is"the"first"chord"in"the"chorus."This"is"
the"main"reason"why"the"chorus"feels"stronger"than"the"verse.""
The"arrangement"supports"this"development"by"a"very"sparse"beginning"and"the"
addition"of"elements"until"the"song"reaches"the"chorus.""
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11"
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The"chorus"itself"also"is"a"subdominant"cadence:"/"I""""""IIm""/"IV" """""""""/"that"is"repeated."
At"the"end"it"seamlessly"moves"back"to"the"verse"pattern,"which"is"used"in"the"intro"
and"interludes"as"well.""
Together"the"chord"progression"and"the"arrangement"elevate"the"chorus"and"allow"the"
melody"to"stay"in"the"same"range"than"in"the"verse."
Arrangement"
From"the"point"of"view"of"the"arrangement,"the"song"contains"the"following"layers:""
Basspattern:"formed"by"roots"and"chords,"can"be"performed"at"the"same"time,"and"was"
separated"in"the"recording"process."""
Drumbeat:"“Bassdrum”,"“Snare”,"Shaker,"Bow"
Chords:"played"on"the"offbeats"
Fills:"Melody"in"intro"and"first"interlude,""
Main"vocals"
Background"vocals"
Lyrics"
The"overall"story"is"about"a"relationship"between"two"people"told"by"a"narrator"in"the"
first"person"perspective."The"lyrics"in"the"chorus"are"part"of"the"development"of"the"
story."For"this"reason"they"slightly"differ"in"every"chorus,"which"is"unusual.""
In"the"first"verse"a"moment"is"illustrated"where"the"narrator"realizes"that"he/she"has"
potential"feelings"for"the"other"person"and"in"the"first"chorus"admits"them.""
The"second"verse"describes"the"wish"to"be"together"while"the"second"chorus"expresses"
(in"real"life"nondexisting)"confidence"that"the"wish"will"be"fulfilled.""
Expectations"for"the"relationship"build"the"lyrics"of"the"third"verse"and"the"following"
chorus"again"shows"confidence"that"the"relationship"is"going"to"last.""
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12"
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"
In"the"very"last"chorus,"the"various"lines"from"the"choruses"are"mixed"together"but"do"
not"develop"the"story"any"further."
$
„Anyway“(
I$like$the$sunlight$on$your$skin$
I$like$the$mood$that$you$are$in$$
I$can$wait$a$little$while$
Just$enjoy$you$smile$
I$know$you$don’t$know$what$to$say$
And$I$don’t$want$to$give$away$
$
You’re$gonna$get$me$anyway....$$
$
Was$it$the$moon$or$the$stars$
Blame$it$on$Jupiter$or$Mars$
Who$did$mingle$with$our$hearts$
I$don’t$care$I$just$want$it$to$be$us$
$
I’m$gonna$get$you$anyway....$
$
I$know$you$come$along$with$scars$
Sometimes$you$don’t$believe$in$us$
Tomorrow$we’ll$never$know$
If$not$tonight$you$let$me$show$
$
I’m$gonna$keep$you$anyway...$
$
You’re$gonna$keep$me$anyway$
I’m$gonna$keep$you$anyway$
You’re$gonna$get$me$anyway$
I’m$gonna$get$you$anyway$
"
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13"
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Production"
The"arrangement"evolved"within"the"production"process."Following"the"schedule"of"
the"class"“Production"Concepts"for"the"Contemporary"Performer”"the"song"was"
developed"from"a"work"tape"(two"track"stereo"recording)"to"a"multitrack"demo"and"
then"rerecorded"from"scratch"in"a"professional"recording"process:"basic"tracking,"
overdubs,"rough"mix,"final"mix,"master.""
This"song"was"recorded"and"mixed"by"MTI"student"Misty"Jones.""
Live"performance"
When"played"live,"the"arrangement"of"the"song"is"a"bit"reduced"compared"to"the"
recording.""
The"bass"part"follows"the"original"solodbassdarrangement"combining"bass"line"and"
chords"for"most"parts"of"the"song.""
The"drum"beat"is"added"via"backing"track.""
The"vocal"part"is"reduced"to"the"main"vocals"and"the"backing"vocals"are"omitted.""
"
3.5 “Easy#love”#
Musical"elements"
Three"different"parts"build"the"song:"intro"(which"serves"as"interlude"at"the"same"
time),"verse"and"chorus."The"chorus"is"harmonically"a"further"developed"progression"
of"the"intro."The"intro"could"be"explained"the"other"way"around,"as"an"isolated"part"of"
the"chorus.""
The"chord"progressions"of"verse"and"chorus"and"its"predominant"use"of"the"Am"chord"
might"raise"the"question"if"the"tonic"center"in"this"song"is"in"fact"minor:"
Verse:"/"Am"""""/"C"
"
"/"D7""""""""""/"Am""""""""/"
14"
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"
Chorus:"/"F""""G"""""""""/"""Am""""""""""""""""/"""F""""""G""""/""Am""""""""/"
"
""/"F"""""G"""""""/"""Am""""G/h"""/"""C""""""""""""/"Dsus""""""Dm"""/"
When"just"played"on"the"bass,"the"D7"chord"becomes"a"D5"because"the"bass"line"is"only"
using"root"and"fifth"of"the"chord.""
If"the"arrangement"or"line"up"were"different,"the"D5"would"be"a"D7"chord"."
This"D7"with"its"f#"is"not"a"strictly"diatonic"chord"within"the"A"natural"(aeolian)"minor"
scale"but"can"be"explained"as"being"borrowed"from"A"dorian.""
Therefore,"if"Am"is"considered"the"tonic"in"this"song,"the"harmonic"analysis"would"
identify"the"chord"progression"as"A"dorian"in"the"verse"and"A"Aeolian"in"the"chorus:""
Verse"
/""Im"""""""""""""""/"bIII"""""""""""""""""""""/"IV7"""""""""""""""""""/"Im""""""""""""""""""""""/"
Chorus"
/"bVI""""""bVII"""/"""Im"""""""""""""""""""""/""bVI""""""bVII"""/"""Im"""""""""""""""""""""/"
/"bVI""""""bVII"""/"""Im""""bVII/3"""/""III""""""""""""""""""""/""""IIsus"""""IIm""""/"
The"alternative"would"be"to"identify"C"as"tonic"""
Verse"
/"VIm"""""""""/"I"""""""""""""""""/"II7"""""""""""""""/"VIm""""""""""""/"
Chorus"
/"IV"""""V"""""""/"VIm"""""""""""""""/""IV"""""V"""""/"VIm"""""""/"
/"IV"""""V""""""/""VIm""""V/3"""/""I"""""""""""""""/""IIsus4"IIm"""""""/"
Listening"to"the"song,"a"general"impression"can"be"perceived"that"the"color"of"minor"is"
more"present"than"the"color"of"major."The"Am"chord,"with"one"exception,"lasts"for"a"
whole"bar"and"is"placed"on"positions"within"the"chord"progressions"where"the"tonic"is"
expected"to"appear.""
Therefore,"the"song"is"in"minor,"with"the"Am"being"the"tonic.""
"
15"
"
"
Melody"
The"melody"spans"over"a"whole"octave,"which"is"rather"wide"in"comparison"with"the"
other"songs.""
The"verse"melody"is"one"whole"phrase"with"4"motifs"that"correspond"to"the"4"lines"of"
lyrics."The"last"motif"is"very"similar"to"the"second,"but"it"goes"down"and"ends"on"the"
root,"closing"the"whole"phrase.""
This"is"not"necessarily"a"good"way"to"prepare"for"the"chorus,"which"is"why"it"has"to"
begin"with"something"very"significant."In"this"case"the"chorus"starts"with"the"highest"
melody"note"of"the"song.""
The"effect"is"stronger"at"the"beginning"of"the"second"chorus,"where"fewer"syllables"
allow"a"reduced"rhythm"in"just"quarter"notes.""
Arrangement"
From"the"point"of"view"of"the"bass"parts,"it’s"has"the"sparsest"arrangement"of"all"songs.""
The"bass"part"of"the"verses"follows"a"pattern"that"only"uses"the"octave"and"the"fifth"
below"the"root."This"pattern"is"transposed"on"every"chord"of"the"progression.""
The"chorus"is"built"upon"a"root"–"fifth"motion"in"the"bass"and"chords"on"the"offbeats.""
The"only"thing"that"is"added"to"these"“bassic”"patterns"is"a"solo"after"the"second"chorus.""
But"the"most"significant"contribution"to"the"arrangement"is"made"by"the"background"
vocals.""
They"were"written"by"engineer"Michael"Sean"Harris"and"appear"in"the"second"verse"
and"from"then"on"add"“spices”"to"different"lines"and"sections.""
Production"
In"order"to"get"a"wider"sound,"the"song"uses"for"the"first"time"the"element"described"
previously:"doubling"the"bass"line."Apart"from"the"bigger"sound,"the"tiny"variations"on"
the"timing"that"come"from"the"overdub"give"the"groove"a"feeling"of"pumping.""
"
16"
"
"
This"can"be"heard"best"when"comparing"the"first"with"the"third"verse."The"later"sounds"
drier"and"more"direct"which"is"an"effect"that"is"usually"created"by"reducing"the"reverb"
on"the"vocals."In"fact,"in"this"track"the"sound"of"the"vocals"has"not"changed,"the"
difference"is"that"only"one"bass"line"(without"being"doubled)"is"heard"in"the"third"
verse."
Of"course"all"the"backing"vocals"are"doubled"as"well.""
This"song"also"has"a"different"sonic"image"because"its"mix"uses"flamboyant"audio"
effects:"flanger,"filter,"pitch"band"and"distortion"modulate"the"bass,"the"vocals"are"
treated"with"reverb"and"ping"pong"delay"(a"combination"of"delay"and"automised"
panning).""
These"effects"help"create"a"wide"stereo"image"out"of"a"sparse"arrangement.""
Micheal"Harris"was"using"the"software"Ableton"to"produce"this"recording.""
Lyrics"
The"lyrics"intend"to"be"an"encouragement"to"not"give"up"easily.""
Endurance"comes"from"detaching"a"goal"from"a"timeline."Therefore,"the"verses"
indicate"a"conflict"from"different"perspectives:"the"first"verse"anticipates"it,"the"second"
describes"it"as"present"and"the"third"is"a"review,"the"conflict"is"superimposed"to"the"
reality"of"the"still"existing"relationship.""
There"is"no"direct"solution"offered"to"solve"the"conflict."The"lyrics"in"the"chorus"
express"that"conflicts"are"a"part"of"meaningful"relationships"(between"people"and"in"
general)"and",in"accepting"this"fact,"you"can"still"compromise.""
"
„Easy(love“(
Who$said$that$I$was$easy$love$
Who$said$your$love$is$fair$
Sometimes$everything$gets$rough$
"
17"
"
"
Someday$we$will$get$my$share$
$
But$I$never$thought$twice$
I$know$we$will$break$the$ice$
You’re$my$heart$and$you’re$the$reason$that$I$
Dive$to$the$ground,$flying$high$is$easy,$
But$it$doesn’t$make$a$sound$
$
You$thought$you$got$it$all$in$one$
And$it’ll$always$stay$the$same$
I$wish$I$could$live$up$to$that$or$at$least$
Not$be$the$one$to$blame$
$
But$don’t$think$twice$
I$know$we$will$break$the$ice$
If$you’re$looking$for$a$reason$dive$to$the$ground$
Flying$high$is$easy,$but$it$doesn’t$make$a$sound$
$
From$within$the$circle$of$our$live$
In$the$end$is$a$straight$lines$
The$same$way$that$the$story$goes:$$
I$am$yours$and$you$are$mine$
$
So$I$never$think$twice$
I$know$we$will$break$the$ice$$
There$had$never$been$a$reason$we$just$met$on$the$ground$
Flying$high$is$easy….$$
#
#
Live"performance"
This"song"has"been"performed"live"before"and"after"the"studio"production."Contrary"to"
“Anyway”"and"“Run”"it"doesn’t"use"a"backing"track.""
"
18"
"
"
The"bass"arrangement"is"already"sparse"on"the"recording"and"essentially"can"be"
reproduced"by"one"bass"track"except"for"the"solo"in"the"interlude."What"furthermore"
would"be"beneficial"to"the"live"version"of"this"song"is"to"add"the"backing"vocals.""
At"previous"performances"this"was"achieved"through"guest"appearances"by"Jelena"
Ciric"on"vocals"and"Stephen"McHale"on"guitar."In"the"future,"it"would"be"beneficial"to"
find"a"way"to"loop"the"background"vocals"live"at"the"beginning"and"then"play"them"
back"when"they"appear"in"the"song.""
"
3.6 “Run”#
Harmony"
The"song"uses"two"diatonic"chord"progressions"in"Dmajor,""
Verse"
/"G"
"
/"A"
"
/"Bm7""
/"Bm7""
/"
/"IV"
"
/"V"
"
/"VIm" "
/"VIm" "
/"
Chorus"
/"D"
"
/"Em" "
/"D"
"
/"Bm" "
/"
/"I"
"
/"IIm" "
/"I"
"
/"IIm" "
/"
/"D"
"
/"Em" "
/"G"
A"
/"Bm" "
/""
/"I""
"
/"IIm" "
/"IV"
V"
/"VIm" "
/"
/"G"
A"
/"Bm" "
/"
/"IV"
V"
/"VIm" "
/"
/"F#m""
/"G"
"
/"A"
"
/"Bm" "
/"
/"IIIm" "
/"IV"
"
/"V"
"
/"VIm" "
/"
Interlude"
"
19"
"
"
"/"F#m""
/"G"
"
/"A"
"
/"A"
"
/"
/"III#m"
""
/"IV"
"
/"V"
"
/"V"
"
/""
"
The"harmony"of"this"song"uses"rather"typical"elements"of"diatonic"chord"progressions"
that"are"quite"widely"used"in"pop"music."The"use"of"the"7th"in"the"VIm7"chord"actually"
resulted"from"playing"a"particular"voicing"on"the"bass"where"all"notes"from"the"same"
fret"are"used.""
What"can"be"pointed"out"is"the"accelerating"harmonic"rhythm"at"the"end"of"the"chorus."
It"is"repeated"twice"and"uses"the"chord"progression"of"the"verse""
The"lyric"line,"which"is"the"message"of"the"song,"is"repeated"as"well."This"allows"a"
smooth"transition"back"to"the"verse"that"does"not"necessarily"need"an"interlude.""
The"interlude,"which"is"used"again"as"an"outro,"is"harmonically"very"similar"to"the"
verse."However,"the"parts"do"not"sound"the"same,"which"can"be"explained"by"the"
chords"that"are"used"on"different"places"of"the"4"bar"harmonic"pattern.""
Melody"
More"significant"than"the"harmony"is"the"melodic"development.""
After"8"bars,"the"melody"contains"a"jump"of"an"octave."This"“signal”d"effect"is"repeated"
4"bars"later"and"gives"the"impression"of"a"predchorus"although"the"chord"progression"
is"not"changing.""
The"top"note"from"the"verse"(that"will"remain"the"top"note"of"the"whole"song)"is"now"
the"first"note"in"the"chorus,"and"becomes"a"sort"of"anchor"of"the"whole"chorus"melody."
Apart"from"this"note,"the"phrases"share"the"movement"downwards,"but"don’t"share"a"
specific"motiv.""
"
20"
"
"
This"is"actually"nondbeneficial"to"the"chorus"that"usually"should"be"easy"to"sing"along"
with."This"is"compensated"in"the"end"by"presenting"and"repeating"the"catch"phrase"of"
the"song."
Arrangement"
The"author"considers"this"arrangement"the"most"elaborate"of"all"songs.""
The"“pilot”"bass"track"and"basis"of"the"whole"arrangement"is"a"root"/"chord"–"pattern."""
Beat:""
The"electronic"beat"comes"in"at"the"second"verse."It"adds"a"surprising"amount"of"
gravity"to"the"groove"considering"that"it"is"just"a"hit"on"beat"2"and"4.""
This"stems"from"the"combination"of"a"clap"and"bassdrum"sound,"which"would"usually"
be"expected"on"beat"1"on"3"of"the"groove.""
With"the"beginning"of"the"chorus,"the"later"mentioned"more"traditional"groove"
appears"using"more"acoustic"drum"sounds"as"well.""
Only"at"the"interlude"a"hihat"(functioning"as"hihat"but"with"the"sound"of"a"sidestick)"
appears"with"a"very"untypical"pattern,"making"it"stand"out"from"the"drum/snare"
combination.""
In"the"third"verse"this"beat"disappears"again"and"the"clapdsound"used"in"verse"2"
resumes."After"8"bars"a"kick"drum"is"added"one"16th"note"before"each"clap"but"only"
lasting"4"bars."The"remaining"4"bars"of"the"verse"are"only"carried"by"the"clap"again.""
The"third"chorus"brings"in"(finally)"a"hihat"in"straight"eighth"notes"in"addition"to"the"
kick"and"snare."This"is"very"important"to"add"drive"to"the"half"time"feel.""
In"order"to"bring"out"the"background"vocals"and"a"bass"motif,"the"hihat"cuts"out"again"
for"4"bars"in"the"outro.""
Fills"
"
21"
"
"
Another"unusual"element"in"this"song"is"the"use"of"fills."It"is"common"to"let"them"
appear"as"repeated"short"patterns"or"single"sounds."This"is"used"in"this"song"in"the"
harmonics"in"the"verses.""
In"addition"to"that,"short"bass"patterns"in"low"octaves"fill"the"first"part"of"the"
arrangement"of"the"song."That"they"do"not"conflict"with"the"underlying"roots"is"an"
accomplishment"in"the"mix"for"which"Beth"Schofield"has"to"be"credited.""
From"the"2nd"chorus"on,"rather"long"melodic"lines"are"added."Especially"in"the"outro"
these"patterns,""together"with"the"background"vocals,"help"building"up"a"huge"wall"of"
sound.""
These"lines"are"not"so"much"fills"but"ad"libitum"improvisations"that"have"been"edited"
later"on.""
Background"vocals"
In"the"outro,"the"background"vocals"consist"of"a"simple"twodnote"motif"which"is"
repeated"and"doubled."Every"4"bars"a"harmony"is"added"until"an"8"track"choir"is"
established.""
Production"
Apart"from"the"usual"recording"steps"that"I"took,"(recording"bass"pilot,"overdubbing"
vocals"and"basses)"this"song"uses"the"first"beat"that"I"programmed.""
The"actual"loop"programming"was"easy,"the"workflow"of"combining"Ableton"and"
ProTools"software"proved"to"be"the"bigger"challenge"."
What"I"finally"used"was:"putting"every"drum"sound"on"a"different"track"in"Ableton,"
rendering"it"to"a"very"long"audio"file,"importing"it"into"ProTools."slicing"up"the"loops""
again"and"making"the"final"arrangement"of"the"drum"section.""
"
"
"
22"
"
"
Live"performance""
The"performance"of"this"song"was"the"first"live"performance"ever"that"I"did"under"the"
name"of"Dea."The"occasion"was"“En"vivo:"MTI"concert”"at"the"Teatro"Martin"y"Soler"at"
the"Palau"de"las"Arts"Reina"Sofía.""
Still"perceiving"performing"as"a"soloist"as"a"(rewarding)"challenge,"I"want"to"focus"on"
playing"and"singing."Therefore,"I"soon"decided"against"recreating"the"song"with"loops.""
I"also"aimed"to"recreate"the"increase"in"the"arrangements"and"therefore"decided"to"
create"a"backing"track"in"ProTools"by"simply"muting"the"parts"in"the"session"that"I"
would"be"playing"live.""
Lyrics"
This"song"doesn’t"tell"a"story,"but"describes"how"to"deal"with"situations"beyond"your"
control.""
"
“Run”((
We’re$all$supposed$to$be$fighters$
Never$out$of$breath$
All$supposed$to$be$hunters$
Always$watch$our$backs$
$
And$we$all$believe$
We$can$make$anything$real$
But$reality$can$take$some$time$to$be$revealed,$so$we$
$
Keep$on$dreaming$
That$some$things$change$over$time$
And$for$as$long$as$there$is$nothing$else$that$could$be$done$
We$fill$our$pockets$and$run$$
Fill$our$pockets$and$run$
$
"
23"
"
"
All$supposed$to$make$choices$
If$we$want$it$or$not$
Cause$the$ones$we$leave$open$
Life$decides$for$us$
So$the$only$thing$that$we$really$get$to$choose$(is$to)$
Go$for$a$life$you$want$to$
Or$the$one$that’s$left$for$you$
And$
$
Keep$on$dreaming$
And$some$things$change$over$time$
And$for$as$long$as$there$is$nothing$else$that$could$be$done$
Fill$your$pockets$and$run$$
Fill$your$pockets$and$run$
$
Sometimes$I$am$too$tired$
To$fight$against$who$I$am$
Or$maybe$I’m$stupid$
And$make$the$same$mistakes$again$
Somewhere$in$between$of$giving$in$and$pulling$through$
I$became$my$own$island$$
Cause$what$else$can$I$do$
And$I$$
$
Keep$on$dreaming$
That$some$things$change$over$time$
And$for$as$long$as$there$is$nothing$else$that$could$be$done$
I$fill$my$pockets$and$run$$
Fill$my$pockets$and$run$
#
"
$
24"
"
"
3.7 “Steal#away”#
This"song"is"very"different"than"the"others:"first"of"all,"it"is"entirely"programmed"and"
secondly,"it"does"not"have"a"recorded"audio"bass"track.""
It"also"exists"in"two"versions:"one"with"additional"programming"and"mixed"by"Nick"
Zeigler"and"one"entirely"programmed"and"mixed"by"myself.""
The"most"remarkable"difference"between"the"two"versions"is"that"Nick"added"drums"
as"he"said"“around"the"voice”."His"choices"of"where"to"put"which"element"in"the"mix"are,"
of"course,"also"different"than"mine.""
Harmony"
Another"aspect"that"differs"in"this"song"is"that"it"was"composed"on"the"piano."As"my"
piano"skills"are"limited,"the"original"piano"version"contains"just"a"chord"(verse)"or"an"
arpeggio"in"the"right"hand,"under"which"different"bass"notes"are"played.""
Again"it"could"be"debated"if"the"song"is"in"a"minor"key"or"not:""
Verse"
/"VIm" "
/"V"
"
/"IIIm" "
/"IV"
"
/"
/"Bbm""
/"Ab" "
/"Fm" "
/"Gb" "
/"
Chorus"
/IIm" "IV"
/"VIm"""V"/""IIm"
IV""""/"VIm"""
V"""""/"
/"Ebm" "Gb"
/"Bbm""Ab/"Ebm"
Gb"/"Bbm""""Ab"""/"""
/IIm" "IV"
/"VIm"""V"/""IIm"
IV""""/"VIm"""
/"Ebm" "Gb"
/"Bbm""Ab/"Ebm"
Gb"/"Bbm""""Ab"""/"""
V"""""/"
The"first"chorus"is"2"bars"shorter.""
Melody"
"
25"
"
"
The"melody"follows"the"lyrics,"it"sounds"more"as"if"they"were"spoken."The"recurring"
opening"phrases"(“you’ll"never"know”,"“you"will"know”,"“do"you"know”)"structure"the"
verse"and"add"a"characteristic"motif"
The"second"and"most"important"motif"is"the"beginning"of"the"chorus,"a"simple"motif"
using"three"notes"and"two"whole"steps.""
Throughout"the"song,"the"melodic"course"is"stepped,"never"using"a"larger"interval"than"
a"minor"third.""
It"works"because"of"the"overall"theme"of"the"song,"which"is"very"introspective.""
Programming"(arrangement"and"production)"
As"mentioned"previously,"this"song"exists"in"two"versions."Both"use"the"same"vocal"
tracks"recorded"by"Nick"Zeigler"at"the"Scoring"Stage.""
The"original"approach"to"this"song"was"to"create"an"electronic"track"where"the"groove"
comes"from"noises"rather"than"from"drum"samples.""
This"would"match"the"lyric"ideas"and"drafts"that"I"had"before"working"on"the"music.""
The"white"noise,"therefore,"is"a"very"important"ongoing"element.""
All"sounds"are"produced"through"Ableton."Piano"bass"line"and"chords,"the"glockenspiel,"
kick"drum"and"clap"sound"from"the"second"chorus"on"are"presets."All"other"sounds"are"
self"made"and"created"by"an"oscillator"that"is"integrated"in"Ableton"live,"called"
operator:"the"“wave”dsound,"the"rhythmic"noise,"the"kick"drum"in"the"beginning"and"
all"pads."""
The"arrangement"is"rather"sparse:""
The"groove"consists"of"a"kick"drum"on"1"and"3"and"a"“hihatdnoise”"that"doubles"a"
synthdsingle"note"line."In"addition"to"that,"long"“waves”"(white"noise"modulated"with"
operator)"fill"the"spaces"and"glue"the"whole"arrangement"together.""
"
26"
"
"
The"bass"line"(roots)"is"put"into"the"piano"and"is"also"doubled"by"a"pad"created"with"
operator.""
A"layer"of"long"chords"is"on"top"of"this"together"with"a"hook"–"line"that"appears"in"the"
chorus"and"uses"a"preset"called"“glockenspiel”.""
The"background"vocals"initially"had"a"bigger"part"within"the"arrangement"but"were"
mostly"cut"out"in"the"final"mix.""
When"mixing"the"song,"the"biggest"challenge"was"to"make"the"vocals"sound"intimate"
and"clear"at"the"same"time."This"was"finally"accomplished"by"exploring"reverb"and"
equalization.""
Lyrics"
The"beginning"of"the"song"is"a"plea"for"the"listener"to"look"inside"themselves,"around"
them"and"to"find"their"own"way.""
The"3rd"verse"uses"metaphors"of"the"first"verse,"and"brings"in"a"new"aspect"as"the"
narrative"at"this"point"shifts"to"a"story"of"two"people.""
"
Steal(away((
You’ll$never$know$$
How$snow$feels$under$your$bare$feet$
You’ll$never$know$
The$silence$of$your$own$heartbeat$
You’ll$never$know$
$
Steal$away$from$a$common$path$
Steal$away$and$cover$up$your$tracks$
There$will$always$be$a$wind$that$pulls$you$back$
Steal$away$
And$you$will$know$$
Ahead$means$just$a$point$of$view$
"
27"
"
"
You$will$know$$
One$step$back$is$movement$too$$
You$will$know$$
The$taste$of$fruits$beyond$your$reach$
You$will$know$
The$source$that$feeds$you$dreams....$$
$
Steal$away$from$a$common$path$
Steal$away$and$cover$up$your$tracks$
There$will$always$be$a$wind$that$pulls$you$back$
Steal$away$
$
Do$you$know$$
You$sting$like$the$flakes$my$toes$$
Do$you$$
You$drop$like$a$heartbeat$does$$
Do$you$know$
Stories$of$all$words$unsaid$
Are$rolling$down$like$an$avalance$
$
Steal$away$
Steal$away$
Let$the$wind$cover$up$our$tracks$
Steal$away$$
With$me$
"
Live"performance"
This"song"has"never"been"played"live"so"far."The"preferred"version"would"be"to"play"it"
on"piano,"as"it"was"originally"written."The"obvious"possibility"to"play"back"the"
instrumental"track"and"sing"over"it"is"not"favored"because"it"would"create"an"
atmosphere"of"a"solo"entertainer."
"
28"
"
"
4 Artist#identity#
"
In"Brazil,"my"name"becomes"Andreia."(pronounced"“Andría”).""
“Dea”"(pronounced"“día”)"is"a"simple"abbreviation"for"Andreia"and"was"a"nickname"
that"a"roommate"and"Berklee"student"as"well,"Luiza"Sales,"came"up"with.""
In"addition"to"this,"one"of"my"professional"goals"is"not"only"to"realize"my"project"“Dea”"
and"work"with"it"in"the"future,"but"also"to"continue"being"a"sidewomen.""
For"that"it"is"beneficial"to"separate"those"work"fields"quite"consistently"because"the"
demands"of"a"sidewomen"are"very"different"than"those"of"a"solo"artist.""
If"I"am"only"identified"with"my"solo"project,"I"fear"that"people,"who"do"not"know"me,"
might"not"assume"that"I"can"be"a"professional"team"player"as"well."
Another"benefit"that"I"can"take"from"a"stage"character"is"that"it"is"easier"to"expand"my"
stage"presence"(which"has"to"be"much"more"projecting"than"as"a"sidewoman)"when"
not"being"totally"yourself."
“Dea”"is"more"extrovert,"nonchalant"and"more"confident"than"I"am,"as"well"as"a"little"
goofy.""She"can"take"liberties"when"she"wants"to.""
Her"motto"(and"my"punch"line"to"get"into"the"character)"is:"“I"can"do"a"lot"of"things,"but"
I"don’t"have"to.”""
There"is"one"more"aspect"that"I"like"about"having"a"stage"character:"in"case"this"project"
does"well"and"I"can"work"a"lot"with"it,"it"allows"me"to"keep"a"private"persona.""
In"a"nutshell"this"is"what"the"“Dea”"is"and"what"should"be"conveyed"by"all"outputs:""
Musical"identity"
Intimate,"soft,"with"a"slice"of"melancholy,"friendship,"joy,"surprise,"trust,"confusion"and"
togetherness"
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Style/"Genre"
Singer/songwriter,"indie,"electronic"
Unfortunately"all"these"genre"denominations"still"do"not"say"anything"about"the"music"
itself."As"the"overall"sound"of"“Dea”"is"what"makes"it"unique,"“bassic"songs”"could"serve"
as"an"individual"description"of"the"style.""
Musical"influences"
Ani"DiFranco,"Suzanne"Vega,"Tracy"Chapman,"Jazz"
Vocal"style"and"timbre"
Intimate,"sometimes"edgy,"sometimes"soft,"and"breakable"
Instrumental"style"
Bass"and"beats"
Lyrical"identity"
The"intention"in"my"songs"is"to"develop"a"story"within"the"course"of"a"song.""
The"general"theme"is"“relationships”,"which"can"be"between"two"persons"or"also"of"the"
narrator"with"him/herself.""
In"most"cases"the"stories"are"consciously"written"in"first"person"perspective"because"it"
allows"the"listener"to"connect"more"easily.""
If"possible"I’d"like"to"include"a"positive"outlook"or"aspect"even"in"rather"sad"stories.""
All"in"all:"I"would"like"to"write"songs"that"people"request"on"the"radio"to"dedicate"to"
other"people."
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5 Promotion#material#
"
When"developing"the"promotional"material,"the"most"important"aspect"was"to"keep"it"
consistent."For"this"reason,"the"same"locations"and"outfits"were"used"at"different"times"
for"different"media"in"order"to"form"a"visual"identity.""
"
5.1 Pictures#
The"initial"idea"for"the"press"picture"was"to"tell"a"story"“My"bass"&"me”.""
Day"to"day"situations,"for"instance:"the"bass"on"the"next"seat"on"the"bus,"the"bass"at"a"
table"having"breakfast,"should"be"staged.""
The"expected"result"would"be"pictures"that"express"more"dynamism"than"the"usual"
rather"static"close"up."""
In"reality"they"were"difficult"to"realize,"as"it"requires"many"skills"and"technical"
equipment"to"obtain"professionally"looking"pictures"in"outdoor"settings.""
This"idea"did"not"consider"is"press"pictures"are"often"used"in"small"sizes."Therefore,"
the"motif"still"must"be"recognizable."All"people"that"were"involved"in"taking"the"
pictures"came"to"the"conclusion"that"we"would"need"close"up"shots"as"well.""
Some"of"the"pictures"have"been"colordedited,"which"give"them"a"more"artistic"
expression."The"ones"who"have"not"been"edited"should"on"purpose"convey"a"more"
natural"ambiance.""
In"order"to"aim"for"consistency,"we"already"took"pictures"that"could"serve"as"
background"for"CD"inlays"or"websites."They"show"spacious"environments,"that"leave"
room"for"a"possible"inserted"text"on"the"same"locations"where"the"close"ups"were"
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"
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taken."On"some"of"them"the"artist"appears"in"small"size"in"the"background,"on"some"
she"doesn’t"appear"at"all.""
Please"see"the"appendix"–"section"of"this"document"for"the"resulting"pictures.""
"
5.2 Social#Media#
The"following"accounts"are"set"up:""
•
Facebook:"www.facebook.com/soundsofdea"
•
Twitter:"www.twitter.com/soundsofdea"(not"yet"in"use)"
•
Instragram:"www.instagram.com/soundsofdea"(not"yet"in"use)""
•
Soundcloud:"www.soundcloud.com/soundsofdea"
•
Youtobe"chanel:"www.youtube.com/soundsofdea"(only"in"use"for"not"listed"
videos)""
•
http://site.douban.com/soundsofdea"
It"proved"to"be"very"difficult"to"set"up"social"media"sites"with"the"name"of"“Dea”."
Google"and"facebook"require"a"name"and"surname"at"the"registration"and"on"Twitter"
“Dea”"was"already"taken.""
In"order"to"secure"a"uniform"appearance"–"after"long"hours"of"brainstorming"–"
“soundsofdea”"was"chosen"as"domain"name"in"all"media"on"the"Internet.""
"
5.3 Artist#bio#
Vanessa"Barabad"wrote"this"wonderful"artist"bio:""
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32"
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"
Dea$is$an$eclectic$indie$singer/songwriter$and$bassist$from$Vienna,$Austria.$With$
a$natural$groove,$her$music$is$best$described$as$intimate,$soft,$tense$but$hopeful$
as$reflected$in$her$songs$„Run“$and$„Anyway“.$The$sound$of$her$voice$can$swoon$
you$like$a$lullaby$but$her$lyrics$pleasantly$surprise$you$with$their$wit$and$edge.$
You$may$even$be$caught$in$a$job$or$two.$$
Dea’s$musical$journey$included$many$crossroads$and$turnarounds$until$the$bass$
finally$found$her$and$became$the$foundation$of$her$entire$world.$$
Dea$thrives$on$influences$from$energetic$rock$and$funk$such$as$the$Red$Hot$Chilli$
Peppers,$reflective$inspiration$from$her$favourite$singer/songwriter$Ani$DiFranco$
and$the$melancholy$muse$of$Samuel$Barbers$Adagio$for$Strings.$$
Keep$an$eye$out$for$Dea’s$EP$to$be$released$in$the$summer$of$2014!$$
"
5.4 #Electronic#press#kit#
This"tool"should"introduce"my"music,"give"a"bit"background"information"and"is"an"
important"tool"to"convey"the"artist"identity.""
The"vision"was"to"have"a"miniddocumentary"instead"of"an"interview.""
It"consists"of"three"elements:"
•
“Q"&"A”"
A"“question"and"answer”"section"with"short"topics,"“factual"questions”.""
The"answers"must"be"phrased"in"a"way"that"the"questions"are"understood"just"by"
listening"to"the"answer.""
•
Conversation"about"music"
This"element"should"create"ambiance"and"a"relationship"with"the"audience"/"fans"
before"it"comes"to"selling"a"product.""
It"should"take"place"outside"at"one"of"the"locations"used"for"the"press"pictures,"and"is"
designated"in"the"storyboard"as"“graffiti"wall”.""
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The"idea"was"that"Vanessa"and"I"just"walk"along"the"wall"talking"about"music"in"
general,"as"two"friends"rather"than"artist"and"journalist.""
•
Videoclips"from"live"–"performances"
They"should"be"included"in"the"presskit"to"demonstrate"how"this"project"is"performed"
live"and"show"the"major"performances"that"have"already"happened.""
•
Bloopers"/"Outtakes"
Humor"and"a"look"behind"the"scenes"are"both"elements"to"strengthen"the"relationship"
between"the"artist"and"the"audience"or"fans.""
The"following"page"shows"the"original"storyboard:""
"
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!
!
DEA$–$EPK$–$STORYBOARD$
Number!
Music!
Scene!
Questions!
1!
!
Stephen!Webber!announcing!
!
“Dea”!at!MTI!concert!
2!
Anyway!–!from!Intro!
Impressions$1!–!landscapes!
until!end!of!first!chorus!
around!the!filming!areas!of!the!
!
fotoshoots!
3!
Anyway!
Vanessa!and!I!walking!along!the! !
graffiti!wall!!
4!
!
Graffiti$wall:!interview!
Why!are!you!making!music?!
How!would!you!describe!your!music?!
5!
!
Studio:$Q!&!A!!
Where!are!you!from?!
(something!funny!or!silly!in!the!
What!was!your!first!interaction!with!music?!
end…)!!
What!is!your!primary!instrument?!
(What!instruments!do!you!play?)!
(How!did!you!get!your!name)!
6!
Run!
Live$performance!at!MTI!
concert,!last!chorus!&!outro!
!
!
!
!
8!
!
Graffiti$wall$
What’s!your!writing!process?!
If!your!music!would!be!the!offspring!of!other!
artists,!who!would!it!be?!
Who!do!you!want!to!listen!to!your!music?!
9!
!
Studio:$Q$&$A$$
What!are!your!current!projects?!
Where!can!I!find!your!music?!
What!are!your!hidden!talents?!!
(10!
?!
Blooper!outside:!silliness?)!
!
11!
Steal!away…!gradually!
Graffiti$wall:$interview$
What!are!your!biggest!fears?!Why?!
Impressions!2:!Vanessa!and!I!
!
fade!in!
12!
Steal!away!
walking!and!talking,!moving!
into!shots!from!the!
environment!
13!
!
Insert:!www.soundsofdea.com!
!
14!
!
Epilogue:!Vanessa!and!I!at!the!
!
pools!of!Berklee,!talking!about!
jumping!in,!last!sentence:!“Turn!
off!the!camera.”!!
An!alternative!to!the!“Impression”!section!sections!could!be!the!addition!of!open!source!footage.!
!
36!
!
!
The!realization!of!this!plan!was!unsurprisingly!more!difficult!than!expected.!!
The!sequence!at!the!graffiti!wall!had!to!be!changed!very!early!on,!because!it!would!
have!needed!more!personal!and!technical!resources!(for!instance!a!boom!mic).!!
As!a!compromise!we!did!an!interview!sequence!at!the!graffiti!wall!as!well!that!could!
be!realized!using!the!same!microphone!than!in!the!studio!sequence.!!
All!shootings!were!done!by!Vanessa!Barabad!and!myself!and!they!challenged!us!in!
many!ways:!!
On!the!technical!side!we!were!learning!by!doing!to!handle!camera,!microphone!and!
lightening.!In!addition!to!that!it!was!very!difficult!for!me!to!give!concise,!spontaneous!
and!at!the!same!time!funny!answers.!!!
!
5.5 #Music#video#
Another!tool!to!promote!music!clearly!is!via!video.!!
Video!is!also!the!most!likely!medium!to!be!spread!virally.!
•
Beach!
Aalap!Deboor!from!the!business!program!shot!a!video!as!homework!for!his!video!
production!class,!which!shows!Dea!singing!and!playing!while!sitting!down!on!the!beach.!It!
is!filmed!from!one!steady!camera!position,!which!was!the!homework!requirement.!This!
unfortunately!makes!the!video!too!static.!!
It!also!feels!very!cliché!to!have!me!sing!the!song!facing!the!camera.!Therefore,!it!is!nice!to!
have!it,!was!fun!to!make!it,!but!I!won’t!publicly!release!this!video.!!
•
Storyboard!
A!proper!music!video!storyboard!that!was!developed!by!Vanessa!Barabad:!!
!
!
37!
!
!
!!
TRANSITION!1!P!Fade!in!from!black.!!!
VERSE!1!
SCENE!1!
I!like!the!sunlight!on!your!skin!
Silhouette/back!lit!of!woman's!face!at!the!
beach.!!Woman!staring!into!distance.!!Panning!
woman's!face!until!it!is!visible.!!!
I!like!the!mood!that!you!are!in!!
Woman!staring!into!distance.!!Panning!woman's!
face!until!it!is!visible.!!!
I!can!wait!a!little!while!
She!grins.!!
Just!enjoy!you!smile!!
Grin!turns!into!playful!smile.!!!
I!know!you!don’t!know!what!to!say!
She!looks!down!and!plays!with!the!sand!with!her!
feet.!!!
And!I!don’t!want!to!give!away!
plays!with!the!sand!with!her!feet.!!!
You’re!gonna!get!me!anyway....!
she!walks!off!away!from!the!camera.!!!!
!!
!!
!!
TRANSITION!2!–!Zoom!quickly!away!from!girl!
walking!to!a!rotating!globe.!!Transition!to!
cartoon/pencil!drawing!of!globe.!
VERSE!2!
SCENE!2!–!Stick!figure!drawings.!
Was!it!the!moon!or!the!stars!
Moon!rises!on!side!of!the!globe.!!Sun!rises!on!the!
other!side!of!the!globe.!!Frame!pans!down!so!the!
moon,!sun!and!globe!disappear.!!Stick!figures!
appear!walking.!
Blame!it!on!Jupiter!or!Mars!
Stick!figure!boy!and!stick!figure!girl!are!walking!
but!looking!at!their!cell!phones.!
Who!did!mingle!with!our!hearts!
The!sticks!bump!into!each!other!and!drop!their!
phones.!!Zoom!in!comic!strip!and!both!say!“sorry,!
excuse!me”!and!they!both!smile.!!
I!don’t!care!I!just!want!it!to!be!us!
They!retrieve!their!phones,!stand!up,!zoom!out!to!
bigger!picture,!and!walk!away!looking!at!each!
other.!
I’m!gonna!get!you!anyway....!
Zoom!in!to!split!screen!and!both!sticks!say!“crap,!I!
have!his/her!phone!!”!!
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38!
!
!
!!
!!
!!
TRANSITION!3!P!Frame!pans!UP!so!the!moon,!sun!
and!globe!appear.!!Moon!sets!on!side!of!the!
globe.!!Sun!sets!on!the!other!side!of!the!pencil!
globe.!!Globe!rotates!and!turns!into!a!realPish!
globe.!!Zoom!in!quickly!to!the!girl!walking!on!the!
beach!but!with!a!man.!
VERSE!3!
SCENE!3!–!Couple!walking!along!beach.!!Intimate!
embraces!and!eye!gazing.!
I!know!you!come!along!with!scars!
Finger!tracing!the!guy’s!skin!(visible!scar!would!be!
cool).!
Sometimes!you!don’t!believe!in!us!
Man!sits!while!woman!stands!embracing.!!Woman!
pets!his!head!and!kisses!his!head.!!
Tomorrow!we’ll!never!know!
Big!smiles!and!more!eye!gazing!
If!not!tonight!you!let!me!show!
Sunset!between!couple!with!backlit!silhouette.!
I’m!gonna!keep!you!anyway...!
Foreheads!touching.!
!!
Fade!out!into!white.!
!
•
Storyboard!revisted!
ANDREA!VERSE!3!
SCENE!3!–!Two!people!
sightseeing!with!camera!
I!know!you!come!along!with!scars!
two!people!visiting!a!site!
Sometimes!you!don’t!believe!in!us!
!taking!pictures!of!the!location,!of!
each!other!
Tomorrow!we’ll!never!know!
doing!funny!poses!
If!not!tonight!you!let!me!show!
maybe!a!kiss!on!a!cheek…!!
I’m!gonna!keep!you!anyway...!
!
!!
Fade!out!into!white.!
!
This!would!be!my!ideal!music!video,!unfortunately!the!production!turned!out!to!be!
too!complex!to!be!organized!within!the!given!time.!!
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39!
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•
SelfPmade!alternative!
Following!the!examples!of!the!videos!to!the!songs!“Happy”!by!Pharell!Williams!and!
“Video!Games”!by!Lana!del!Rey,!an!alternative!idea!for!a!music!video!is!to!make!a!
collage!of!atmospheric!shots!from!Valencia.!Ideally!it!shows!people!wearing!a!TPShirt!
with!“Dea”!–!Logo!on!it!singing!along!the!chorus.!!
This!as!well!could!not!be!realized!yet!due!to!scheduling!issues.!!
!
5.6 Videos#from#live#performances#
I!was!lucky!to!capture!video!material!from!various!performances,!but!it!proved!to!be!
more!difficult!to!not!only!make!it!look!good,!but!also!make!it!sound!good.!!
!
5.7 Logo#
After!some!trials!I!decided!to!commission!a!professional!graphic!designer!to!develop!a!
logo.!!
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40!
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!
!
In!previous!drafts!a!bass!key!replaced!the!letter!d!but!it!made!the!name!unreadable.!!
In!order!to!create!a!unique!symbol!and!have!a!clear!image!of!the!name,!the!two!points!
are!being!kept!in!the!logo.!They!create!a!starting!point,!and!together!with!the!curve!of!
the!letter!d,!they!form!a!bass!key.!!
The!background!color!will!be!determined!by!the!color!palette!of!the!homepage!and!
most!likely!be!in!warm!red!tones.!!
!
5.8 Homepage#
www.soundsofdea.com!!
The!homepage!should!be!flexible!and!easy!to!maintain!but!have!a!unique!design.!!
According!to!the!graphic!designer!both!the!logo!and!the!webpage!should!be!modern,!
simple!and!reduced!–!the!same!way!the!music!is.!!
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41!
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!
The!front!page!should!convey!an!atmosphere!before!the!information!is!transmitted.!It!
shows!the!logo!and!the!main!menu!of!the!page.!!
The!background!is!a!crop!of!one!of!the!press!pics!but!with!very!blurry!aspect,!as!if!it!
were!behind!a!translucent!glass.!!
!
!
A!draft!of!the!artist!bio!section:!!
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43!
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6 Performances#
15.!4.!MTI!–!Concert:!Performance!of,!“Run”,!Palau!de!las!Arts,!Teatro!Martini!y!Soler!
14.!6.!Café!Mercedes!
20.!6.!“Un!lago!de!conciertos”,!Ciudad!de!las!Artes!y!las!Siencias!Príncipe!Felipe!
21.!6.!TedX!Berklee!Valencia:!Performance!of!“Anyway”,!Palau!de!las!Arts,!Aula!
Magistral!
27.!6.!Mercado!de!Tapinería,!Valencia!
6.!7.!Opening!for!Andjela!Stevanovic,!Radio!City!
12.!7.!Graduation!concert,!Performance!of!“Run”,!Palau!de!las!Arts,!Teatro!Martini!y!
Soler!
!
These!performances!were!extremely!important!for!me!in!order!to!create!actual!live!
versions!of!the!songs!as!well!as!getting!experience!as!the!front!person.!!
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7 Outlook#
Collaborations!
I!feel!privileged!that!the!following!people!agreed!to!collaborate!in!the!future:!!
•
Marcin!Suder,!“Between!music”:!!promotion!and/or!publishing!!
•
Vanessa!Barabad,!Berklee!Valencia,!GEMB!Graduate!2014:!Artist!Management!
US,!help!digitally!promote!my!music!
•
Yu!Lu,!Berklee!Valencia,!CP!Graduate!2014:!Artist!Management!China:!social!
media!China!
•
Austria!
From!my!previous!projects!I!have!an!overview!of!the!music!business!in!Austria!and!
have!some!personal!contacts.!In!order!to!communicate!the!existence!of!“Dea”!and!get!
noticed,!I!will!be!contacting!opinion!leaders!of!the!music!business!and!media!in!the!
following!way:!!
•
Send!out!ordinary!tourist!post!cards!with!greetings!from!Valencia,!signed!by!
Dea!with!no!other!hint!what!this!is!about.!!“Greetings!from!Valencia,!I’m!happy!
to!be!back!in!fall,!Dea.”!(Have!to!be!addressed!to!a!certain!person)!maybe!a!
music!note!or!a!logo!
•
Send!another!postcard,!if!possible,!branded,!and!providing!a!link.!!
•
Send!an!email!with!press!kit!
The!ultimate!goal!will!be!to!expand!my!business!team!and!find!a!label!or!an!agency.!!
There!are!two!calls!for!applying!for!funding!for!an!album!production!in!which!I!will!
participate,!one!in!September!and!one!in!November.!!
A!possible!release!of!an!album!would!be!2014.!!
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International!!
The!first!thing!to!do!is!to!research!for!companies!and!agencies.!!
Depending!on!the!results!a!similar!strategy!would!be!used!or!not.!!
Releasing!my!music:!Soundcloud!!
In!order!to!introduce!my!music!to!the!public!and!at!the!same!time!to!have!the!
possibility!to!sell!the!songs!on!an!album!later!on,!only!one!song!will!be!available!on!
Soundcloud!at!a!time.!!
The!song!will!change!every!4!to!6!weeks.!!
Looking!into!the!future,!it!means!that!already!fall!new!material!has!to!be!recorded.!!
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8 Appendix#
!
Charts!
Pictures!
Artist!bio!jpg!!
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47!
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Anyway
Main vox
Intro
Andrea Fraenzel
Verse
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& # ## 44
G©‹ F©
∑
E
∑
G©‹ F©
E
∑
G©‹
∑
F©
E
‰ j
Œ Ó
œœ œ œ œ œ œ œ
I like the sun - light on your skin
# ##
& # # ‰ œj œ œ œ œ œ œ ˙
7
G©‹
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and I can wait a lit - tle while
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but
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you gon - na get me a - ny way
B
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‰ j
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you're gon - na get me a - ny way
B
C©‹
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‰ j
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you're gon - na get me a - ny way
Reintro
##
& # ## ‰ œj
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23
œ
Chorus
F©
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#### G©‹
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I know you don't know what to say
15
B
F©
‰ j
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and just en - joy your smile
19
E
‰ j
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I like the mood that you are in
11
F©
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Ó
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∑
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∑
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∑
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you're gon - na get me a - ny way
Verse 2
F©
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# ## G©‹
& # # ‰ œj œ œ œ œ œ ˙
29
G©‹
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Was it the moon or the stars
# ##
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33
G©‹
F©
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œ œ œ œ œ œ ˙
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who did min - gle with our hearts
I'm gon - na get you a - ny - way
E
Ó
blame it on Ju - pi - ter and Mars
G©‹
F©
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E
‰ j
j‰
œ œ œœ œ œ œ œœ œ ˙
I don't
Chorus
# ## B
C©‹
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& # # ‰ œj œ
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37
F©
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B
care
C©‹
I justwant it to be us
E
‰ j
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I'm gon - na get you a - ny - way
Ó
V.S.
Copyright © Andrea Fraenzel
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2
Main vox
#### ‰ j
& # œ
œ œ œ œ œ œ ˙
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41
C©‹
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Re-intro
∑
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∑
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some times
you don't be - lieve in us
F©
if not to - night you
Ó
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‰ j
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let me show
B
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B
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Chorus
B
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I'm gon - na get you a - ny - way
Ó
C©‹
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‰ j
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Ó
‰ j
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You're gon - na keep me a - ny - way
B
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I'm gon - na keep you a - ny - way
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I'm gon - na keep you a - ny - way
73
∑
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I'm gon - na keep you a - ny - way
69
G©‹
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#### B
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65
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but to mor - row we'll ne -ver know
61
E
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I know you come a long
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57
F©
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I'm gon - na get you a - ny - way
#### ‰ j
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53
E
‰ j
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45
C©‹
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I'm gon - na get you a - ny - way
Ó
B
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‰ j
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you're gon - na get me a - ny - way.
!
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Easy Love
Intro
Verse 1
F
G A‹
& 44 Ó Ó
F
Andrea Fraenzel
Ϊ j
ŒÓ
œ œ œœœ œ œ œ
G
A‹
∑ Ó Ó
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C
D
Who said that I was ea - sy love
A‹
7
A‹
& œj ‰ Œ Ó
C
Ó œ
œ œœ œ
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D
Ó
Œ
Some - times e vrything gets rough
who said your love
is fair
A‹
‰ j Œ Ó
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some day we will get our share.
Chorus
12
F
G
A‹
& Œ œ œ™œ œ œ
F
But I ne ver
- thought twice
A‹
17
G
A‹
F
G/B
I know we will break the ice
C
You're my heart and you're the rea
D(“4)
D
& œ œ ‰ œj œ œ ™ œ œ œ Œ œ œ œ œ œ œ Œ Ó
- son
I di ve to the ground fly - ing high is
Verse 2
21
&
A‹
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sound
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ea - sy
≈ r≈ r‰
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but it does n't make a
j‰Œ Ó
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You thought you got it
D
A‹
in one
and it'll al - ways stay the same.
F
j G
r
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26
Chorus
A‹
C
D
I wish I could live up to that
31
A‹
F
A‹
or at least not be the one to blame
G
A‹
F
36
I know we will break the ice
C
D(“4)
A‹
G/B
œ œ œ œ œ œ œ Œ œ œ™ œ œ
If you're look - ing for a rea - son di - ve to the
Interlude / Solo
Œ Ó
& œŒ œ œ œ
œ œ œ
D
Œ ‰
ground fly - ing high is ea - sy
42
But don't think
G
& œŒÓ Œ œ œ œ œ œ œ œ œŒÓ Œ œ œ
twice
F
& Ó
G
Ó
A‹
G
Ó
Ó
≈ r≈ r‰ Œ ˙™
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F
but it does n't make a
F
G
∑
A‹
Ó
G
A‹
G
F
Ó Ó
G
∑
sound.
G
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A‹
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F
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r
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& Œ‰œ™ œ œ œ œ œ
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47
œ
Ó
Chorus
A‹
C
The same way that the sto - ry goes
D
I am
A‹
yours and you are mine.
So ne - ver think
œœ
twice
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2
52
A‹
57
C
F
G
A‹
F
G
A‹
G/B
& œŒÓ Œ œ œ œ œ œ œ œ œŒÓ Œ œ œ œ œ œ œ œ œ œ ‰≈ œr œ œ œ œ
I know we will break the ice
& œ
ground
Œ
œ
œ
fly - ing
œ
high
œ
is
There had ne - ver been a rea D(“4)
œ
œ
Œ
Ó
son
D
we just met on the
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Run
Andrea Fraenzel
Intro
#4
& #4 Ó
G
A
Ó
∑
∑
∑
A
#
&#Œ œ œ
G
#
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17
G
#
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21
G
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ters
∑
B‹
∑
∑
Œ œ œ
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∑
Ne - ver out of breath
™
œ œ œ œ œ œ œ Œ œj œ œ œ
A
All sup - posed to be
B‹
hun - ters
A
and
œ œ œ œ Œ Ó
a - al - ways watch our backs
B‹
œ œ œ œ Œ Œ œ œ œ œ Œ œ œ
œ œ
œ œ
And we all
be - lieve
A
we can ma - ake
B‹
∑
a - ny - thing real
Ó
œ œ œ œ œ œ ‰ œj œ œ œ œ œ
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But re - a - li - ty -
Chorus
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25
A
B‹
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All sup - posed to be figh -
13
G
Verse 1
## GŒ
&
œ œ
9
B‹
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y
can take some ti - me to be re - vealed
œ œ œ Œ ‰ œj œ
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keep on drea -
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ming
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So we
œ œ œ œ œ Œ ‰ j œ
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that some - things change o - ver time
G
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B‹
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& # œ œ œ œ œ œ œ œ œœ œ œ œ
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29
D
long as there is no -
thing
E‹
else that could be done we
A
B‹
# G
∑
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33
fill our po - ckets and run
#
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37
∑
if we want it or not
#
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41
B‹
li - fe de - cides for us
Verse 2
G
Œ œ œ
G
∑
fill our po - ckets and run
œ œ œ œ
All sup - posed to make choi A
A
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ces
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cause the ones we leave o G
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pen
Œ œ œ œ œ œ œ Œ Œ
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So the on - ly
thing
that we
Copyright © Andrea Fraenzel
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2
#
&#
45
∑ Œ ™ œj œ
Œ
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B‹
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re - al - ly have to choose
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keep on
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j
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that could be done I
Some - where in be G
red
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B‹
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pid
and make the
tween
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Œ ™ œj œ
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Ó
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time
G
∑
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I am my own
Chorus
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some things change o - ver
E‹
A
A
D
can I do
∑
A
through
#
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89
G
A
or may - be I'm stu -
œ œ œ
B‹
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œ
same mis - takes a - gain
B‹
e - els
D
Œ ‰ j
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#
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86
time
that could be done
Interlude
F©‹
∑
∑
œ œœ
#
&#œœ œ œ œ
82
else
A
Verse 3
A
B‹
#
&#œ œ
78
that some - things change o - ver
E‹
fill your po - ckets and run
fight a - gainst who I am
74
œ œ œ
œ
Some - times I'm too ti -
#
&#œ œ œ
70
œ
œ œ œ œ œ œ œ
fill your po - ckets and run
∑
ming
long as there is noth - ing
A
B‹
# G
∑
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œ œ
F©‹
D
j œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
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and for as
##B‹
∑
&
œ œ œ Œ ‰ œj œ
drea -
57
63
or the o - ne that left for you
E‹
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a - and
B‹
go for a life youwant to
Chorus
50
54
A
œ œ œ œ
keep on
D
is - land
œ
cause what
œ œ œ Œ ‰ œj
E‹
drea -
ming
that
‰ j œ œ œ œ œ
œ œ œ œ
œ œ
and for as long as there is no - thing
B‹
G
A
œ œ œ œ
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fill my po - ckets and run
∑
else
œ œ œ œ
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fill my po - ckets and run
!
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2
52
A‹
57
C
F
G
A‹
F
G
A‹
G/B
& œŒÓ Œ œ œ œ œ œ œ œ œŒÓ Œ œ œ œ œ œ œ œ œ œ ‰≈ œr œ œ œ œ
I know we will break the ice
& œ
ground
Œ
œ
œ
fly - ing
œ
high
œ
is
There had ne - ver been a rea D(“4)
œ
œ
Œ
Ó
son
D
we just met on the
∑
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Steal Away
Andrea Fraenzel
Intro
B¨‹
bb4
& b b b4
A¨
∑
∑
F‹
G¨
∑
∑
B¨‹
A¨
∑
∑
F‹
Ó™
G¨
∑
≈œ œ
œ
You'll ne - ver
A¨
F‹
b b B¨‹
r
& b b b œ ‰ ™ œ œ œ œ œ œ œ œ œ Œ ≈ œ œ œ œ ‰ ™ œr œ œ œ œ
9
Verse 1
know
12
how snow feels un - der your bare feet
G¨
bb
&b b b œ œ
B¨‹
own heart -
beat
you'll ne - verknow
F‹
G¨
know
18
A¨
sto - ries told by words un - said
B¨‹
A¨
bb
&b b b œ œ œ œ Œ
E¨‹ G¨
œ œ ˙
path steal a - way
Œ
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G¨
Œ
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Steal a - way
B¨‹
A¨
‰ œ œ
from a
E¨‹
G¨
‰ j
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co - ver up your tracks there will al - ways be a wind that
A¨
B¨‹
b b B¨‹
b
Œ
‰
‰
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b
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Ó
Ó™
pulls you ba - ck
A¨
E¨‹
Œœ œ œ œ œ
œœ
22
26
you'll ne - ver
Chorus
the com - fort that a blank sheet ha - s
com - mon
the si - lence of your
œ œ Œ ≈œ œ œ œ Œ œ œ œ œ œ œ œ œ Œ ≈œ œ œ
bb
& b b b œ ‰ ™ œr œ œ œ œ œ
15
you'll ne - verknow
≈ œ œ œ œ ‰ ™ œr œ œ œ œ
Verse 2
B¨‹
And you willknow
F‹
a - head is just a
G¨
bb
&b b b œ œ œ œ Œ ‰ œ œ œ Œ œ œ œ œ œ œ œ œ Œ ‰ œ œ
point of
29
B¨‹
b
& b bbb œ
know
32
view
you willknow
one step back is move ment too
‰ ™ œr œ œ œ œ œ œ œ
A¨
œ
you will
F‹
Œ
Ó
the taste of fruits be - yond your re - ach
œ œ
œ œ
is what feeds you
Chorus
E¨‹
b b G¨
b
b
& bœ œ œ œ
œ œ ˙
se - cret dre - ams Steal a - way
G¨
B¨‹
A¨
E¨‹
Œ ‰œ œ œ œ œœŒ
œ œ ˙
from a com mon path
steal a - way
G¨
Œ œ œ
co - ver
Copyright © Andrea Fraenzel
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2
36
B¨‹
A¨
E¨‹
G¨
B¨‹
A¨
B¨‹
bb
‰ j œ œ œ œŒ ‰‰
&b b b œ œ œ œ œ
œ
œ
œ
œ
œ
œ
œ
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41
G¨
bb
&b b b œ
Do youknow youstinglike the flakes my toes
B¨‹
do youknow
G¨
E¨‹ G¨
b b F‹ Œ Œ
b
Œ
b
& bœ
œ œ œ œ œ œ œ ˙ Ó
b
& b bbb Ó
E¨‹
bb
&b b b ˙
way
like an a - va lanche Steal a - way
A¨
E¨‹
G¨
Œ
œ œ
G¨
Ó
let the
˙
wind
B¨‹
Ó
A¨
the un - told sto - ries in my head
Chorus
B¨‹
do youknow you drop like a
r
œ œ Œ ‰ œ œ œ ‰ ™ œ œ œ œ œ œ œ œ ‰ ™ œr œ œ œ
œ
49
57
∑
Ó™ ‰ œ
Œ
Œ ‰
Œ
œ œ œœ œ œ œ œ œ
œ œ œ œ œ œ œ
heart - beat do - es
54
∑
up your tracks there will al - ways be a wind that pulls you ba - ck
F‹
G¨
B¨‹
A¨
F‹
bb
&b b b ∑
46
A¨
Œ
Ó™
B¨‹ A¨
B¨‹
œ œ
A¨
Œ
co - ver
œ œ
with me
are rol - ling down
E¨‹
G¨
Œ
œ œ œ œœœœ
steal a - wa - y - y - y - y
A¨
œ œ œ œ œ
up
your
œ
tracks
Œ
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steal a -
Ó
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“D#E##A“&#b#a#s#s#i#c###s#o#n#g#s#
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A"N"D"R"E"A"""F"R"A"E"N"Z"E"L"
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1 Table#of#Contents#
2# Introduction#.....................................................................................................#3#
"
3# Music#...................................................................................................................#6#
"
d"
3.1"
3.2"
3.3"
3.4"
3.5"
3.6"
3.7"
Composition,#lyrics#and#arrangement#................................................................................#6"
Recording#and#Mixing#..............................................................................................................#8"
Live#versions#...............................................................................................................................#9"
“Anyway”#....................................................................................................................................#11"
“Easy#love”#..................................................................................................................................#14"
“Run”#............................................................................................................................................#19"
“Steal#away”#...............................................................................................................................#25#
4# Artist#identity#................................................................................................#29#
"
5# Promotion#material#....................................................................................#31#
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"
5.1"
5.2"
5.3"
5.4"
5.5"
5.6"
5.7"
5.8"
Pictures#.......................................................................................................................................#31"
Social#Media#...............................................................................................................................#32"
Artist#bio#.....................................................................................................................................#32"
Electronic#press#kit#.................................................................................................................#33"
Music#video#................................................................................................................................#37"
Videos#from#live#performances#..........................................................................................#40"
Logo#..............................................................................................................................................#40"
Homepage#..................................................................................................................................#41#
6# Performances#................................................................................................#44#
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7# Outlook#............................................................................................................#45#
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8# Appendix#.........................................................................................................#47#
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2"
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2 Introduction#
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When"I"was"14"I"joined"my"first"band."We"were"rehearsing"in"the"garbage"room"of"a"
mental"hospital.""
Our"music"was"depressive"teenage"grunge.""
We"played"one"gig."Then"we"split.""
"
Then"I"joined"my"second"band."We"were"rehearsing"in"the"garage"of"the"guitar"players’"
parents’"house.""
Our"music"was"melancholic"teenage"rock.""
We"played"one"gig."Then"we"split."""
"
In"the"following"years"I"played"in"countless"bands"and"projects"and"at"the"same"time"
was"studying"classical"guitar"in"music"school"and"later"on"at"the"University"of"Music"
and"Performing"Arts"in"Vienna."
But"only"the"conscious"decision"not"to"define"myself"as"a"member"of"a"group"but"as"an"
instrumentalist,"lead"to"the"development"of"my"craft"and"allowed"me"to"become"a"
professional"bass"player"about"10"years"after"my"first"steps"in"the"world"of"indie"music.""
All"this"time"I"have"been"observing"how"people"were"developing"their"music"and"
hopefully"contributed"my"best"to"their"projects.""
The"main"lesson"that"I"learned"is"that"we"devote"ourselves"meticulously"to"the"music"
but"very"often"neglect"all"the"other"important"parts"of"the"project"development"which"
results"in"the"fact"that"a"lot"of"great"music"never"gets"heard…"
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3"
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"
When"I"started"the"Contemporary"Performance"Master’s"Program"I"already"knew"that"
I"wanted"to"develop"a"project"with"original"music"as"my"Culminating"Experience.""
My"ultimate"goal"was"to"advance"in"my"project"to"the"point"that"I"could"immediately"
start"working"with"it"after"the"end"of"the"program.""
This"included"the"development"of"the"following"tools"and"concepts:""
Music:"Songwriting"
Demo"recording"
Artist"identity""
Artist"bio"
Press"pictures"
Logo"
Social"media"
EPK"(electronic"press"kit)"
Videos:"live"performance,"music"video"
Website"(draft)"
Live"performances"
Outlook"/"Strategy"
„Dea“"is"a"singer/songwriter"project"developed"around"bass"and"voice.""
One"of"the"challenges"I"always"had"to"face,"before"and"during"my"studies,"was"fitting"
into"my"schedule"having"time"for"my"original"music"and"projects."
I"just"love"to"play"bass"too"much"and"have"a"hard"time"saying"no"to"offers"in"order"to"
develop"my"own"music.""
Two"months"before"coming"to"Berklee"Valencia,"I"did"a"performance"singing"“Studying"
stones”"by"Ani"DiFranco,"just"with"bass"and"voice"while"participating"at"“Berklee"at"
Umbria"Jazz"Clinics”.""
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4"
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It"was"a"very"interesting"experience"and"made"me"realize"how"unusual"the"
combination"of"voice"and"bass"is,"as"opposed"to"voice"and"guitar"or"voice"and"piano.""
But"although"the"amount"of"welldsounding"chord"voicings"might"be"less"then"on"piano"
or"guitar,"the"bass"is"a"wonderful"instrument"for"accompaniment"due"to"its"rich"sound"
that"frequencydwise"never"gets"in"the"way"of"the"voice.""
After"trying"this"concept"twice"within"the"performance"forum1,"one"time"with"the"
mentioned"“Studying"stones”"by"Ani"DiFranco"and"another"time"with"my"first"original"
song"written"in"Valencia,"“Either"way”,"the"decision"was"made:"my"solo"project"was"
born"and"establishing"it"would"be"my"culminating"experience."
From"January"on,"I"had"the"benefit"of"having"a"collaborator"from"the"business"program,"
Vanessa"Barabad,"which"included"the"development"of"my"project"into"her"Culminating"
Experience."
She"contributed"in"producing"all"promotional"material"and"was"a"reliable"source"of"all"
kind"of"advises.""
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1"The"Performance"Forum"is"a"core"course"within"the"Contemporary"Performance"
program"where"students"perform"and"are"given"feedback.""
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5"
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3 Music#
3.1 Composition,#lyrics#and#arrangement#
In"my"experience,"the"initial"idea"for"a"song"most"of"the"time"stems"from"a"lyric"line.#
Parallel"to"that,"musical"improvisation"is"a"rich"source"for"melodic"ideas"and"chord"
progressions.""
Although"not"intended"from"the"very"beginning"of"the"writing"process,"these"two"
elements"were"combined"in"a"song"format.""
The"songs’"structures"follow"very"much"the"basic"principles"inherent"in"pop"music"
style:"a"verse"–"chorus"–"sequence,"where"the"chorus"should"be"stronger"than"the"verse.""
A"concise"form"with"a"dramatic"evolution"that"follows"the"story"is"given"priority"over"
experimenting"with"the"elements"of"the"style.""
Harmony"
According"to"the"singer/songwriter"style"the"chord"progressions"are"generally"
diatonic"and"in"most"cases"only"use"triads.""
Melody"
The"melodic"lines"and"motives,"as"well"as"the"harmony,"generally"stay"in"diatonic"areas."
Long"notes"usually"are"chord"tones."""
An"important"aspect"of"composing"melodies"is"that"they"have"to"accommodate"to"the"
singers’"capacities."In"my"case,"this"correlation"will"hopefully"lead"in"the"future"(with"
more"vocal"training)"to"a"wider"melodic"range.""
It"is"inherent"in"the"style"that"the"chorus"should"ideally"contain"a"clear"hook"that"is"
catchy"to"the"ears"of"the"listener.""
Lyrics"
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6"
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According"to"Pat"Pattinson2"every"(good)"song"lyric"answers"three"questions:""
Who$is$talking?$
To$whom?$
Why?"
Writing"lyrics"is,"in"my"case,"by"far"the"most"difficult"part"within"the"entire"
songwriting"process."First,"although"I"am"not"writing"a"diary"of"my"life,"it"is"something"
more"personal"than"the"music."Second,"within"very"little"space"a"story"should"be"
outlined"all"while:"
•
Being"easily"understood"
•
Leaving"room"for"imagination"
•
Avoiding"cliché"lines"and"rhymes"
•
Still"the"lines"should"rhyme…""
Not"being"a"native"speaker"is"an"additional"challenge."Regarded"from"a"positive"angle"
it"can"be"said"that"the"majority"of"my"audience"most"probably"isn’t"either."This"
correlation"hopefully"helps"in"the"way"that"the"lyrics"are"clear"enough"to"be"
understood"but"not"meaningless.""
Arrangement"
I"openly"admit"that"I"am"not"a"skilled"arranger,"especially"not"in"writing"arrangements"
without"hearing"them"at"the"same"time."Modern"music"software"is"one"way"to"solve"
that"problem,"yet"I"decided"to"take"advantage"of"the"studio"time"that"was"allotted"to"
each"student"and"made"my"arrangements"by"recording"one"track"over"another.""
Working"this"way,"the"recording"and"arranging"process"became"one.""
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2"Pat"Pattinson"held"workshops"on"the"Valencia"Campus"in"the"spring"semester."
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7"
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"
In"the"beginning"of"an"arrangement"I"record"a"pilot"version,"which"is"a"onedtrackdbass"
pattern"that"also"serves"as"“livedversion"of"last"resort”."""
"
3.2 Recording#and#Mixing#
The"recording"process"for"“Anyway”"was"very"different"than"for"the"other"three"songs.""
“Anyway”"was"recorded"throughout"one"semester,"the"other"three"songs"were"all"
recorded"in"semester"two.""
The"basic"recording"process"turned"out"to"be"the"following:"recording"the"main"bass"
line(s),"chords,"afterwards"recording"vocals"and"backing"vocals"and"finally,"recording"
additional"bass"tracks"and/or"add"electronics.""
For"three"songs,"I"left"the"mixing"process"entirely"to"the"engineer."“Steal"away”"I"mixed"
myself.""
Generally"during"this"project"the"writing,"arranging"and"production"process"merged"
into"each"other.""
Among"the"many"things"I"learned"within"the"process,"two"are"worth"being"pointed"out"
because"they"became"a"principle"in"the"working"process:""
•
Recording"each"layer"of"the"arrangement"on"a"different"track:"
As"beneficial"as"it"is"in"a"live"performance"to"be"able"to"produce"a"bass"line"and"a"chord"
or"a"chord"and"a"melody"at"the"same"time,"in"a"recording"session"the"opposite"is"
preferable."The"recorded"results"may"not"even"sound"much"different"from"each"other"
in"the"beginning,"but"the"advantage"of"recording"on"more"tracks"lie"in"the"mix."More"
tracks"give"more"opportunities;"the"bass"line"can"be"given"a"very"different"sound"or"
effect"other"than"the"chords."
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8"
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"
In"a"project"like"this,"which"is"by"default"very"limited"in"its"resources,"this"becomes"a"
“survival"kit”"in"the"jungle"of"making"simple"and"sparse"music"sound"interesting.""
•
Doubling"the"same"pattern"
According"to"sound"engineer"and"Berklee"Valencia"instructor"Chris"Wainwright"it"is"
not"very"common"to"double"bass"parts.""
Doubling"is"a"recording"technique"where"the"same"pattern"or"motiv"is"recorded"twice"
or"more"times"in"order"to"receive"a"broader"sound."This"comes"from"the"fact"that"no"
performance"can"be"exactly"the"same."The"minimal"differences"between"the"takes"can"
create"a"chorus"effect"and,"when"combined"with"panning,"produce"a"wide"stereo"image.""
Very"often"this"technique"is"used"when"recording"rock"guitars"to"create"epic"“walls"of"
sound”"or"background"vocals"to"imitate"a"choir.""
"
3.3 Live#versions#
The"general"underlining"question"is,"how"can"this"concept"be"realized"in"a"live"
situation"without"getting"repetitive"(and"monotonous).""
After"attending"a"workshop"of"David"Mash3,"who"is"performing"instrumental"music"as"
a"soloist"on"guitar"with"backing"tracks"that"he"interacts"with,"I"decided"to"include"the"
aid"of"technology"to"give"myself"more"options"in"a"live"situation.""
A"conscious"decision"was"that"additional"sounds,"whether"produced"live"on"stage"or"
played"back,"should"enhance"the"arrangement"and"effect"of"a"song,"but"not"change"the"
overall"sound"of"the"project"too"much."The"music"should"still"mainly"sound"like"bass"
and"voice,"just"more"basses"(and"maybe"more"voices).""
""""""""""""""""""""""""""""""""""""""""""""""""""""""""
3"Vice"President"for"Information"Technology"at"Berklee"College"of"Music"
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9"
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The"first"reason"is"that"this"soundscape"of"bass"and"voice"is"what"makes"the"project"
unique,"the"second"is"that"having"a"full"“band"out"of"the"box”"would"make"me"feel"like"a"
solo"entertainer."""
This"initial"plan"included"also"that"drum"beats"should"be"made"by"samples"of"my"own"
percussive"sounds"produced"on"double"bass.""
During"the"production"of"the"recording"and"live"performance"of"“Anyway”"I"realized"
that"the"possibilities"of"percussive"sounds"are"limited."It"is"easily"possible"to"get"drum"
sounds"that"are"related"to"a"“kick"drum”"sound"or"a"“snare”"sound,"but"it"is"very"
difficult"to"imitate"a"hidhat"and"impossible"to"have"a"long"sustained"sound"like"a"
cymbal.""
Experiments"trying"toneless"bowed"sounds"to"be"equivalent"to"a"shaker"or"a"snare"
played"with"brushes"proved"to"be"very"difficult"to"treat"in"the"mix"of"a"song."They"
easily"disappear"and"even"when"mixed"louder"they"don’t"contribute"much"to"the"
groove,"due"to"a"lack"of"attack"
Due"to"these"difficulties",and"thanks"to"slowly"evolving"technical"skills,"I"started"to"
program"beats"electronically."In"addition"to"a"wider"range"of"sounds,"the"electronic"
component"makes"the"music"sound"more"modern.""""
For"every"song,"a"“basic”"version"exists"that"can"be"performed"just"by"playing"one"bass"
track"singing"along."It"is"not"the"ideal"or"best"version,"but"essential"to"have"in"case"of"
technical"difficulties"on"stage,"or"possible"performing"opportunities"where"it"might"not"
be"possible"to"have"a"backing"track"or"a"loop"station."""
Generally"I"use"a"footpedal"(Keith"McMillan"Softstep,"borrowed"from"the"exceedingly"
generous"Ben"Cantil)"that"is"midi"mapped"to"control"parameters"in"the"software"
Ableton"live."These"could,"for"instance,"be"tracks"that"are"enabled"or"disabled,"loops"
that"are"recorded"or"effects"that"are"added.""
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10"
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A"very"important"issue"when"playing"with"playback"is"that"it"requires"a"continuous"
rhythmic"element"from"the"beginning"of"the"song"in"order"to"stay"perfectly"in"time.""
"
3.4 “Anyway”###
Musical"elements"
The"song"structure"is"based"on"two"different"parts,"verse"and"chorus."The"chord"
progression"of"the"verse"also"serves"as"intro,"redintro"after"the"first"chorus"and"
interlude"after"the"second"chorus.""
What"carries"the"verses"is"a"two"bar""/"VIm"–"V"/"IV""
d"IV"V" /"chord"progression"
that"is"repeated"4"times"in"2nd"and"3rd"verse"and"6"times"in"1st"verse.""
The"transition"from"verse"to"chorus"does"not"need"a"predchorus"because"the"chord"
progression"of"the"verse"has"many"elements"of"a"cadence:""
All"the"chords"play"relevant"roles"in"a"cadence:"dominant,"subdominant,"and"the"VIm"is"
a"representative"for"the"tonic."
Because"the"IV"chord"lasts"twice"as"long"as"the"other"chords,"more"harmonic"weight"is"
shifted"on"this"chord."The"following"VIm"chord,"which"is"the"beginning"of"the"next"
harmonic"cycle,"brings"the"effect"of"a"deceptive"cadence.""
After"being"repeated"6"times"(in"the"first"verse,"4"times"in"the"2nd"and"3rd"verse)"the"
cadence"is"finally"resolved"into"the"tonic,"which"is"the"first"chord"in"the"chorus."This"is"
the"main"reason"why"the"chorus"feels"stronger"than"the"verse.""
The"arrangement"supports"this"development"by"a"very"sparse"beginning"and"the"
addition"of"elements"until"the"song"reaches"the"chorus.""
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11"
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The"chorus"itself"also"is"a"subdominant"cadence:"/"I""""""IIm""/"IV" """""""""/"that"is"repeated."
At"the"end"it"seamlessly"moves"back"to"the"verse"pattern,"which"is"used"in"the"intro"
and"interludes"as"well.""
Together"the"chord"progression"and"the"arrangement"elevate"the"chorus"and"allow"the"
melody"to"stay"in"the"same"range"than"in"the"verse."
Arrangement"
From"the"point"of"view"of"the"arrangement,"the"song"contains"the"following"layers:""
Basspattern:"formed"by"roots"and"chords,"can"be"performed"at"the"same"time,"and"was"
separated"in"the"recording"process."""
Drumbeat:"“Bassdrum”,"“Snare”,"Shaker,"Bow"
Chords:"played"on"the"offbeats"
Fills:"Melody"in"intro"and"first"interlude,""
Main"vocals"
Background"vocals"
Lyrics"
The"overall"story"is"about"a"relationship"between"two"people"told"by"a"narrator"in"the"
first"person"perspective."The"lyrics"in"the"chorus"are"part"of"the"development"of"the"
story."For"this"reason"they"slightly"differ"in"every"chorus,"which"is"unusual.""
In"the"first"verse"a"moment"is"illustrated"where"the"narrator"realizes"that"he/she"has"
potential"feelings"for"the"other"person"and"in"the"first"chorus"admits"them.""
The"second"verse"describes"the"wish"to"be"together"while"the"second"chorus"expresses"
(in"real"life"nondexisting)"confidence"that"the"wish"will"be"fulfilled.""
Expectations"for"the"relationship"build"the"lyrics"of"the"third"verse"and"the"following"
chorus"again"shows"confidence"that"the"relationship"is"going"to"last.""
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12"
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"
In"the"very"last"chorus,"the"various"lines"from"the"choruses"are"mixed"together"but"do"
not"develop"the"story"any"further."
$
„Anyway“(
I$like$the$sunlight$on$your$skin$
I$like$the$mood$that$you$are$in$$
I$can$wait$a$little$while$
Just$enjoy$you$smile$
I$know$you$don’t$know$what$to$say$
And$I$don’t$want$to$give$away$
$
You’re$gonna$get$me$anyway....$$
$
Was$it$the$moon$or$the$stars$
Blame$it$on$Jupiter$or$Mars$
Who$did$mingle$with$our$hearts$
I$don’t$care$I$just$want$it$to$be$us$
$
I’m$gonna$get$you$anyway....$
$
I$know$you$come$along$with$scars$
Sometimes$you$don’t$believe$in$us$
Tomorrow$we’ll$never$know$
If$not$tonight$you$let$me$show$
$
I’m$gonna$keep$you$anyway...$
$
You’re$gonna$keep$me$anyway$
I’m$gonna$keep$you$anyway$
You’re$gonna$get$me$anyway$
I’m$gonna$get$you$anyway$
"
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13"
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Production"
The"arrangement"evolved"within"the"production"process."Following"the"schedule"of"
the"class"“Production"Concepts"for"the"Contemporary"Performer”"the"song"was"
developed"from"a"work"tape"(two"track"stereo"recording)"to"a"multitrack"demo"and"
then"rerecorded"from"scratch"in"a"professional"recording"process:"basic"tracking,"
overdubs,"rough"mix,"final"mix,"master.""
This"song"was"recorded"and"mixed"by"MTI"student"Misty"Jones.""
Live"performance"
When"played"live,"the"arrangement"of"the"song"is"a"bit"reduced"compared"to"the"
recording.""
The"bass"part"follows"the"original"solodbassdarrangement"combining"bass"line"and"
chords"for"most"parts"of"the"song.""
The"drum"beat"is"added"via"backing"track.""
The"vocal"part"is"reduced"to"the"main"vocals"and"the"backing"vocals"are"omitted.""
"
3.5 “Easy#love”#
Musical"elements"
Three"different"parts"build"the"song:"intro"(which"serves"as"interlude"at"the"same"
time),"verse"and"chorus."The"chorus"is"harmonically"a"further"developed"progression"
of"the"intro."The"intro"could"be"explained"the"other"way"around,"as"an"isolated"part"of"
the"chorus.""
The"chord"progressions"of"verse"and"chorus"and"its"predominant"use"of"the"Am"chord"
might"raise"the"question"if"the"tonic"center"in"this"song"is"in"fact"minor:"
Verse:"/"Am"""""/"C"
"
"/"D7""""""""""/"Am""""""""/"
14"
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"
Chorus:"/"F""""G"""""""""/"""Am""""""""""""""""/"""F""""""G""""/""Am""""""""/"
"
""/"F"""""G"""""""/"""Am""""G/h"""/"""C""""""""""""/"Dsus""""""Dm"""/"
When"just"played"on"the"bass,"the"D7"chord"becomes"a"D5"because"the"bass"line"is"only"
using"root"and"fifth"of"the"chord.""
If"the"arrangement"or"line"up"were"different,"the"D5"would"be"a"D7"chord"."
This"D7"with"its"f#"is"not"a"strictly"diatonic"chord"within"the"A"natural"(aeolian)"minor"
scale"but"can"be"explained"as"being"borrowed"from"A"dorian.""
Therefore,"if"Am"is"considered"the"tonic"in"this"song,"the"harmonic"analysis"would"
identify"the"chord"progression"as"A"dorian"in"the"verse"and"A"Aeolian"in"the"chorus:""
Verse"
/""Im"""""""""""""""/"bIII"""""""""""""""""""""/"IV7"""""""""""""""""""/"Im""""""""""""""""""""""/"
Chorus"
/"bVI""""""bVII"""/"""Im"""""""""""""""""""""/""bVI""""""bVII"""/"""Im"""""""""""""""""""""/"
/"bVI""""""bVII"""/"""Im""""bVII/3"""/""III""""""""""""""""""""/""""IIsus"""""IIm""""/"
The"alternative"would"be"to"identify"C"as"tonic"""
Verse"
/"VIm"""""""""/"I"""""""""""""""""/"II7"""""""""""""""/"VIm""""""""""""/"
Chorus"
/"IV"""""V"""""""/"VIm"""""""""""""""/""IV"""""V"""""/"VIm"""""""/"
/"IV"""""V""""""/""VIm""""V/3"""/""I"""""""""""""""/""IIsus4"IIm"""""""/"
Listening"to"the"song,"a"general"impression"can"be"perceived"that"the"color"of"minor"is"
more"present"than"the"color"of"major."The"Am"chord,"with"one"exception,"lasts"for"a"
whole"bar"and"is"placed"on"positions"within"the"chord"progressions"where"the"tonic"is"
expected"to"appear.""
Therefore,"the"song"is"in"minor,"with"the"Am"being"the"tonic.""
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15"
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Melody"
The"melody"spans"over"a"whole"octave,"which"is"rather"wide"in"comparison"with"the"
other"songs.""
The"verse"melody"is"one"whole"phrase"with"4"motifs"that"correspond"to"the"4"lines"of"
lyrics."The"last"motif"is"very"similar"to"the"second,"but"it"goes"down"and"ends"on"the"
root,"closing"the"whole"phrase.""
This"is"not"necessarily"a"good"way"to"prepare"for"the"chorus,"which"is"why"it"has"to"
begin"with"something"very"significant."In"this"case"the"chorus"starts"with"the"highest"
melody"note"of"the"song.""
The"effect"is"stronger"at"the"beginning"of"the"second"chorus,"where"fewer"syllables"
allow"a"reduced"rhythm"in"just"quarter"notes.""
Arrangement"
From"the"point"of"view"of"the"bass"parts,"it’s"has"the"sparsest"arrangement"of"all"songs.""
The"bass"part"of"the"verses"follows"a"pattern"that"only"uses"the"octave"and"the"fifth"
below"the"root."This"pattern"is"transposed"on"every"chord"of"the"progression.""
The"chorus"is"built"upon"a"root"–"fifth"motion"in"the"bass"and"chords"on"the"offbeats.""
The"only"thing"that"is"added"to"these"“bassic”"patterns"is"a"solo"after"the"second"chorus.""
But"the"most"significant"contribution"to"the"arrangement"is"made"by"the"background"
vocals.""
They"were"written"by"engineer"Michael"Sean"Harris"and"appear"in"the"second"verse"
and"from"then"on"add"“spices”"to"different"lines"and"sections.""
Production"
In"order"to"get"a"wider"sound,"the"song"uses"for"the"first"time"the"element"described"
previously:"doubling"the"bass"line."Apart"from"the"bigger"sound,"the"tiny"variations"on"
the"timing"that"come"from"the"overdub"give"the"groove"a"feeling"of"pumping.""
"
16"
"
"
This"can"be"heard"best"when"comparing"the"first"with"the"third"verse."The"later"sounds"
drier"and"more"direct"which"is"an"effect"that"is"usually"created"by"reducing"the"reverb"
on"the"vocals."In"fact,"in"this"track"the"sound"of"the"vocals"has"not"changed,"the"
difference"is"that"only"one"bass"line"(without"being"doubled)"is"heard"in"the"third"
verse."
Of"course"all"the"backing"vocals"are"doubled"as"well.""
This"song"also"has"a"different"sonic"image"because"its"mix"uses"flamboyant"audio"
effects:"flanger,"filter,"pitch"band"and"distortion"modulate"the"bass,"the"vocals"are"
treated"with"reverb"and"ping"pong"delay"(a"combination"of"delay"and"automised"
panning).""
These"effects"help"create"a"wide"stereo"image"out"of"a"sparse"arrangement.""
Micheal"Harris"was"using"the"software"Ableton"to"produce"this"recording.""
Lyrics"
The"lyrics"intend"to"be"an"encouragement"to"not"give"up"easily.""
Endurance"comes"from"detaching"a"goal"from"a"timeline."Therefore,"the"verses"
indicate"a"conflict"from"different"perspectives:"the"first"verse"anticipates"it,"the"second"
describes"it"as"present"and"the"third"is"a"review,"the"conflict"is"superimposed"to"the"
reality"of"the"still"existing"relationship.""
There"is"no"direct"solution"offered"to"solve"the"conflict."The"lyrics"in"the"chorus"
express"that"conflicts"are"a"part"of"meaningful"relationships"(between"people"and"in"
general)"and",in"accepting"this"fact,"you"can"still"compromise.""
"
„Easy(love“(
Who$said$that$I$was$easy$love$
Who$said$your$love$is$fair$
Sometimes$everything$gets$rough$
"
17"
"
"
Someday$we$will$get$my$share$
$
But$I$never$thought$twice$
I$know$we$will$break$the$ice$
You’re$my$heart$and$you’re$the$reason$that$I$
Dive$to$the$ground,$flying$high$is$easy,$
But$it$doesn’t$make$a$sound$
$
You$thought$you$got$it$all$in$one$
And$it’ll$always$stay$the$same$
I$wish$I$could$live$up$to$that$or$at$least$
Not$be$the$one$to$blame$
$
But$don’t$think$twice$
I$know$we$will$break$the$ice$
If$you’re$looking$for$a$reason$dive$to$the$ground$
Flying$high$is$easy,$but$it$doesn’t$make$a$sound$
$
From$within$the$circle$of$our$live$
In$the$end$is$a$straight$lines$
The$same$way$that$the$story$goes:$$
I$am$yours$and$you$are$mine$
$
So$I$never$think$twice$
I$know$we$will$break$the$ice$$
There$had$never$been$a$reason$we$just$met$on$the$ground$
Flying$high$is$easy….$$
#
#
Live"performance"
This"song"has"been"performed"live"before"and"after"the"studio"production."Contrary"to"
“Anyway”"and"“Run”"it"doesn’t"use"a"backing"track.""
"
18"
"
"
The"bass"arrangement"is"already"sparse"on"the"recording"and"essentially"can"be"
reproduced"by"one"bass"track"except"for"the"solo"in"the"interlude."What"furthermore"
would"be"beneficial"to"the"live"version"of"this"song"is"to"add"the"backing"vocals.""
At"previous"performances"this"was"achieved"through"guest"appearances"by"Jelena"
Ciric"on"vocals"and"Stephen"McHale"on"guitar."In"the"future,"it"would"be"beneficial"to"
find"a"way"to"loop"the"background"vocals"live"at"the"beginning"and"then"play"them"
back"when"they"appear"in"the"song.""
"
3.6 “Run”#
Harmony"
The"song"uses"two"diatonic"chord"progressions"in"Dmajor,""
Verse"
/"G"
"
/"A"
"
/"Bm7""
/"Bm7""
/"
/"IV"
"
/"V"
"
/"VIm" "
/"VIm" "
/"
Chorus"
/"D"
"
/"Em" "
/"D"
"
/"Bm" "
/"
/"I"
"
/"IIm" "
/"I"
"
/"IIm" "
/"
/"D"
"
/"Em" "
/"G"
A"
/"Bm" "
/""
/"I""
"
/"IIm" "
/"IV"
V"
/"VIm" "
/"
/"G"
A"
/"Bm" "
/"
/"IV"
V"
/"VIm" "
/"
/"F#m""
/"G"
"
/"A"
"
/"Bm" "
/"
/"IIIm" "
/"IV"
"
/"V"
"
/"VIm" "
/"
Interlude"
"
19"
"
"
"/"F#m""
/"G"
"
/"A"
"
/"A"
"
/"
/"III#m"
""
/"IV"
"
/"V"
"
/"V"
"
/""
"
The"harmony"of"this"song"uses"rather"typical"elements"of"diatonic"chord"progressions"
that"are"quite"widely"used"in"pop"music."The"use"of"the"7th"in"the"VIm7"chord"actually"
resulted"from"playing"a"particular"voicing"on"the"bass"where"all"notes"from"the"same"
fret"are"used.""
What"can"be"pointed"out"is"the"accelerating"harmonic"rhythm"at"the"end"of"the"chorus."
It"is"repeated"twice"and"uses"the"chord"progression"of"the"verse""
The"lyric"line,"which"is"the"message"of"the"song,"is"repeated"as"well."This"allows"a"
smooth"transition"back"to"the"verse"that"does"not"necessarily"need"an"interlude.""
The"interlude,"which"is"used"again"as"an"outro,"is"harmonically"very"similar"to"the"
verse."However,"the"parts"do"not"sound"the"same,"which"can"be"explained"by"the"
chords"that"are"used"on"different"places"of"the"4"bar"harmonic"pattern.""
Melody"
More"significant"than"the"harmony"is"the"melodic"development.""
After"8"bars,"the"melody"contains"a"jump"of"an"octave."This"“signal”d"effect"is"repeated"
4"bars"later"and"gives"the"impression"of"a"predchorus"although"the"chord"progression"
is"not"changing.""
The"top"note"from"the"verse"(that"will"remain"the"top"note"of"the"whole"song)"is"now"
the"first"note"in"the"chorus,"and"becomes"a"sort"of"anchor"of"the"whole"chorus"melody."
Apart"from"this"note,"the"phrases"share"the"movement"downwards,"but"don’t"share"a"
specific"motiv.""
"
20"
"
"
This"is"actually"nondbeneficial"to"the"chorus"that"usually"should"be"easy"to"sing"along"
with."This"is"compensated"in"the"end"by"presenting"and"repeating"the"catch"phrase"of"
the"song."
Arrangement"
The"author"considers"this"arrangement"the"most"elaborate"of"all"songs.""
The"“pilot”"bass"track"and"basis"of"the"whole"arrangement"is"a"root"/"chord"–"pattern."""
Beat:""
The"electronic"beat"comes"in"at"the"second"verse."It"adds"a"surprising"amount"of"
gravity"to"the"groove"considering"that"it"is"just"a"hit"on"beat"2"and"4.""
This"stems"from"the"combination"of"a"clap"and"bassdrum"sound,"which"would"usually"
be"expected"on"beat"1"on"3"of"the"groove.""
With"the"beginning"of"the"chorus,"the"later"mentioned"more"traditional"groove"
appears"using"more"acoustic"drum"sounds"as"well.""
Only"at"the"interlude"a"hihat"(functioning"as"hihat"but"with"the"sound"of"a"sidestick)"
appears"with"a"very"untypical"pattern,"making"it"stand"out"from"the"drum/snare"
combination.""
In"the"third"verse"this"beat"disappears"again"and"the"clapdsound"used"in"verse"2"
resumes."After"8"bars"a"kick"drum"is"added"one"16th"note"before"each"clap"but"only"
lasting"4"bars."The"remaining"4"bars"of"the"verse"are"only"carried"by"the"clap"again.""
The"third"chorus"brings"in"(finally)"a"hihat"in"straight"eighth"notes"in"addition"to"the"
kick"and"snare."This"is"very"important"to"add"drive"to"the"half"time"feel.""
In"order"to"bring"out"the"background"vocals"and"a"bass"motif,"the"hihat"cuts"out"again"
for"4"bars"in"the"outro.""
Fills"
"
21"
"
"
Another"unusual"element"in"this"song"is"the"use"of"fills."It"is"common"to"let"them"
appear"as"repeated"short"patterns"or"single"sounds."This"is"used"in"this"song"in"the"
harmonics"in"the"verses.""
In"addition"to"that,"short"bass"patterns"in"low"octaves"fill"the"first"part"of"the"
arrangement"of"the"song."That"they"do"not"conflict"with"the"underlying"roots"is"an"
accomplishment"in"the"mix"for"which"Beth"Schofield"has"to"be"credited.""
From"the"2nd"chorus"on,"rather"long"melodic"lines"are"added."Especially"in"the"outro"
these"patterns,""together"with"the"background"vocals,"help"building"up"a"huge"wall"of"
sound.""
These"lines"are"not"so"much"fills"but"ad"libitum"improvisations"that"have"been"edited"
later"on.""
Background"vocals"
In"the"outro,"the"background"vocals"consist"of"a"simple"twodnote"motif"which"is"
repeated"and"doubled."Every"4"bars"a"harmony"is"added"until"an"8"track"choir"is"
established.""
Production"
Apart"from"the"usual"recording"steps"that"I"took,"(recording"bass"pilot,"overdubbing"
vocals"and"basses)"this"song"uses"the"first"beat"that"I"programmed.""
The"actual"loop"programming"was"easy,"the"workflow"of"combining"Ableton"and"
ProTools"software"proved"to"be"the"bigger"challenge"."
What"I"finally"used"was:"putting"every"drum"sound"on"a"different"track"in"Ableton,"
rendering"it"to"a"very"long"audio"file,"importing"it"into"ProTools."slicing"up"the"loops""
again"and"making"the"final"arrangement"of"the"drum"section.""
"
"
"
22"
"
"
Live"performance""
The"performance"of"this"song"was"the"first"live"performance"ever"that"I"did"under"the"
name"of"Dea."The"occasion"was"“En"vivo:"MTI"concert”"at"the"Teatro"Martin"y"Soler"at"
the"Palau"de"las"Arts"Reina"Sofía.""
Still"perceiving"performing"as"a"soloist"as"a"(rewarding)"challenge,"I"want"to"focus"on"
playing"and"singing."Therefore,"I"soon"decided"against"recreating"the"song"with"loops.""
I"also"aimed"to"recreate"the"increase"in"the"arrangements"and"therefore"decided"to"
create"a"backing"track"in"ProTools"by"simply"muting"the"parts"in"the"session"that"I"
would"be"playing"live.""
Lyrics"
This"song"doesn’t"tell"a"story,"but"describes"how"to"deal"with"situations"beyond"your"
control.""
"
“Run”((
We’re$all$supposed$to$be$fighters$
Never$out$of$breath$
All$supposed$to$be$hunters$
Always$watch$our$backs$
$
And$we$all$believe$
We$can$make$anything$real$
But$reality$can$take$some$time$to$be$revealed,$so$we$
$
Keep$on$dreaming$
That$some$things$change$over$time$
And$for$as$long$as$there$is$nothing$else$that$could$be$done$
We$fill$our$pockets$and$run$$
Fill$our$pockets$and$run$
$
"
23"
"
"
All$supposed$to$make$choices$
If$we$want$it$or$not$
Cause$the$ones$we$leave$open$
Life$decides$for$us$
So$the$only$thing$that$we$really$get$to$choose$(is$to)$
Go$for$a$life$you$want$to$
Or$the$one$that’s$left$for$you$
And$
$
Keep$on$dreaming$
And$some$things$change$over$time$
And$for$as$long$as$there$is$nothing$else$that$could$be$done$
Fill$your$pockets$and$run$$
Fill$your$pockets$and$run$
$
Sometimes$I$am$too$tired$
To$fight$against$who$I$am$
Or$maybe$I’m$stupid$
And$make$the$same$mistakes$again$
Somewhere$in$between$of$giving$in$and$pulling$through$
I$became$my$own$island$$
Cause$what$else$can$I$do$
And$I$$
$
Keep$on$dreaming$
That$some$things$change$over$time$
And$for$as$long$as$there$is$nothing$else$that$could$be$done$
I$fill$my$pockets$and$run$$
Fill$my$pockets$and$run$
#
"
$
24"
"
"
3.7 “Steal#away”#
This"song"is"very"different"than"the"others:"first"of"all,"it"is"entirely"programmed"and"
secondly,"it"does"not"have"a"recorded"audio"bass"track.""
It"also"exists"in"two"versions:"one"with"additional"programming"and"mixed"by"Nick"
Zeigler"and"one"entirely"programmed"and"mixed"by"myself.""
The"most"remarkable"difference"between"the"two"versions"is"that"Nick"added"drums"
as"he"said"“around"the"voice”."His"choices"of"where"to"put"which"element"in"the"mix"are,"
of"course,"also"different"than"mine.""
Harmony"
Another"aspect"that"differs"in"this"song"is"that"it"was"composed"on"the"piano."As"my"
piano"skills"are"limited,"the"original"piano"version"contains"just"a"chord"(verse)"or"an"
arpeggio"in"the"right"hand,"under"which"different"bass"notes"are"played.""
Again"it"could"be"debated"if"the"song"is"in"a"minor"key"or"not:""
Verse"
/"VIm" "
/"V"
"
/"IIIm" "
/"IV"
"
/"
/"Bbm""
/"Ab" "
/"Fm" "
/"Gb" "
/"
Chorus"
/IIm" "IV"
/"VIm"""V"/""IIm"
IV""""/"VIm"""
V"""""/"
/"Ebm" "Gb"
/"Bbm""Ab/"Ebm"
Gb"/"Bbm""""Ab"""/"""
/IIm" "IV"
/"VIm"""V"/""IIm"
IV""""/"VIm"""
/"Ebm" "Gb"
/"Bbm""Ab/"Ebm"
Gb"/"Bbm""""Ab"""/"""
V"""""/"
The"first"chorus"is"2"bars"shorter.""
Melody"
"
25"
"
"
The"melody"follows"the"lyrics,"it"sounds"more"as"if"they"were"spoken."The"recurring"
opening"phrases"(“you’ll"never"know”,"“you"will"know”,"“do"you"know”)"structure"the"
verse"and"add"a"characteristic"motif"
The"second"and"most"important"motif"is"the"beginning"of"the"chorus,"a"simple"motif"
using"three"notes"and"two"whole"steps.""
Throughout"the"song,"the"melodic"course"is"stepped,"never"using"a"larger"interval"than"
a"minor"third.""
It"works"because"of"the"overall"theme"of"the"song,"which"is"very"introspective.""
Programming"(arrangement"and"production)"
As"mentioned"previously,"this"song"exists"in"two"versions."Both"use"the"same"vocal"
tracks"recorded"by"Nick"Zeigler"at"the"Scoring"Stage.""
The"original"approach"to"this"song"was"to"create"an"electronic"track"where"the"groove"
comes"from"noises"rather"than"from"drum"samples.""
This"would"match"the"lyric"ideas"and"drafts"that"I"had"before"working"on"the"music.""
The"white"noise,"therefore,"is"a"very"important"ongoing"element.""
All"sounds"are"produced"through"Ableton."Piano"bass"line"and"chords,"the"glockenspiel,"
kick"drum"and"clap"sound"from"the"second"chorus"on"are"presets."All"other"sounds"are"
self"made"and"created"by"an"oscillator"that"is"integrated"in"Ableton"live,"called"
operator:"the"“wave”dsound,"the"rhythmic"noise,"the"kick"drum"in"the"beginning"and"
all"pads."""
The"arrangement"is"rather"sparse:""
The"groove"consists"of"a"kick"drum"on"1"and"3"and"a"“hihatdnoise”"that"doubles"a"
synthdsingle"note"line."In"addition"to"that,"long"“waves”"(white"noise"modulated"with"
operator)"fill"the"spaces"and"glue"the"whole"arrangement"together.""
"
26"
"
"
The"bass"line"(roots)"is"put"into"the"piano"and"is"also"doubled"by"a"pad"created"with"
operator.""
A"layer"of"long"chords"is"on"top"of"this"together"with"a"hook"–"line"that"appears"in"the"
chorus"and"uses"a"preset"called"“glockenspiel”.""
The"background"vocals"initially"had"a"bigger"part"within"the"arrangement"but"were"
mostly"cut"out"in"the"final"mix.""
When"mixing"the"song,"the"biggest"challenge"was"to"make"the"vocals"sound"intimate"
and"clear"at"the"same"time."This"was"finally"accomplished"by"exploring"reverb"and"
equalization.""
Lyrics"
The"beginning"of"the"song"is"a"plea"for"the"listener"to"look"inside"themselves,"around"
them"and"to"find"their"own"way.""
The"3rd"verse"uses"metaphors"of"the"first"verse,"and"brings"in"a"new"aspect"as"the"
narrative"at"this"point"shifts"to"a"story"of"two"people.""
"
Steal(away((
You’ll$never$know$$
How$snow$feels$under$your$bare$feet$
You’ll$never$know$
The$silence$of$your$own$heartbeat$
You’ll$never$know$
$
Steal$away$from$a$common$path$
Steal$away$and$cover$up$your$tracks$
There$will$always$be$a$wind$that$pulls$you$back$
Steal$away$
And$you$will$know$$
Ahead$means$just$a$point$of$view$
"
27"
"
"
You$will$know$$
One$step$back$is$movement$too$$
You$will$know$$
The$taste$of$fruits$beyond$your$reach$
You$will$know$
The$source$that$feeds$you$dreams....$$
$
Steal$away$from$a$common$path$
Steal$away$and$cover$up$your$tracks$
There$will$always$be$a$wind$that$pulls$you$back$
Steal$away$
$
Do$you$know$$
You$sting$like$the$flakes$my$toes$$
Do$you$$
You$drop$like$a$heartbeat$does$$
Do$you$know$
Stories$of$all$words$unsaid$
Are$rolling$down$like$an$avalance$
$
Steal$away$
Steal$away$
Let$the$wind$cover$up$our$tracks$
Steal$away$$
With$me$
"
Live"performance"
This"song"has"never"been"played"live"so"far."The"preferred"version"would"be"to"play"it"
on"piano,"as"it"was"originally"written."The"obvious"possibility"to"play"back"the"
instrumental"track"and"sing"over"it"is"not"favored"because"it"would"create"an"
atmosphere"of"a"solo"entertainer."
"
28"
"
"
4 Artist#identity#
"
In"Brazil,"my"name"becomes"Andreia."(pronounced"“Andría”).""
“Dea”"(pronounced"“día”)"is"a"simple"abbreviation"for"Andreia"and"was"a"nickname"
that"a"roommate"and"Berklee"student"as"well,"Luiza"Sales,"came"up"with.""
In"addition"to"this,"one"of"my"professional"goals"is"not"only"to"realize"my"project"“Dea”"
and"work"with"it"in"the"future,"but"also"to"continue"being"a"sidewomen.""
For"that"it"is"beneficial"to"separate"those"work"fields"quite"consistently"because"the"
demands"of"a"sidewomen"are"very"different"than"those"of"a"solo"artist.""
If"I"am"only"identified"with"my"solo"project,"I"fear"that"people,"who"do"not"know"me,"
might"not"assume"that"I"can"be"a"professional"team"player"as"well."
Another"benefit"that"I"can"take"from"a"stage"character"is"that"it"is"easier"to"expand"my"
stage"presence"(which"has"to"be"much"more"projecting"than"as"a"sidewoman)"when"
not"being"totally"yourself."
“Dea”"is"more"extrovert,"nonchalant"and"more"confident"than"I"am,"as"well"as"a"little"
goofy.""She"can"take"liberties"when"she"wants"to.""
Her"motto"(and"my"punch"line"to"get"into"the"character)"is:"“I"can"do"a"lot"of"things,"but"
I"don’t"have"to.”""
There"is"one"more"aspect"that"I"like"about"having"a"stage"character:"in"case"this"project"
does"well"and"I"can"work"a"lot"with"it,"it"allows"me"to"keep"a"private"persona.""
In"a"nutshell"this"is"what"the"“Dea”"is"and"what"should"be"conveyed"by"all"outputs:""
Musical"identity"
Intimate,"soft,"with"a"slice"of"melancholy,"friendship,"joy,"surprise,"trust,"confusion"and"
togetherness"
"
29"
"
"
Style/"Genre"
Singer/songwriter,"indie,"electronic"
Unfortunately"all"these"genre"denominations"still"do"not"say"anything"about"the"music"
itself."As"the"overall"sound"of"“Dea”"is"what"makes"it"unique,"“bassic"songs”"could"serve"
as"an"individual"description"of"the"style.""
Musical"influences"
Ani"DiFranco,"Suzanne"Vega,"Tracy"Chapman,"Jazz"
Vocal"style"and"timbre"
Intimate,"sometimes"edgy,"sometimes"soft,"and"breakable"
Instrumental"style"
Bass"and"beats"
Lyrical"identity"
The"intention"in"my"songs"is"to"develop"a"story"within"the"course"of"a"song.""
The"general"theme"is"“relationships”,"which"can"be"between"two"persons"or"also"of"the"
narrator"with"him/herself.""
In"most"cases"the"stories"are"consciously"written"in"first"person"perspective"because"it"
allows"the"listener"to"connect"more"easily.""
If"possible"I’d"like"to"include"a"positive"outlook"or"aspect"even"in"rather"sad"stories.""
All"in"all:"I"would"like"to"write"songs"that"people"request"on"the"radio"to"dedicate"to"
other"people."
"
"
"
30"
"
"
5 Promotion#material#
"
When"developing"the"promotional"material,"the"most"important"aspect"was"to"keep"it"
consistent."For"this"reason,"the"same"locations"and"outfits"were"used"at"different"times"
for"different"media"in"order"to"form"a"visual"identity.""
"
5.1 Pictures#
The"initial"idea"for"the"press"picture"was"to"tell"a"story"“My"bass"&"me”.""
Day"to"day"situations,"for"instance:"the"bass"on"the"next"seat"on"the"bus,"the"bass"at"a"
table"having"breakfast,"should"be"staged.""
The"expected"result"would"be"pictures"that"express"more"dynamism"than"the"usual"
rather"static"close"up."""
In"reality"they"were"difficult"to"realize,"as"it"requires"many"skills"and"technical"
equipment"to"obtain"professionally"looking"pictures"in"outdoor"settings.""
This"idea"did"not"consider"is"press"pictures"are"often"used"in"small"sizes."Therefore,"
the"motif"still"must"be"recognizable."All"people"that"were"involved"in"taking"the"
pictures"came"to"the"conclusion"that"we"would"need"close"up"shots"as"well.""
Some"of"the"pictures"have"been"colordedited,"which"give"them"a"more"artistic"
expression."The"ones"who"have"not"been"edited"should"on"purpose"convey"a"more"
natural"ambiance.""
In"order"to"aim"for"consistency,"we"already"took"pictures"that"could"serve"as"
background"for"CD"inlays"or"websites."They"show"spacious"environments,"that"leave"
room"for"a"possible"inserted"text"on"the"same"locations"where"the"close"ups"were"
"
31"
"
"
taken."On"some"of"them"the"artist"appears"in"small"size"in"the"background,"on"some"
she"doesn’t"appear"at"all.""
Please"see"the"appendix"–"section"of"this"document"for"the"resulting"pictures.""
"
5.2 Social#Media#
The"following"accounts"are"set"up:""
•
Facebook:"www.facebook.com/soundsofdea"
•
Twitter:"www.twitter.com/soundsofdea"(not"yet"in"use)"
•
Instragram:"www.instagram.com/soundsofdea"(not"yet"in"use)""
•
Soundcloud:"www.soundcloud.com/soundsofdea"
•
Youtobe"chanel:"www.youtube.com/soundsofdea"(only"in"use"for"not"listed"
videos)""
•
http://site.douban.com/soundsofdea"
It"proved"to"be"very"difficult"to"set"up"social"media"sites"with"the"name"of"“Dea”."
Google"and"facebook"require"a"name"and"surname"at"the"registration"and"on"Twitter"
“Dea”"was"already"taken.""
In"order"to"secure"a"uniform"appearance"–"after"long"hours"of"brainstorming"–"
“soundsofdea”"was"chosen"as"domain"name"in"all"media"on"the"Internet.""
"
5.3 Artist#bio#
Vanessa"Barabad"wrote"this"wonderful"artist"bio:""
"
"
32"
"
"
Dea$is$an$eclectic$indie$singer/songwriter$and$bassist$from$Vienna,$Austria.$With$
a$natural$groove,$her$music$is$best$described$as$intimate,$soft,$tense$but$hopeful$
as$reflected$in$her$songs$„Run“$and$„Anyway“.$The$sound$of$her$voice$can$swoon$
you$like$a$lullaby$but$her$lyrics$pleasantly$surprise$you$with$their$wit$and$edge.$
You$may$even$be$caught$in$a$job$or$two.$$
Dea’s$musical$journey$included$many$crossroads$and$turnarounds$until$the$bass$
finally$found$her$and$became$the$foundation$of$her$entire$world.$$
Dea$thrives$on$influences$from$energetic$rock$and$funk$such$as$the$Red$Hot$Chilli$
Peppers,$reflective$inspiration$from$her$favourite$singer/songwriter$Ani$DiFranco$
and$the$melancholy$muse$of$Samuel$Barbers$Adagio$for$Strings.$$
Keep$an$eye$out$for$Dea’s$EP$to$be$released$in$the$summer$of$2014!$$
"
5.4 #Electronic#press#kit#
This"tool"should"introduce"my"music,"give"a"bit"background"information"and"is"an"
important"tool"to"convey"the"artist"identity.""
The"vision"was"to"have"a"miniddocumentary"instead"of"an"interview.""
It"consists"of"three"elements:"
•
“Q"&"A”"
A"“question"and"answer”"section"with"short"topics,"“factual"questions”.""
The"answers"must"be"phrased"in"a"way"that"the"questions"are"understood"just"by"
listening"to"the"answer.""
•
Conversation"about"music"
This"element"should"create"ambiance"and"a"relationship"with"the"audience"/"fans"
before"it"comes"to"selling"a"product.""
It"should"take"place"outside"at"one"of"the"locations"used"for"the"press"pictures,"and"is"
designated"in"the"storyboard"as"“graffiti"wall”.""
"
33"
"
"
The"idea"was"that"Vanessa"and"I"just"walk"along"the"wall"talking"about"music"in"
general,"as"two"friends"rather"than"artist"and"journalist.""
•
Videoclips"from"live"–"performances"
They"should"be"included"in"the"presskit"to"demonstrate"how"this"project"is"performed"
live"and"show"the"major"performances"that"have"already"happened.""
•
Bloopers"/"Outtakes"
Humor"and"a"look"behind"the"scenes"are"both"elements"to"strengthen"the"relationship"
between"the"artist"and"the"audience"or"fans.""
The"following"page"shows"the"original"storyboard:""
"
"
"
34"
!
!
DEA$–$EPK$–$STORYBOARD$
Number!
Music!
Scene!
Questions!
1!
!
Stephen!Webber!announcing!
!
“Dea”!at!MTI!concert!
2!
Anyway!–!from!Intro!
Impressions$1!–!landscapes!
until!end!of!first!chorus!
around!the!filming!areas!of!the!
!
fotoshoots!
3!
Anyway!
Vanessa!and!I!walking!along!the! !
graffiti!wall!!
4!
!
Graffiti$wall:!interview!
Why!are!you!making!music?!
How!would!you!describe!your!music?!
5!
!
Studio:$Q!&!A!!
Where!are!you!from?!
(something!funny!or!silly!in!the!
What!was!your!first!interaction!with!music?!
end…)!!
What!is!your!primary!instrument?!
(What!instruments!do!you!play?)!
(How!did!you!get!your!name)!
6!
Run!
Live$performance!at!MTI!
concert,!last!chorus!&!outro!
!
!
!
!
8!
!
Graffiti$wall$
What’s!your!writing!process?!
If!your!music!would!be!the!offspring!of!other!
artists,!who!would!it!be?!
Who!do!you!want!to!listen!to!your!music?!
9!
!
Studio:$Q$&$A$$
What!are!your!current!projects?!
Where!can!I!find!your!music?!
What!are!your!hidden!talents?!!
(10!
?!
Blooper!outside:!silliness?)!
!
11!
Steal!away…!gradually!
Graffiti$wall:$interview$
What!are!your!biggest!fears?!Why?!
Impressions!2:!Vanessa!and!I!
!
fade!in!
12!
Steal!away!
walking!and!talking,!moving!
into!shots!from!the!
environment!
13!
!
Insert:!www.soundsofdea.com!
!
14!
!
Epilogue:!Vanessa!and!I!at!the!
!
pools!of!Berklee,!talking!about!
jumping!in,!last!sentence:!“Turn!
off!the!camera.”!!
An!alternative!to!the!“Impression”!section!sections!could!be!the!addition!of!open!source!footage.!
!
36!
!
!
The!realization!of!this!plan!was!unsurprisingly!more!difficult!than!expected.!!
The!sequence!at!the!graffiti!wall!had!to!be!changed!very!early!on,!because!it!would!
have!needed!more!personal!and!technical!resources!(for!instance!a!boom!mic).!!
As!a!compromise!we!did!an!interview!sequence!at!the!graffiti!wall!as!well!that!could!
be!realized!using!the!same!microphone!than!in!the!studio!sequence.!!
All!shootings!were!done!by!Vanessa!Barabad!and!myself!and!they!challenged!us!in!
many!ways:!!
On!the!technical!side!we!were!learning!by!doing!to!handle!camera,!microphone!and!
lightening.!In!addition!to!that!it!was!very!difficult!for!me!to!give!concise,!spontaneous!
and!at!the!same!time!funny!answers.!!!
!
5.5 #Music#video#
Another!tool!to!promote!music!clearly!is!via!video.!!
Video!is!also!the!most!likely!medium!to!be!spread!virally.!
•
Beach!
Aalap!Deboor!from!the!business!program!shot!a!video!as!homework!for!his!video!
production!class,!which!shows!Dea!singing!and!playing!while!sitting!down!on!the!beach.!It!
is!filmed!from!one!steady!camera!position,!which!was!the!homework!requirement.!This!
unfortunately!makes!the!video!too!static.!!
It!also!feels!very!cliché!to!have!me!sing!the!song!facing!the!camera.!Therefore,!it!is!nice!to!
have!it,!was!fun!to!make!it,!but!I!won’t!publicly!release!this!video.!!
•
Storyboard!
A!proper!music!video!storyboard!that!was!developed!by!Vanessa!Barabad:!!
!
!
37!
!
!
!!
TRANSITION!1!P!Fade!in!from!black.!!!
VERSE!1!
SCENE!1!
I!like!the!sunlight!on!your!skin!
Silhouette/back!lit!of!woman's!face!at!the!
beach.!!Woman!staring!into!distance.!!Panning!
woman's!face!until!it!is!visible.!!!
I!like!the!mood!that!you!are!in!!
Woman!staring!into!distance.!!Panning!woman's!
face!until!it!is!visible.!!!
I!can!wait!a!little!while!
She!grins.!!
Just!enjoy!you!smile!!
Grin!turns!into!playful!smile.!!!
I!know!you!don’t!know!what!to!say!
She!looks!down!and!plays!with!the!sand!with!her!
feet.!!!
And!I!don’t!want!to!give!away!
plays!with!the!sand!with!her!feet.!!!
You’re!gonna!get!me!anyway....!
she!walks!off!away!from!the!camera.!!!!
!!
!!
!!
TRANSITION!2!–!Zoom!quickly!away!from!girl!
walking!to!a!rotating!globe.!!Transition!to!
cartoon/pencil!drawing!of!globe.!
VERSE!2!
SCENE!2!–!Stick!figure!drawings.!
Was!it!the!moon!or!the!stars!
Moon!rises!on!side!of!the!globe.!!Sun!rises!on!the!
other!side!of!the!globe.!!Frame!pans!down!so!the!
moon,!sun!and!globe!disappear.!!Stick!figures!
appear!walking.!
Blame!it!on!Jupiter!or!Mars!
Stick!figure!boy!and!stick!figure!girl!are!walking!
but!looking!at!their!cell!phones.!
Who!did!mingle!with!our!hearts!
The!sticks!bump!into!each!other!and!drop!their!
phones.!!Zoom!in!comic!strip!and!both!say!“sorry,!
excuse!me”!and!they!both!smile.!!
I!don’t!care!I!just!want!it!to!be!us!
They!retrieve!their!phones,!stand!up,!zoom!out!to!
bigger!picture,!and!walk!away!looking!at!each!
other.!
I’m!gonna!get!you!anyway....!
Zoom!in!to!split!screen!and!both!sticks!say!“crap,!I!
have!his/her!phone!!”!!
!
38!
!
!
!!
!!
!!
TRANSITION!3!P!Frame!pans!UP!so!the!moon,!sun!
and!globe!appear.!!Moon!sets!on!side!of!the!
globe.!!Sun!sets!on!the!other!side!of!the!pencil!
globe.!!Globe!rotates!and!turns!into!a!realPish!
globe.!!Zoom!in!quickly!to!the!girl!walking!on!the!
beach!but!with!a!man.!
VERSE!3!
SCENE!3!–!Couple!walking!along!beach.!!Intimate!
embraces!and!eye!gazing.!
I!know!you!come!along!with!scars!
Finger!tracing!the!guy’s!skin!(visible!scar!would!be!
cool).!
Sometimes!you!don’t!believe!in!us!
Man!sits!while!woman!stands!embracing.!!Woman!
pets!his!head!and!kisses!his!head.!!
Tomorrow!we’ll!never!know!
Big!smiles!and!more!eye!gazing!
If!not!tonight!you!let!me!show!
Sunset!between!couple!with!backlit!silhouette.!
I’m!gonna!keep!you!anyway...!
Foreheads!touching.!
!!
Fade!out!into!white.!
!
•
Storyboard!revisted!
ANDREA!VERSE!3!
SCENE!3!–!Two!people!
sightseeing!with!camera!
I!know!you!come!along!with!scars!
two!people!visiting!a!site!
Sometimes!you!don’t!believe!in!us!
!taking!pictures!of!the!location,!of!
each!other!
Tomorrow!we’ll!never!know!
doing!funny!poses!
If!not!tonight!you!let!me!show!
maybe!a!kiss!on!a!cheek…!!
I’m!gonna!keep!you!anyway...!
!
!!
Fade!out!into!white.!
!
This!would!be!my!ideal!music!video,!unfortunately!the!production!turned!out!to!be!
too!complex!to!be!organized!within!the!given!time.!!
!
39!
!
!
•
SelfPmade!alternative!
Following!the!examples!of!the!videos!to!the!songs!“Happy”!by!Pharell!Williams!and!
“Video!Games”!by!Lana!del!Rey,!an!alternative!idea!for!a!music!video!is!to!make!a!
collage!of!atmospheric!shots!from!Valencia.!Ideally!it!shows!people!wearing!a!TPShirt!
with!“Dea”!–!Logo!on!it!singing!along!the!chorus.!!
This!as!well!could!not!be!realized!yet!due!to!scheduling!issues.!!
!
5.6 Videos#from#live#performances#
I!was!lucky!to!capture!video!material!from!various!performances,!but!it!proved!to!be!
more!difficult!to!not!only!make!it!look!good,!but!also!make!it!sound!good.!!
!
5.7 Logo#
After!some!trials!I!decided!to!commission!a!professional!graphic!designer!to!develop!a!
logo.!!
!
40!
!
!
!
!
In!previous!drafts!a!bass!key!replaced!the!letter!d!but!it!made!the!name!unreadable.!!
In!order!to!create!a!unique!symbol!and!have!a!clear!image!of!the!name,!the!two!points!
are!being!kept!in!the!logo.!They!create!a!starting!point,!and!together!with!the!curve!of!
the!letter!d,!they!form!a!bass!key.!!
The!background!color!will!be!determined!by!the!color!palette!of!the!homepage!and!
most!likely!be!in!warm!red!tones.!!
!
5.8 Homepage#
www.soundsofdea.com!!
The!homepage!should!be!flexible!and!easy!to!maintain!but!have!a!unique!design.!!
According!to!the!graphic!designer!both!the!logo!and!the!webpage!should!be!modern,!
simple!and!reduced!–!the!same!way!the!music!is.!!
!
41!
!
!
The!front!page!should!convey!an!atmosphere!before!the!information!is!transmitted.!It!
shows!the!logo!and!the!main!menu!of!the!page.!!
The!background!is!a!crop!of!one!of!the!press!pics!but!with!very!blurry!aspect,!as!if!it!
were!behind!a!translucent!glass.!!
!
!
A!draft!of!the!artist!bio!section:!!
!
42!
!
!
!
!
!
!
!
43!
!
!
6 Performances#
15.!4.!MTI!–!Concert:!Performance!of,!“Run”,!Palau!de!las!Arts,!Teatro!Martini!y!Soler!
14.!6.!Café!Mercedes!
20.!6.!“Un!lago!de!conciertos”,!Ciudad!de!las!Artes!y!las!Siencias!Príncipe!Felipe!
21.!6.!TedX!Berklee!Valencia:!Performance!of!“Anyway”,!Palau!de!las!Arts,!Aula!
Magistral!
27.!6.!Mercado!de!Tapinería,!Valencia!
6.!7.!Opening!for!Andjela!Stevanovic,!Radio!City!
12.!7.!Graduation!concert,!Performance!of!“Run”,!Palau!de!las!Arts,!Teatro!Martini!y!
Soler!
!
These!performances!were!extremely!important!for!me!in!order!to!create!actual!live!
versions!of!the!songs!as!well!as!getting!experience!as!the!front!person.!!
!
!
!
44!
!
!
7 Outlook#
Collaborations!
I!feel!privileged!that!the!following!people!agreed!to!collaborate!in!the!future:!!
•
Marcin!Suder,!“Between!music”:!!promotion!and/or!publishing!!
•
Vanessa!Barabad,!Berklee!Valencia,!GEMB!Graduate!2014:!Artist!Management!
US,!help!digitally!promote!my!music!
•
Yu!Lu,!Berklee!Valencia,!CP!Graduate!2014:!Artist!Management!China:!social!
media!China!
•
Austria!
From!my!previous!projects!I!have!an!overview!of!the!music!business!in!Austria!and!
have!some!personal!contacts.!In!order!to!communicate!the!existence!of!“Dea”!and!get!
noticed,!I!will!be!contacting!opinion!leaders!of!the!music!business!and!media!in!the!
following!way:!!
•
Send!out!ordinary!tourist!post!cards!with!greetings!from!Valencia,!signed!by!
Dea!with!no!other!hint!what!this!is!about.!!“Greetings!from!Valencia,!I’m!happy!
to!be!back!in!fall,!Dea.”!(Have!to!be!addressed!to!a!certain!person)!maybe!a!
music!note!or!a!logo!
•
Send!another!postcard,!if!possible,!branded,!and!providing!a!link.!!
•
Send!an!email!with!press!kit!
The!ultimate!goal!will!be!to!expand!my!business!team!and!find!a!label!or!an!agency.!!
There!are!two!calls!for!applying!for!funding!for!an!album!production!in!which!I!will!
participate,!one!in!September!and!one!in!November.!!
A!possible!release!of!an!album!would!be!2014.!!
!
45!
!
!
International!!
The!first!thing!to!do!is!to!research!for!companies!and!agencies.!!
Depending!on!the!results!a!similar!strategy!would!be!used!or!not.!!
Releasing!my!music:!Soundcloud!!
In!order!to!introduce!my!music!to!the!public!and!at!the!same!time!to!have!the!
possibility!to!sell!the!songs!on!an!album!later!on,!only!one!song!will!be!available!on!
Soundcloud!at!a!time.!!
The!song!will!change!every!4!to!6!weeks.!!
Looking!into!the!future,!it!means!that!already!fall!new!material!has!to!be!recorded.!!
!
!
!
!
46!
!
!
8 Appendix#
!
Charts!
Pictures!
Artist!bio!jpg!!
!
!
!
!
47!
!
!
Anyway
Main vox
Intro
Andrea Fraenzel
Verse
##
& # ## 44
G©‹ F©
∑
E
∑
G©‹ F©
E
∑
G©‹
∑
F©
E
‰ j
Œ Ó
œœ œ œ œ œ œ œ
I like the sun - light on your skin
# ##
& # # ‰ œj œ œ œ œ œ œ ˙
7
G©‹
F©
E
G©‹
Ó
# ##
& # # ‰ œj œ
˙
œ œ œ
G©‹
F©
E
and I can wait a lit - tle while
G©‹
Ó
¿
and I don't want to give a - way
but
##
& # ## ‰ œj œ
˙
œ œ œœ œ
E
Ó
you gon - na get me a - ny way
B
œ œ ˙
Ó
C©‹
Œ
B
C©‹
E
‰ j
œ œ œ œ œœ œ ˙
Ó
you're gon - na get me a - ny way
B
C©‹
E
‰ j
œ œ œ œ œœ œ ˙
Ó
you're gon - na get me a - ny way
Reintro
##
& # ## ‰ œj
œ œ œ œœ œ ˙
23
œ
Chorus
F©
E
#### G©‹
& # ‰ œj œ œ œ œ œ œ ˙
C©‹
E
I know you don't know what to say
15
B
F©
‰ j
œ œ œ œ
and just en - joy your smile
19
E
‰ j
Œ Œ Œ
œ œ œ œ œœ œ œ
I like the mood that you are in
11
F©
E
Ó
G©‹
F©
∑
E
∑
G©‹
F©
E
∑
∑
you're gon - na get me a - ny way
Verse 2
F©
E
# ## G©‹
& # # ‰ œj œ œ œ œ œ ˙
29
G©‹
Ó
Was it the moon or the stars
# ##
&# #Œ
33
G©‹
F©
E
œ œ œ œ œ œ ˙
Ó
who did min - gle with our hearts
I'm gon - na get you a - ny - way
E
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blame it on Ju - pi - ter and Mars
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I'm gon - na get you a - ny - way
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V.S.
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2
Main vox
#### ‰ j
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45
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you're gon - na get me a - ny - way.
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Easy Love
Intro
Verse 1
F
G A‹
& 44 Ó Ó
F
Andrea Fraenzel
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Who said that I was ea - sy love
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Some - times e vrything gets rough
who said your love
is fair
A‹
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some day we will get our share.
Chorus
12
F
G
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F
But I ne ver
- thought twice
A‹
17
G
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I know we will break the ice
C
You're my heart and you're the rea
D(“4)
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& œ œ ‰ œj œ œ ™ œ œ œ Œ œ œ œ œ œ œ Œ Ó
- son
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Verse 2
21
&
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You thought you got it
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in one
and it'll al - ways stay the same.
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D
I wish I could live up to that
31
A‹
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A‹
or at least not be the one to blame
G
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36
I know we will break the ice
C
D(“4)
A‹
G/B
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If you're look - ing for a rea - son di - ve to the
Interlude / Solo
Œ Ó
& œŒ œ œ œ
œ œ œ
D
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ground fly - ing high is ea - sy
42
But don't think
G
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twice
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The same way that the sto - ry goes
D
I am
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yours and you are mine.
So ne - ver think
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2
52
A‹
57
C
F
G
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I know we will break the ice
& œ
ground
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Run
Andrea Fraenzel
Intro
#4
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All sup - posed to be
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hun - ters
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and
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a - al - ways watch our backs
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we can ma - ake
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a - ny - thing real
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13
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that some - things change o - ver time
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long as there is no -
thing
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33
fill our po - ckets and run
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37
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if we want it or not
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fill our po - ckets and run
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cause the ones we leave o G
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So the on - ly
thing
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Copyright © Andrea Fraenzel
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2
#
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45
∑ Œ ™ œj œ
Œ
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that could be done I
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some things change o - ver
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can I do
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or may - be I'm stu -
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86
time
that could be done
Interlude
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82
else
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Verse 3
A
B‹
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78
that some - things change o - ver
E‹
fill your po - ckets and run
fight a - gainst who I am
74
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Some - times I'm too ti -
#
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70
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fill your po - ckets and run
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A
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63
or the o - ne that left for you
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go for a life youwant to
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50
54
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keep on
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fill my po - ckets and run
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fill my po - ckets and run
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2
52
A‹
57
C
F
G
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F
G
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I know we will break the ice
& œ
ground
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fly - ing
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Steal Away
Andrea Fraenzel
Intro
B¨‹
bb4
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∑
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∑
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9
Verse 1
know
12
how snow feels un - der your bare feet
G¨
bb
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own heart -
beat
you'll ne - verknow
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know
18
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sto - ries told by words un - said
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path steal a - way
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Steal a - way
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22
26
you'll ne - ver
Chorus
the com - fort that a blank sheet ha - s
com - mon
the si - lence of your
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& b b b œ ‰ ™ œr œ œ œ œ œ
15
you'll ne - verknow
≈ œ œ œ œ ‰ ™ œr œ œ œ œ
Verse 2
B¨‹
And you willknow
F‹
a - head is just a
G¨
bb
&b b b œ œ œ œ Œ ‰ œ œ œ Œ œ œ œ œ œ œ œ œ Œ ‰ œ œ
point of
29
B¨‹
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know
32
view
you willknow
one step back is move ment too
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A¨
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you will
F‹
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the taste of fruits be - yond your re - ach
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is what feeds you
Chorus
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se - cret dre - ams Steal a - way
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from a com mon path
steal a - way
G¨
Œ œ œ
co - ver
Copyright © Andrea Fraenzel
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2
36
B¨‹
A¨
E¨‹
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B¨‹
A¨
B¨‹
bb
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41
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do youknow
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b b F‹ Œ Œ
b
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& bœ
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b
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way
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let the
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wind
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the un - told sto - ries in my head
Chorus
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do youknow you drop like a
r
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49
57
∑
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heart - beat do - es
54
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F‹
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46
A¨
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steal a -
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