Episodios

  • #058 Kitchen Mischief by John Bartmann

    #058 Kitchen Mischief by John Bartmann
    May 27 2020

    The piece of music in this week's episode is called Kitchen Mischief. It’s a funny, suspenseful and quirky children’s comedy soundtrack which is suitable for depictions of naughty, adventurous fun and even low-level danger. It uses a combination of pizzicato string plucks, organ, bass clarinet, English horn and percussion to convey a sense of mischief, fun and childishness.

    IN THIS EPISODE

    For this piece, I had a strong image of children trying to steal some cookies.

    01:36 Two sounds are instrumental in conveying naughtiness and fun: the violin pizzicato and the bass clarinet. Perhaps the pizzicato sounds a little like tiptoeing. The vibraslap conveys a little bit of quirkiness. It sounds so much like a rattlesnake that it can also be used to convey danger. These well-established tropes are quickly able to place the listener and instruct their mood.

    03:35 For this piece, I had a strong image of children trying to steal some cookies. I wanted to create the sense that our characters are taking a few steps, and then pausing and listening for danger (in the form of a lurking mom!). I used a 5-bar cycle. Four steps, then a pause, four steps then a pause.

    04:18 The triangle and hi-hats are really soft, but really sets the rhythm and almost reminds the listener of a lookout character who rings the bell when it’s unsafe.

    05:09 The A-part is more staccato, while the B-part is more legato. Having a second part creates forward motion in the music. Making it legato conveys the sense that the cookie adventure is progressing smoothly, and that we’re on the right track.

    06:07 The piece has some interesting harmony. Both passages move between a diminished or tritone interval, which is the most un-harmonious interval in the Western music canon. It always creates a sense that something is a little offbeat or even menacing. The piece uses this strangeness to create suspense, a lingering sense tension that is only finally resolved in the closing chords.

    DOWNLOAD & USE THIS MUSIC

    • Download ‘Kitchen Mischief’ by John Bartmann https://gum.co/maVAU
    • Search music by John Bartmann https://johnbartmann.com/music

    SOUNDS & DEVICES USED

    • Native Instruments Symphony Essentials
    • Native Instruments Battery 3
    • Pianoteq 4

    SUBSCRIBE

    • Subscribe to How I Make Music https://pod.link/1460793686

    CONTACT

    • https://twitter.com/johnisthemusic
    • https://johnbartmann.com/contact

    ABOUT THIS SHOW

    How I Make Music is where behind-the-scenes musicians tell their own stories. Every Wednesday, we break apart a song, soundtrack or composition and investigate the insights into how it was made.

    Host an episode of this podcast https://bit.ly/howimakemusic
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    12 m
  • #057 Afro-Sax Freakout by John Bartmann

    #057 Afro-Sax Freakout by John Bartmann
    May 20 2020
    The piece of music in this week's episode is called Afro-Sax Freakout. It’s an upbeat, exciting Afrobeat track which is suitable for depictions of action, exotic locations and energetic activity. It uses a combination of tenor saxophone, overdriven keyboards, funk-influenced electric guitar and high-energy drumming in the style of Tony Allen to convey a sense of freedom and excitement. Let’s break it down! IN THIS EPISODE How is this Afrobeat? 01:19 Instrument: Drum rhythm The drum kit and the saxophone own the sound of Afrobeat, a powerful dance music genre pioneered by Nigerian artists such as Fela Kuti and Tony Allen in the 1970s and today played by bands like Vampire Weekend. This piece uses a typical Afrobeat double snare hit, cowbell and a 140BPM tempo. The reference track for this composition was Secret Agent by Tony Allen, who was originally the drummer for Fela Kuti before branching out on his own after Fela’s death in 1997. Tony Allen himself died just 3 weeks before this podcast was released. 04:02 Instrument: Saxophone Nothing quite like a sax to get the room moving. Afrobeat leans towards jazz music by allowing sax players to improvise over a core dance groove. Recordings can sometimes go on for 20 minutes! The sax in this piece was recorded by Duncan Johnson, a familiar face on the Cape Town jazz circuit. Some of his licks are “way out”, and really pay tribute to how free an afrobeat solo can be. 05:51 Instrument: Funk guitar and overdriven keyboard I tried to capture a certain keyboard sound by making it sound like it had been played through an overdriven guitar amp. The funk guitar uses the wah pedal of my Boss GT-6. There’s a plucky guitar solo later in the track that also captures the extreme rhythmic staccato which is used in this type of music. 07:14 Method: Repetition with variation The track is a riff-based piece which doesn’t have a B-part. In groove music, repetition is your friend. But you need to create variation. I do so in this piece by allowing the various instruments to all take a round of solos each, and by creating unusual moments for parts to begin and end. 09:03 Method: ‘Backbreaker’ interlude Long sections of soundtrack music can’t be too repetitive. Music editors often just duplicate a length of background sound to fill the dialogue time, but it’s horrible on the ears on anyone actually listening to the music in the background! Break long, repetitive compositions in two by including a few bars of filler time. It can be a drum solo, a jazz lick or anything that causes the rhythm to be momentarily suspended before resuming. 11:04 Method: ‘Wrong’ notes Afrobeat is rooted in jazz, which has a more open and inclusive view of chromaticism than Western classical music. There’s a clear ‘wrong’ note in Fela Kuti’s ‘Water Get No Enemy’, which sounds fantastic, bold and subversive. I particularly like the way some of the guitar and sax licks in this piece use the ‘wrong’ notes. That’s jazz! DOWNLOAD & USE THIS MUSIC Download ‘Afro-Sax Freakout’ by John Bartmann https://gum.co/MxRHUSearch music by John Bartmann https://johnbartmann.com/music SHOW NOTES Additional music: Tony Allen - ‘Secret Agent’, Fela Kuti - ‘Water No Get Enemy’, Vampire Weekend ‘Mansard Roof’Saxophonist Duncan Johnson http://www.duncan-johnson.com/about-duncan/Sign up for the monthly mailout and receive new production music albums. This month: 90s Sitcom TV themes! https://johnbartmann.com/ SOUNDS & DEVICES USED Native Instruments Studio Drummer Native Instruments Session Hornstenor saxophone, electric guitar, electric bass SUBSCRIBE SpotifyApple PodcastsYouTubeRSS StitcherTuneInHome MY BANDS! Pravda https://pravdaofficial.comPebble Shakers https://pebbleshakers.co.za CONTACT https://twitter.com/johnisthemusichttps://johnbartmann.com/contact ABOUT THIS SHOW How I Make Music is where behind-the-scenes musicians tell their own stories. Every Wednesday, we break apart a song, soundtrack or composition and investigate the insights into how it was made. Host an episode of this podcast https://bit.ly/howimakemusic
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    18 m
  • #056 Spirit Of Java by John Bartmann

    #056 Spirit Of Java by John Bartmann
    May 13 2020
    The piece of music in this week's episode is called Spirit Of Java. It’s a slow and grooving psybient piece which is suitable for depictions of psychedelia and Burning Man scenarios. It uses a combination of flute sounds, a trap-influenced electronic beat and epic percussion instruments to convey a sense of both spectacle and spiritualism. Let’s break it down and explore the sound of jungle hedonism. IN THIS EPISODE I wrote Spirit Of Java as a way of channeling a few seemingly separate influences. On the one hand, I wanted to explore the power of woodwind instruments in conveying spiritualism. By using a trap-influenced beat, I offer a modernized take on the well-established “psybient” (psy + ambient) genre. Also included are clearly recognizable tropes from the genre such as gamelan bells, jungle ambiance, reversed samples, drone layers and a comfortably slow tempo. How does it convey spiritualism? 02:38 Instrument: Flutes Flute sounds have long been musical bedfellows with depictions of spiritualism. The Hindu god Krishna is often depicted with a flute. In storytelling, exotic flute sounds are a type of regional riff, instantly placing the listener in a certain part of the world, especially in Native American, Indian or Asian mysticism. I used two flutes, one a software instrument and another one which was a gift my wife brought back from Bali. It looks beautiful but is probably more of an ornament than an instrument. Some pitch correction was required! 04:17 Instrument: Drone strings The sitar emulation in this song plucks along to a simple harmonium drone accompaniment. In soundtrack music, making drone sounds using string instruments is a quick and common way to convey Eastern mysticism. I layered these two uniquely Indian instruments with some good old open-string acoustic guitar parts to accentuate the drone effect. 05:52 Instrument: Hare Krishna cymbals and percussion The devotional music of Hare Krishna is quite easily recognizable. Group singing is accompanied by finger cymbals. I used finger cymbal sounds along with a shaker and a tambourine to articulate the “Hare Krishna rhythm”. There’s also a cavernous gong sound every so often, the type you’d hear in temple. Finally, spiritual sounds are associated with the use of big percussion sounds like the epic floor tom drum rolls. This piece was born out of a certain patch on my Korg RW-05 outboard synth module. It sounds like a gamelan bell. I used it with a simple straight rhythm to anchor the rest of the piece. 08:14 Method: Meditative, repetitive tempo This piece of music is an 8-bar cycle that repeats without introducing any new harmonic progression. In other words, it simply cycles around without introducing much forward motion, the same way that much liturgical music does. The tempo of the piece is synchronized with the tempo of sustainably slow breathing. Pace and repetition convey a sense of meditation. How does it convey outdoor festival psychedelia? 09:15 For the sake of modernizing the piece, I opted to use a trap-influenced beat instead of the standard four-to-the-floor kick drum pattern used by much electronic music. The key was to exercise the right amount of restraint in the hi-hat rushes because they’re so fun! 09:54 The title of the track references a jungle island. Besides the exotic choice of instrumentation, a few tricks went into creating the sense of being outdoors. One of the synthesizer parts resembles the sound of a flying insect. There’s also an occasional sound effect that resembles the sound of a condor. 10:46 Psybient music often uses LFOs to create a ‘wah-wah’ effect that’s in time with the beat. In this piece, I’ve applied an LFO to the guitar drone DOWNLOAD & USE THIS MUSIC Download ‘Spirit Of Java’ by John Bartmann https://gum.co/pWhGQSearch for more music by John Bartmann https://johnbartmann.com/music SHOW NOTES The Magical Native American trope https://tvtropes.org/pmwiki/pmwiki.php/Main/MagicalNativeAmericanThe flute as a Regional Riff https://tvtropes.org/pmwiki/pmwiki.php/Main/RegionalRiff SOUNDS & DEVICES USED Native Instruments Kontakt 4 Persian Ney fluteAlan Vista Chau GongsHeavyocity Evolveacoustic guitar, bamboo flute SUBSCRIBE SpotifyApple PodcastsYouTubeRSS StitcherTuneInHome MY BANDS! Pravda https://pravdaofficial.comPebble Shakers https://pebbleshakers.co.za CONTACT https://twitter.com/johnisthemusichttps://johnbartmann.com/contact ABOUT THIS SHOW How I Make Music is where behind-the-scenes musicians tell their own stories. Every Wednesday, we break apart a song, soundtrack or composition and investigate the insights into how it was made. Host an episode of this podcast https://bit.ly/howyoumakemusic
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    16 m
  • #055 Autumn Wind by John Bartmann

    #055 Autumn Wind by John Bartmann
    May 6 2020
    The piece of music in this week's episode is called Autumn Wind. It’s a piano-centered orchestral piece which might be used in period drama stories set in the late 1800s and historical biopics like The Current War. It uses classical instruments (and omits modern sounding ones) to capture that sense of history. Let’s explore a few questions the composition of this style of music. IN THIS EPISODE I wrote this week’s selected composition, Autumn Wind with two objectives: to keep a sense of forward motion, and to keep the timing as organic and ‘off the grid’ as possible. How does it convey ‘forward motion’? Method 1: changing key (modulating) 01:55 The piece begins in Ab major, remaining centered in one key for a minute. At 00:58 it modulates to a Cm (by way of G7) and peacefully makes its way back home to the Ab. Key modulation (ie harmonic progression) tends to provide forward motion - a feeling of movement or sequence. 03:09 The opposite effect is required in ambient music used for tension and horror. For these styles, we require stagnation and plot stasis to create a gap before the big shock happens! This is why music with forward motion is excellent for montage, and why ambient music is better for tension and mystery. Method 2: building and dropping in volume (dynamics) 04:33 Autumn Wind uses piano crescendos and decrescendos to its advantage to fulfil its purpose - a human-sounding score from an era before MIDI editing, and one that can (hopefully) be listened to and enjoyed in isolation from picture. For the purposes of broadcasting, fluctuations in the volume of music composition are discouraged. It’s the inevitable byproduct of the loudness war, which requires everything to be overcompressed in order to compete in a broadcast environment. Regardless of its media usage suitability, I wanted to make a score that could have sounded like it was actually being conducted with some dynamic nuance. How does feel more ‘human’? 05:24 Autumn Wind has an organic approach to timing. The recording of the keyboard part (ie the piano sound) was not done to a click track, so the tempo appears to be speeding up and slowing down in the style of romantic era composition. Minor corrections were made to the timing, but at no point was the whole arrangement quantized (locked to a fixed tempo) and then tempo-modulated digitally. While it’s easy to make these types of editing changes using software, it also tends to rob the score of at least some of its human feel. The approach isn’t about making it perfect, it’s about making it provoke emotion. Instrumentation 07:28 This piece uses piano, flute, clarinet and violin. I was glad to have been able to include the live violin along with the remaining software instruments. It’s been a goal of mine for many years to be more confident when recording solo violin parts. If you want to know if a string instrument has been recorded live, listen out for nose whistle on the recording! DOWNLOAD & USE THIS MUSIC Download ‘Autumn Wind’ by John Bartmann https://gum.co/elfgbSearch for more music by John Bartmann https://johnbartmann.com/music SHOW NOTES Download album ‘Softly, Boldly, With A Piano’ by John Bartmann https://gum.co/azLIe SOUNDS & DEVICES USED Native Instruments Symphony EssentialsPianoteq 4 SUBSCRIBE SpotifyApple PodcastsYouTubeRSS StitcherTuneInHome MY BANDS! Pravda https://pravdaofficial.comPebble Shakers https://pebbleshakers.co.za CONTACT https://twitter.com/johnisthemusichttps://johnbartmann.com/contact ABOUT THIS SHOW How I Make Music is where behind-the-scenes musicians tell their own stories. Every Wednesday, we break apart a song, soundtrack or composition and investigate the insights into how it was made. Host an episode of this podcast https://smarturl.it/howyoumakemusic
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    14 m
  • #054 Poetic Love Letter by John Bartmann

    #054 Poetic Love Letter by John Bartmann
    Apr 29 2020
    The piece of music in this week's episode is called Poetic Love Letter. It’s a cinematic orchestral piece which might be used in British period drama shows like The Crown or Downton Abbey. It uses classical instruments (and omits modern sounding ones) to capture that sense of history. Let’s break it down! IN THIS EPISODE Why does it sound like the past? 02:59 Instrumentation is key to achieving a period drama TV sound, or any sound rooted in a chosen imaginary world. But unlike fantasy and sci-fi, we are a little more limited by history. We can’t easily include obvious use of instruments that weren’t invented at the time. We have to find ways around synthesizers and drum kits to bring life to the music. 04:03 Musical tropes are another huge trick for achieving a certain sound. The broken arpeggios on the piano are reminiscent of Bach Badinerie aka the Nokia ringtone When writing classical music, what can go wrong? 05:17 Classically-inspired music is more theoretically complex than, for example, drone or ambient music. The tolerance for repetition is far lower. Variation is what we’re accustomed to, and it requires that we make fairly frequent changes in the piece. Especially true for fast, spirited pieces. Some music runs the risk of being over-complexified. Classical stuff tends to run the opposite risk, of being over-simplified. What makes it sound natural? 08:06 Unlike bands or ensembles, orchestras are made up of lots of people. The margin for error is higher. This means that on average, an orchestral recording contains more imperfection, distributed and hidden among more people. Even though we generally ‘record’ orchestral music on computers these days (as I obviously have in this piece), I feel it’s important to preserve this tendency towards imperfection in the recording by not correcting all mistakes. In my experience, this is the key to it sounding natural. How did this album come to be? 10:15 After 15 years of failing as a dance musician, I felt the album Softly, Boldly, With A Piano was something I needed to do. I wanted to finally write something classical or orchestral. All tracks on the album began as solo piano pieces. Then, with the help of the community that supports me through music downloads, I was able to afford the Symphony Essentials package from Native Instruments. It’s been a dream come true finally having access to great orchestral sounds! I consider it my mission to continue providing good music for audio drama and video to the community. Thanks to anyone who has ever supported me by downloading my music. DOWNLOAD & USE THIS MUSIC Download ‘Poetic Love Letter’ by John Bartmann https://gum.co/iTOvJDownload album ‘Softly, Boldly, With A Piano’ by John Bartmann https://gum.co/azLIeSearch for more music by John Bartmann https://johnbartmann.com/music SHOW NOTES The Crown full soundtrack https://www.youtube.com/watch?v=-n2O4EhDSio SOUNDS & DEVICES USED Native Instruments Symphony EssentialsPianoteq 4 SUBSCRIBE SpotifyApple PodcastsYouTubeRSS StitcherTuneInHome MY BANDS! Pravda https://pravdaofficial.comPebble Shakers https://pebbleshakers.co.za CONTACT https://twitter.com/johnisthemusichttps://johnbartmann.com/contact ABOUT THIS SHOW How I Make Music is where behind-the-scenes musicians tell their own stories. Every Wednesday, we break apart a song, soundtrack or composition and investigate the insights into how it was made. WANT TO FEATURE ON AN EPISODE? Find out how to host an episode of this podcast https://smarturl.it/howyoumakemusic
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    17 m
  • #053 Zimbabwe Grooving by John Bartmann

    #053 Zimbabwe Grooving by John Bartmann
    Apr 22 2020

    The piece of music in this week's episode is called Zimbabwe Grooving. It’s a smooth lofi deep house track. It uses an mbira to sound a bit African and a software instrument called Flesh to sound contemporary. Let’s break it down!

    IN THIS EPISODE

    05:20 I have an mbira which I like to combine with house grooves and more contemporary sounds. At the time of writing this, I was inspired by little-known artists like Penya from On The Corner Records.

    06:17 The jazz guitar hook in this track is a simple, repetitive pentatonic line. Sometimes it’s about the notes you choose, but in this case it’s about the timbre of the instrument. A smooth, mid-tone guitar works way better with this type of smooth house music than, for example, an overdriven electric. I wanted the piece to sound smooth!

    06:55 What makes it feel ‘live’?
    The bassline is a very simple sustained note which uses a filter to open up the high frequencies during each sustained note. What makes it special? It was recorded directly in audio from my Novation X-Station synth and not in MIDI. This means that the bass in this track is a performance, just like a bass guitar or vocal would be. I believe that this type of deliberate, committed intentionality is somehow perceivable to the human ear, even if it’s on a subconscious level.

    08:30 What makes it retain attention? Dance music is repetitive. Not everyone is always dancing when they listen to it. Without the micro-variations you unavoidably get when recording with live instruments, music made with a computer always begins as too perfect. Humans don’t like ‘too perfect’! It bores us quickly. So to create variety in the core beat I used a few tricks:

    • A 5-bar cycle instead of the more regular 4-bar
    • An irregular tap delay on the click sound
    • Occasional West African drums to stab at the rhythm

    09:10 What makes it so smooth? South African artists like Black Coffee are known for deep house, which is smoother, more melodic and jazzier than a lot of European dance music and EDM. What I love most about this track is the nice lofi feel. To create this smoothness, I emphasized the role of the low frequencies kick drum and played down the brightness. I chose subtle ambient sounds like the pad layer.

    DOWNLOAD THIS TRACK

    • Download it https://gum.co/sMfC
    • Find more https://johnbartmann.com/music

    SHOW NOTES

    • Penya (On The Corner Records) releases electronic interpretations of African instrumentation and group singing https://penyamusic.bandcamp.com/album/penya-na-msafiri-zawose
    • Black Coffee https://twitter.com/RealBlackCoffee

    SOUNDS & DEVICES USED

    • Native Instruments Flesh by Tim Exile
    • Mbira
    • Ibanez AF-75 jazz guitar

    SUBSCRIBE

    • Spotify
    • Apple Podcasts
    • YouTube
    • RSS
    • Stitcher
    • TuneIn
    • Home

    MY BANDS!

    • Pravda https://pravdaofficial.com
    • Pebble Shakers https://pebbleshakers.co.za

    CONTACT

    • https://twitter.com/johnisthemusic
    • https://johnbartmann.com/contact

    ABOUT THIS SHOW

    How I Make Music is where behind-the-scenes musicians tell their own stories. Every Wednesday, we break apart a song, soundtrack or composition and investigate the insights into how it was made.

    How do you make music? Find out how to host an episode of this podcast https://smarturl.it/howyoumakemusic
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    18 m
  • 111 Where the Stars Fell - Newt Schottelkotte - Here With You

    111 Where the Stars Fell - Newt Schottelkotte - Here With You
    Dec 29 2022

    Join Nashville-based singer and audio drama creator Newt Schottelkotte in a musical trip to a small town with some big secrets. Where the Stars Fell is a semi-serialized audio fiction supernatural fantasy and part of the Fable and Folly network. In this episode, hear touching stories about how Newt wrote and performed the country-folk song ‘Here With You’ as an outro theme for episode 18 of the series. An immersive listening experience. Headphones recommended. 

    SHOW NOTES

    Where The Stars Fell audio drama https://wherethestarsfell.com/
    Newt Schottelkotte home https://newtschottelkotte.com/
    Caldera Studios home https://calderastudios.me/

    MUSIC CREDITS

    Music: John Denver - Annie’s Song
    Music: Hozier - Wasteland Baby
    Music: Tyler Childers - Lady May
    The Mountain Goats - It Froze Me

    BECOME A PATRON

    Patrons get bonus episodes, early access, full video interviews with contributors, a listing on the Wall of Fame, immersive podcast editing tutorial video livestreams and resources, access to the show’s hidden back catalog, bonus material for creating your own show and a massive thank you! Become a patron and support the composers of audio drama! https://patreon.com/howimakemusic

    ABOUT THIS SHOW

    Discover new fiction podcasts in an immersive, sound-designed listening experience with their music composers. In this show, we challenge audio drama music makers to break apart a song, soundtrack or composition and get into why and how it was made. Immersive listening. Headphones recommended.

    Follow How I Make Music in your favorite app https://pod.link/howimakemusic
    Show notes, transcripts and patron credits https://howimakemusic.com
    How I Make Music is created by John Bartmann https://johnbartmann.com

    Support the show
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    21 m
  • #052 African Secret by John Bartmann

    #052 African Secret by John Bartmann
    Apr 15 2020

    The piece of music in this week's episode is called African Secret. It’s a cinematic soundtrack meant to depict suspense and tension without sounding too dark and dangerous. It uses a bright Lydian mode melody to retain a sense of adventure and mystery, and a few of the instruments are African in origin. Let’s break it down!

    IN THIS EPISODE

    01:52 What’s it influenced by? This piece was primarily influenced by the soundtrack to the Netflix TV show Ozark. The original score by Danny Bensi and Saunder Jurriaans features a lot of percussion using (what sounds like) ordinary items. I liked the boldness of using hard percussive sounds in amongst the more typical dark, brooding ambiance in TV dramas.

    03:16 How is this African? The choice of computer instrument patches includes mbira, marimba and a selection of percussion instruments labelled as West African. I recorded some basic drumming on a djembe to bring some life to the piece amongst all the samples and software instruments.

    05:49 How is this a secret? The classic danger and suspense sound is a dark and brooding low neutral and often arpeggiated bass monotone. I also included congas and a vibraphone-type instrument because a lot of classic spy shows and films use it to convey subterfuge. In the opening passage, EQ is used creatively to ‘open the door’ from a narrow, muffled mix to a more full-sounding mix. This is meant to convey some kind of revelation, in line with the theme of secrecy.

    08:31 Why does this feel more like adventure than danger? Unusual time signatures can have an unnerving effect. This piece is in 7/4, so it never quite satisfies like a 4/4 track does. Intentional tension, meant to convey the sense of someone sneaking around, or subtle danger. But it’s not all dark and dangerous. The bright Lydian mode used in the simple melody line is associated with magic and possibility. Perhaps this music conveys a supernatural secret of some sorts!

    DOWNLOAD THIS TRACK

    • Download it https://gum.co/IBQkw
    • Use it https://johnbartmann.com/faq
    • Search all music https://johnbartmann.com/music

    SHOW NOTES

    • ‘Ozark’ soundtrack composer Danni Bensi https://www.imdb.com/name/nm3737483/
    • What is spy music? Good thread https://www.reddit.com/r/musictheory/comments/94xhuw/how_does_spy_music_work_what_is_spy_music/
    • Universally acclaimed TV show Cowboy Bebop https://www.imdb.com/title/tt0213338/?ref_=fn_al_tt_1

    SOUNDS & DEVICES USED

    • Heavyocity Evolve: Perc Hugeness Combo
    • Kontakt 4 Factory Library
    • Battery 3: West African Kit (Drums)

    SUBSCRIBE

    • Spotify
    • Apple Podcasts
    • YouTube
    • RSS
    • Stitcher
    • TuneIn
    • Home

    MY BANDS!

    • Pravda https://pravdaofficial.com
    • Pebble Shakers https://pebbleshakers.co.za

    CONTACT

    • https://twitter.com/johnisthemusic
    • https://johnbartmann.com/contact

    ABOUT THIS SHOW You’re listening to How I Make Music, a soothing narrative experience for the musically curious to go behind the scenes of composition. Every Wednesday, we break apart one of my own compositions and investigate the stories and insights into how it was made and its effect on listening ears. My name is John Bartmann. I’m a music composer from South Africa and this is How I Make Music.
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    14 m