AAAjibola multimedia studio

25/05/2021

https://www.youtube.com/c/AAAJIBOLASTUDIO/videos

23/02/2021

KI O TO TO OJO SUNDAY TO NBO YI, GBOGBO AWA TI A WA NINU GROUP YI, E JE KI A SORO SOKE, KI A LE MO WIPE E NBE PELU WA NIPA KI AWA NA MA SEND MESSAGE , KI A SI MA FO ESIN SI AWON MESSAGE TI WON BA SEND, ENITI KO BA SE ELEYI TI SUNDAY, AO MU IRU ENIBE JADE KURO NINU GROUP YI, E JE KI GBOGBO WA SORO SOKE KI O LE JE IWURI FUN GBOGBO WA, OLOHUN KONI YO WA LEGBE O.

31/08/2017

Download Movies and Music,Click to Download Now www.youtube.com/c/aaajibolastudio

A.A AJIBOLA STUDIO CHANNEL is a channel which is solely dedicated to bring viewing pleasures to millions of viewers all over the world about African culture,...

18/08/2017

E yin ore mi, iranlowo yin funmi ni ki e bami Click sori Subscribe ni www.youtube.com/c/aaajibolastudio

A.A AJIBOLA STUDIO CHANNEL is a channel which is solely dedicated to bring viewing pleasures to millions of viewers all over the world about African culture,...

17/08/2017

Okunrin gba ijoba,lowo obinrin, bawo ni okunrin se gba ijoba lowo awon obinrin, e je ki a lo wo Atorilaye Ep 2 ninu ikanni yi www.youtube.com/c/aaajibolastudio

A.A AJIBOLA STUDIO CHANNEL is a channel which is solely dedicated to bring viewing pleasures to millions of viewers all over the world about African culture,...

17/08/2017

Okunrin gba ijoba,lowo obinrin, bawo ni okunrin se gba ijoba lowo awon obinrin, e je ki a lo wo Atorilaye Ep 2 ninu ikanni yi www.youtube.com/c/aaajibolastudio

12/07/2017

Download Funny Comedy Six Months Baby Click to Download https://www.youtube.com/watch?v=Ecka6a-P6hM

Comedy Cartoon, Six Month Baby Still Breastfeeding Funny Character. Yoruba Comedy Subtitled in English

19/12/2016

- Rule #12: Make your melody unique. A unique melody is what sets your song apart. But you shouldn't do this at the expense of accessibility. Beware of being overly clever. Unique is good, but overly complicated rarely works. In the song example from To Have and To Hold, one of the things that we did was through a combination of rhythmic variation and held notes.
The melody is unique but it's not so complicated that it isn't memorable. For our Grammy Award-winning song example, give a listen to the song From a Distance, that Bette Midler popularized, in terms of a melody that is uniquely memorable without being overly complicated

17/12/2016

- Rule number 11, make your melody simple. The whole goal of melody writing is to make your melody learnable and memorable. In our song example, "To Have and to Hold", I'm going to play you the intro, first verse and chorus and what I'd like you to notice is that there aren't many notes in the melody and by just altering the phrasing and the duration, we've managed to make a simple melody memorable.
♫ It's one thing to have a dream ♫ And another to watch it come true ♫ To hold out for heaven ♫ Then see it every time I look at you ♫ I don't mean to talk so obviously, but can't you see ♫ I'm naturally so in love ♫ Lo and behold, I've been a fool, but only a fool ♫ Would hang onto hope long enough to know ♫ There's no letting go ♫ To have and to hold you ♫ - And now for our Grammy Award winning song example, give a listen to the Police's "Every Breath You Take" from your Spotify playlist and see if that melody, is instantly memorable in its simplicity

16/12/2016

- Rule #10: Keep Your Rhyme Schemes the Same in Similar Sections. This is yet another device to help listeners remember your songs. I'll admit it's a subtle one, but every single thing that you can do to help a listener remember your song counts. In our song example -- and you might want to reference your lyric sheet in your course materials for this -- we have used a rhyme scheme that is ABAB in our verses, and we've kept this consistent in each verse.
What I mean by that is, in the first verse we use, at the end of the first line, "love" and at the end of the second line, "sleeve" and then we rhyme "stuff" in the third line with "love" in the first line, and "leave" in the fourth line with "sleeve" in the second line. In other words, ABAB. We do a similar thing in Verse 2 with the words "you," "sure", "blue", and "door," and then in Verse 3 with "enough," "home," "tough," and "alone." So what I'm suggesting here is simply that you keep that rhyme scheme structure the same throughout all of your verses.
For our Grammy Award-winning song example, the song "What's Love Got to Do with It" that Tina Turner sings does a really great job of keeping that rhyme scheme and uses some internal rhymes in the verses as well. Give that one a listen on Spotify and see if you can pick up what I'm talking about.
- Now we're going to cover some rules about melody writing. Melodies are the first thing that your listeners will notice and hopefully remember about your song. It's what sets your song apart in people's minds. Melodies are also full of unwritten cues for your listener and it's what helps carry them through the song and shows them what's important without any words. So let's get onto some rules about melody writing

13/12/2016

- Rule number nine. Keep your chorus lyric the same in each chorus. What this does is it makes your song easier to learn and more memorable. There's no point in being overly clever here. Choruses are designed to be remembered and sung along to. If, however, you really feel the need to change your chorus lyric, I'd recommend doing it in your last chorus where you've already established what the main chorus lyric is.
In our song example, "A Little Bit," even as the story progresses, we come back to the same message, or theme of the song, in every chorus and the lyric is exactly the same. With our GRAMMY-winning song example? The one that comes to mind is "Stay With Me," that Sam Smith sings, and he does a great job of as the story progresses, that chorus lyric stays the same from chorus to chorus. Give it a listen.

12/12/2016

- Rule #8 Give Your Song a Title That References the Hook. The whole idea here is to put yourself in the position of your listener. So picture a listener hearing your song when they're out and about somewhere and wanting to ask for it again. They'll most likely remember the hook, so keep that in mind when you name your song. Anything that you can do to make it easy for you listener to remember your song is to your advantage. In our song example, "A Little Bit," we name the song "A Little Bit" because it ends the chorus and it's a bit ironic and it's memorable and the message listeners will hopefully take away.
So that was our reasoning in not only putting that at the last line of the chorus but also naming the song "A Little Bit." For our GRAMMY award winning song example, "Single Ladies" or just to double their chances of people remembering it, in parentheses, Put a Ring on It, does a perfect job of naming their song every possible hook that's involved in the song. Definitely worth a listen to see what I mean.

09/12/2016

- Rule number six. Make certain your chorus is the main message of your song. What you're doing by doing this, is you're cueing your listener to pay attention and understand what the point of your song is. This is your moment in the song to stop and summarize. One of the things that we have a tendency to do when we're excited about telling our song's story, is just to keep telling the story all the way through the chorus. What we need to do is stop for a moment, stop telling the story and summarize and let people know what the story's point is.
In our song example, "A Little Bit," what we decided to do was try and make the point that even though the singer wants to be over everything there's still a little bit of her that's hanging on and hopeful. So, give our chorus a listen and you'll see what I mean about summarizing the main message of the song. ♫ But I get lonely for you sometimes ♫ In spite of myself I get lost ♫ When I find me ♫ With somebody else ♫ There are days when I'm strong ♫ When I'm through I say this is it ♫ I'm done singing about love ♫ Except just a little bit ♫ ♫ Mm-hmmm ♫ Ooh-oo-oooh ♫ - So, there you go.
That's how we chose to summarize the main message of our song in the chorus. When it comes to a GRAMMY Award-winning song example, I can't think of a better one than "Sailing" by Christopher Cross. He does a great job of all these really interesting details and moves the story along so nicely, but when he gets to that chorus, it's just all about sailing.

08/12/2016

- Rule #5: Make sure every line of your verses and bridge provides new information. Songs are short. You really can't afford to say the same thing more than once. The whole idea is to keep your listeners' attention span in mind and move the story along with every line that you write. In our song, A Little Bit, one of the things that we did in our second verse just to move the story along was to use the line: "A little bit over getting over you" which tells more of the story and lets the listener know there's someone else involved.
In other words, each line of each of our verses was designed to tell a little bit more and reveal a little bit more of our story. In our Grammy-winning song example, the song Sunny Came Home by Shawn Colvin does an absolutely beautiful job of telling a story where not a single line or word is wasted.

07/12/2016

- Rule number four. Show 'em, don't tell 'em. Honestly, the single most efficient and powerful way to communicate in your lyric is to use images. A picture truly is worth a thousand words. For example, you could either describe someone in your song as a sexy woman who is kind of evil, or you could describe her as a black heart in a green dress. I think you get my point.
Really, really showing people images does so much of a better job than just describing. In our song example, one of the things that we try to do in this particular song was use those kinds of images to really tell a story. So why don't we give that a listen now? - ♪ And the one thing that I know for sure ♪ ♪ is it's time for ♪ ♪ a better, a better color than blue ♪ ♪ This is me, Baby, closing that door ♪ - So by using expressions like "a better color than blue" or "closing the door" what we're trying to do in this particular lyric is really situate the listener so that they understand what the singer is singing about by using these kinds of images.
We're showing them. We're not telling them. For our GRAMMY award winning song example, I can't think of a better one than "Bridge Over Troubled Water" by Simon and Garfunkel. The kinds of images that they use in that song really do show us as opposed to telling us.

06/12/2016

- Rule number three, use concrete details and imagery in your verses. It's these details that really help situate your listener and gets them into the story. I've also heard these details called "furniture". When it comes to really allowing a listener to get an image of your song, it's those details that are going to do that heavy lifting for you. In the song example that we've been referencing, even using simple words like butterflies and rainbows just helps the listener understand the message.
We have a tendency as songwriters to think so much in emotional terms that we forget that details and imagery can do so much in that regard. When it comes to our Grammy award winning song example, I think the song Royals by Lorde does an incredible job of using details and imagery to really help the listener understand where they are. Give it a listen

04/12/2016

- Rule #2: Emphasize the Natural Syllable. One of the things that we have a tendency to do as songwriters is try and make words fit. But I would caution against changing the emphasis or the natural syllable, just to make a word fit. For example, if you have the word "thing" at the end of one line of a song, and you try and rhyme it with a word like "laughING" instead of "laughing," that's sort of forcing it. So in other words, as we like to joke in the industry, don't put the emPHAsis on the wrong sylLABLE.
If you are going to do this, do it on purpose to really draw attention to the word, because it will draw attention to that word. In our song example, one of the things that the singer sings is she's "done with the butterflies and the rainbows." The first syllable of each word, "butterfly" and "rainbow," gets the emphasis, as opposed to "butterFLY" or "rainBOW." Just give it a listen in this audio example and you'll see what I mean about putting the emphasis on the natural syllable.
(gospel-flavor organ and guitar) ♫ I'm a little bit tired ♫ of singin' 'bout love ♫ And wearing my heart ♫ on my sleeve ♫ I'm done with the butterflies ♫ and the rainbows ♫ and all of that stuff ♫ and wondering who'll ♫ be the first to leave ♫ There you go, natural, relaxed, the emphasis on the natural syllable just sounds like, at the end of the day, the singer is talking to you.
That's what a good lyric tends to do. When it comes to our Grammy Award-winning song example, Billy Joel's "Just the Way You Are" comes to mind. "Don't go changing to try and please me." Just all natural, all spoken, emphasis on the natural syllable. And don't forget, go to your Spotify playlist and you'll be able to listen to that song to see exactly what I mean

03/12/2016

- Rule #1: Make Your Lyric Conversational. The whole concept of a conversational lyric is that it sounds like people speak. There are a couple of reasons for this: one, it makes it easier to listen to, it makes it easier to connect with, and it's less distracting. In the song example, one of the things that we did is chose a line to open the song that was actually a direct quote from a conversation I was having with my co-writer at the time.
She sat down and one of the first things she said before we started writing was, "I'm a little bit tired of singing about love." To which my response was, "That sounds like the first line of our song." So now, let's listen to a little audio snippet to give you a sense of what a conversational lyric sounds like. (gospel-flavor organ and guitar) ♫ I'm a little bit tired ♫ of singin' 'bout love ♫ So there you go: a very simple, relaxed opening line to a song that feels, at the very least, conversational.
Now, for our Grammy Award-winning song example, there is nothing more conversational or relaxed than "Don't Worry, Be Happy" the way Bobby McFerrin did it. So take a look at your Spotify playlist, find "Don't Worry, Be Happy" and give that song a listen. I guarantee you'll find that lyric to be very conversational

03/12/2016

So the whole idea of a lyric first and foremost, is just to sound and feel natural. We'll talk more about that in greater depth when I get into the particular rules. Another thing to keep in mind always is to remember that in your lyric, you are telling a story in the most concise and memorable way possible. There are various songwriting practices that you can use that will help you be both concise and memorable.

02/12/2016

So this first group of rules is all about lyric writing and when I think about lyric writing, there are a couple of things in general, that I like to keep in mind and the first of these is what I like to refer to as the Hippocratic Oath of lyric writing which essentially means "Do No Harm" and here's what I mean by that. Other than our friends and family, very few people pay close attention to the lyric the first few times they listen to a song. However, they will notice if something doesn't sound or feel good or natural

02/12/2016

- To get the most out of this course it would be helpful to have written or at least tried to write a few songs. This way the contents of the course will resonate a bit better. But whether you're written a song or are just getting up the courage to try these rules will give you some great information on how to keep your songs both accessible and commercial. Also I've created a Spotify playlist of the Grammy Award winning songs of the year for the past 50 years as an added reference

01/12/2016

Happy New Month To You All.

01/12/2016

What is delay?
Delay is likely the most underappreciated effects device we have in the recording studio. Until you've seen it and heard it in action, it's hard to imagine why delaying audio has any musical purpose. But believe me, it's rich with musical potential. However, before we get into the studio use of delay, let's talk a little bit about its origins. We've all heard echoes before. Shout into a tunnel, a canyon, or any large reflective space and whatever you shout bounces back. That's delay at work. Simple enough the audio signal, your voice, is delayed by some amount of time before being heard again later; an echo