What is Major 3rd Tuning for Guitar?

For approximately the past 4 weeks I have been dabbling with Major 3rd Tuning on my steel string guitar. Here, I will share my insight as a player who knows the fretboard well (for standard tuning), who is just now learning about Major 3rd Tuning. I will explain what it is, some of the experiments I have done on it, and how I think it could best be used for performance and composition. I hope this insight helps readers who may be interested in trying something new on the guitar.

What is Major 3rd Tuning?

Major 3rd Tuning is pretty much exactly what it sounds like. You tune the guitar in major 3rds instead of the usual perfect 4th x 3, major 3rd x 1, perfect 4th combination. The latter, which is called “standard tuning” results in the pitches E, A, D, G, B, and E. The former, if I start from the same Low E pitch as the latter, results in E, G#, C, E, G#, C.

Theory Background: One way to think of a major 3rd is this: It is equal to four semitones. Since each fret on a guitar is equal to one semitone, a major 3rd is equal to four frets. Therefore, you can tune your guitar to major 3rds by finding the fourth fret of the Low E string, and tuning the next adjacent string (A string) to the 4th fret (instead of the 5th fret, which is a perfect 4th). The result will be a major 3rd, and the precise pitch would be G#.

Semitones (Half Steps)IntervalQualityComplete Name
01PerfectPerfect Unison
12MinorMinor 2nd
22MajorMajor 2nd
33MinorMinor 3rd
43MajorMajor 3rd
54PerfectPerfect 4th
What is a Major 3rd? What is a Perfect 4th? A Major 3rd is one semitone lower than a Perfect 4th.

What is the History of Major 3rd Tuning?

Ralph Patt is known to have come up with Major 3rd Tuning. He documented it on his website at http://www.ralphpatt.com/Tune.html. Others have used Major 3rds Tuning as well, such as Tony Corman (see https://www.tonycorman.com/m3-guitar). Notably, Tony also references Ralph Patt as the originator of the tuning.

In 1964 I began developing and using a major third tuning for the guitar. The original pupose was to find a method for atonal improvisation for jazz. I was influenced by the music of Ornette Coleman, George Russell, John Coltrane and others who were breaking new ground in jazz in the 1960s. I was searching for a better way to facilitate improvisation using the atonal composition systems of Arnold Schoenberg. The major third tuning provides a way to do this.

Ralph Patt | http://www.ralphpatt.com/Tune.html

Why Major 3rd Tuning?

I have been playing the guitar for 20 years now, so one of the first questions I had was “Why Major 3rd Tuning?” Basically, “What is the benefit of Major 3rd Tuning over standard tuning?”

Reason 1: Major 3rds Tuning “Makes the Hard Stuff Easy”

The way Ralph Patt describes it sums up my own experience pretty well. Ralph Patt says, “It makes the easy stuff hard and the hard stuff easy.” After experimenting with the tuning for a few weeks, I can confidently conclude that I agree with him.

Something that is typically difficult on the guitar that is made easy with the Major 3rds tuning is Jazz. I played Jazz a bit in high school and early in college, and I continue to study and listen to Jazz in my free time, and this experience helps me appreciate the role Major 3rds tuning can play in simplifying both solo playing as well as rhythm playing in the Jazz idiom.

Reason 2: Alternate Tunings Helps You Understand the Fretboard Better

I must admit, having played the guitar for 20 years, I welcomed the challenge of this novel tuning. Doing things like this help me keep my brain active while doing something that has become somewhat routine.

The fact of the matter is standard guitar tuning has a Major 3rd from the G to the B string. If you tune all your strings to Major 3rds, you get a great sandbox to master this important concept, both for alternate tunings as well as standard tuning.

Reason 3: Isomorphic

Since all the strings are tuned to the same interval (unlike standard notation), all the chord and scale shapes can be easily transposed to any other position on the guitar.

Reason 4: Prepare for other Tunings Based on 3rds

If you want to, for example, prepare to play a guitar like the Kite Guitar, which is tuned in 3rds, then this is one way to prepare. More information to come regarding the Kite Guitar in future articles.

Reason 5: Discovery

We all get into habits on our instrument, and sometimes those habits prevent us from thinking of new ideas. By changing some parameters (such as tuning) we force ourselves to get back into a mindset of discovery.

Implications of Major 3rd Tuning for Jazz

Jazz uses a lot of chords that result in stacked 3rds. For example, a C Major 9 can be described as Major 3rd ( C –> E), Minor 3rd (E –> G), Major 3rd (G –> B), and Minor 3rd (B –> D). Usually, a guitarist (or pianist) does not play all of the pitches in a given chord at the same time, however, Major 3rd Tuning does put all of these intervals better in reach than standard tuning. This means that the pitches are there when you need them.

On the flip side, the 5th of a chord, unless it is a flat 5 or sharp 5, plays a much more secondary role in Jazz than it does in classical, rock, or folk music. Because Jazz chord progressions usually have successions of 7ths, 9ths, 11ths, and 13ths, the 5th of the chord is usually a given. In other words, it is more often too obvious to play, unless there is some particular voice leading reason.

Standard tuning puts the 4th’s and 5th’s (which are inverses of each other) under your finger tips, which is good for (most) classical, rock, and folk music, whereas Major 3rds Tuning puts the 3rds, augmented 5ths, and other “spicy” pitches under your finger tips.

Where are the Notes in Major 3rd Tuning?

Below are some charts to help you get started on the fretboard for Major 3rd tuning.

The charts have the lowest pitched strings at the bottom and the highest pitched strings at the top. -2 means back two frets (to the left, toward the nut), -1 means back a single fret, 0 means same fret, 1 means up one fret, and 2 means up two frets.

Fretboard Map for Major 3rd Tuning

Relative Fretboard-2-1012
+ Minor 13thA11/d12P12A12/m13M13(m7 + 8ve)
+ Major 10thM9m10M10P11A11/d12
+ Perfect 8vem7M7P8m9M9
+ Minor 6thA4/d5P5A5/m6M6m7
+ Major 3rdM2m3M3P4A4/d5
LowestP1
Map of relative interval relationships in Major 3rds Tuning.

How to Make a Major Chord in Major 3rd Tuning

The following diagram shows a simple major chord. Remember that, because this tuning is isomorphic, this shape can be transposed anywhere (any string and fret) on the fretboard.

Relative Fretboard-2-1012
F(P12)
A(M10)
C#/DbP8
FP5
AM3
C#/DbP1
Major Chord in Major 3rds Tuning. Notes in parenthesis are other options.

Below are some inversions of a major chord you can do.

Chord Inversions in Major 3rd Tuning
Different Inversions of a Major Chord in Major 3rd Tuning. By Kiefer.Wolfowitz – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=20913107

How to Make a Major 7th Chord or Major 13th Chord in Major 3rd Tuning

The following is what a Major 7th Chord would look like. This can be played with 4 fingers in the left hand. This same voicing would not be feasible in standard tuning.

Relative Fretboard-2-1012
FM13
AM10
C#/DbM7
FP5
A(M3)
C#/DbP1
Major Chord in Major 3rds Tuning

Why not Minor 3rds?

It is logical to ask “Why not Minor 3rds?” Minor 3rds may be a good idea, or it may not (I have yet to try), but it does drastically reduce your range on the guitar. For example, if you start from Low E, you get E, G, Bb, Db, E, and G, which is a major 6th (9 semitones) lower in range as compared to standard tuning (G –> E). Compare this to Major 3rds Tuning, which is a major 3rd (4 semitones) lower in range as compared to standard tuning (C –> E).

String NumberStandard TuningMajor 3rd Tuning (from E)Minor 3rd Tuning (from E)
0** (for seven string)E
(equal to high e for standard tuning)
Bb/A#
(would need 2 more strings to equal high e for standard tuning)
1E (high)B#/CG
2BG#E
(equal to 3rd string for Major 3rds tuning)
3GEDb/C#
4DB#/CBb/A#
5AG#G
6E (low)E (low)E (low)
Comparison of Standard Guitar Tuning, Major 3rds Tuning, and Minor 3rds Tuning.

My Experiments in Major 3rd Tuning

To wrap my ahead around Major 3rd Tuning, I tried a few things, which I will share in this section.

Starting from a Low F, instead of Low E

First, I decided to tune the guitar starting from F (see chart below). The reason is because, with the reduced range, the high string, which is normally tuned as “high e” for standard tuning, is tuned significantly lower. This results in a loose feeling string, unless you want to replace the strings with strings of appropriate gauges. Some music in the classical guitar repertoire has the player tune Low E to F anyway, so I thought “Why not start from F?” I felt that this was a good compromise. It results in F, A, and C# (or Db — however you want to think about it) x 2.

String NumberStandard TuningMajor 3rd Tuning (from E)Major 3rd Tuning (from F)
0** (for seven string)E (high)F (high)
1E (high)B#/CC#/Db
2BG#A
3GEF
4DB#/CC#/Db
5AG#A
6E (low)E (low)F (low)
Comparison of Standard Guitar Tuning and Major 3rd Tuning from E and F. **Traditionally, the “6” string is Low E. If you have seven strings, I suppose that makes the highest string “0”.

This means that the highest pitched string is tuned to C#, which is a minor third (3 semitones) lower than standard tuning. The string is loose, but not “too loose” in feel.

The other reason I liked the idea of starting from F is the association with Jazz. Jazz music, because of the frequent inclusion of brass and woodwind instruments, tends to use the flat keys more. F Major, having one flat (Bb), is a flat key. For this reason, tuning to F, A, and Db (C#) seemed natural.

Playing the Blues (I – IV – V)

One of the first things I did was try and find the root pitches for chords I, IV, and V on the fretboard. Despite knowing that IV would be in a different position than on standard guitar, my muscle memory kicked in and put my finger at the “would-be” position and I was a little bit bewildered by the unexpected pitch. However, I was able to adjust within a moments and find my bearings.

Below is a chart that shows the position of I, IV, and V on the fretboard when in Major 3rds Tuning. You can use this chart to orient yourself to play the blues in this tuning.

Relative Fretboard-2-1012
+ Minor 13thA11/d12P12A12/m13M13(m7 + 8ve)
+ Major 10thM9m10M10P11A11/d12
+ Perfect 8vem7M7P8m9M9
+ Minor 6thA4/d5P5 (V)A5/m6M6m7
+ Major 3rdM2m3M3P4 (IV)A4/d5
LowestP1 (I)
Map of relative interval relationships in Major 3rd Tuning with I, IV, and V highlighted.

Challenge!

If you want a good challenge, you can try playing the blues in Major 3rd Tuning. Use the charts and information in this article if you get stuck. If you have any questions, feel free to ask in the comments or by sending a message.

Major 3rd Tuning: Initial Conclusions

As you can see from this article there is certainly a lot to unpack with Major 3rd Tuning. I plan to publish more articles as well as a few videos to help anyone who may be interested to explore more (one way to stay informed is by subscribing to my newsletter). However, my initial impression is “This is fascinating and highly stimulating” and I hope that this information helps you to discover even more on the guitar!

Update on New Piece: Kaleidoscope

Last month I announced that I would be working on a new piece based on Renaissance Jam/Orchestra. Today, I want to share with you the progress that has been made, as well as the unexpected direction that the piece has taken. (Yes, I know that I wrote the piece, but how the piece is turning out is surprising and unexpected to me as well.)

A Look Back at Last Month’s “Concert Piece” Announcement

Last month, I announced that I would be making a “concert piece” based on a piece I wrote about ten years ago called “Renaissance Jam” (and sometimes I have labeled it “Renaissance Orchestra”).

I plan to create a “concert version” (i.e. highly embellished, virtuosic version) of this piece. 20th century composer, Joaquín Rodrigo, wrote many new and original works based on older pieces from the 16th and 17th centuries. In this vein, I plan to take the “jam” piece I wrote, and create a new concert version.

Me, Last Month on January 18th, 2021

Expect the Unexpected: What I expected

As you can read from my previous post, I expected to create a “concert piece”, which would be “highly embellished” and “virtuosic”. I also invoke “20th century composer, Joaquín Rodrigo” as a potential influence for this new piece. In the outro, I did draw upon Joaquín Rodrigo as an influence, but not as much as I originally planned. Joaquín Rodrigo’s influence is front-and-center at the end of my piece where I drive to the end with chordal strumming.

The addition of the C#, which is the Major 7th to the first chord of the progression, and in the same register as the chord’s fundamental pitch of D is a signature of Joaquín Rodrigo’s work. He would add this extra “color” or “flavor” to a vanilla chord, which is outside of the original style of the 16th and 17th century, but familiar to the modern ear.

Also, some inspiration was taken from the texture employed in Passacaglia, the middle movement of “Tres Piezas Espanolas” by Joaquín Rodrigo. You can listen to two different performances of Passacaglia below.

video
Dmitry Zagumennikov plays "Passacaglia"
Direct Links on Invidious:

https://invidio.us/watch?v=ORH3mwo7R9Q (Dmitry Zagumennikov)

https://invidio.us/watch?v=78DMEzg9qNo (Marcin Dylla)

Expect the Unexpected: What I did not expected

I expected that I would be drawing upon a bit of influence from Joaquín Rodrigo‘s reworking of famous composers like Gaspar Sanz. However, I did not expect that I would also be drawing upon my influences of Leo Brouwer and Toru Takemitsu, as well as the general principals of Jazz and Blues voice leading.

Overall Musical Form in Ten Sections

The form can be divided into ten or so sections. At one point, when I was still in the midst of writing this piece, I had the form written down on a big piece of paper. It was kind of like a big road map. Just by looking at the form, I could extrapolate the details and play the piece. If I got stuck, I could improvise a little bit until I got back on track in a subsequent section.

I offer the road map here so that an interested person can see the larger structure of the piece. If you choose to purchase the piece, I encourage you to reference this as you are learning.

“Sparse”, Free Intro

The piece starts with an Intro that alternates between E min 7 and E maj 9 and ends with a D# which brings out the Major 7 quality of the latter. A lot of space is intentionally left between the notes, which can be filled in with ad lib percussion. In some ways, the intro reminds me of the blues, because the third (G pitch) moves from minor (G Natural) to major (G Sharp).

In its texture, however, it reminds me of the second movement from Leo Brouwer’s “El Decameron Negro”. That piece starts with an E Major 7 with a lot of space between the notes.

Two Tremolo Sections

The chord progression is explored twice through a long tremolo section, which can be broken down into two smaller tremolo sections. The first tremolo section is the chord progression, but in a kind of “impatient” 3/4 time. It feels impatient because the third and forth beats have been truncated into a single beat.

The second tremolo section starts in a higher register and uses a quintuplet tremolo, which was first introduced to me by maestro Eliot Fisk.

Rodrigo-esque (Passacaglia) chordal section

In a similar style and texture to J. Rodrigo’s “Passacaglia” mentioned before, this chordal section has quick arpeggios and thick, dissonant chords. It is, however, not exactly the same as “Passacaglia”. For example, the bass plays a much more active role, rhythmically, in my piece.

Falling Arpeggio

This section came to me very late one night, and is probably the reason that the piece took the more “modern” turn that it did. I was experimenting with various things to get a sound out of the guitar that I thought would be truly captivating as a concert piece. I was having no luck trying to expand the original piece as it is quite circular (it is, after all, suppose to be a “jam” piece, and predictability is important when a group of people are jamming).

Nearly falling asleep on my instrument late at night, I was simultaneously struggling with the trials and tribulations of today’s world (i.e. getting a mortgage as a musician; something for a future blogpost). I eventually began adding some more dissonant pitches to the mix and found them hypnotic.

The section ends with quite the cluster of pitches. F#, F Natural, and E all rub against each other. This sound is suppose to “sound bad”. For me, I found it to be an accurate conveyance of exactly what I felt at the time. Life sometimes has agonizing tension, and this piece does too.

Harmonics

This section is the main melody in harmonics with a few added ninths and sevenths. It follows the harmonics which end the previous “Falling Arpeggio” section. It should feel quiet and light, almost “fragile”.

E min Version of Rodrigo-esque chordal section

Very similar to the (A minor) “Rodrigo-esque chordal section”, but in E minor. The chordal voicings vary to fit the guitar in this register.

7th chord | Bass in High Register

This section takes the strong motions of the bass line and puts it almost entirely onto the highest string of the guitar, the high-e string. In the middle register, we get the less stable 7th’s of each measure’s respective chord. This is an “upside down” re-rendering of the chord, but I found it to be satisfying, unique, and sufficiently convincing.

Atonal “Extra Spicy” Section

This section is the apex of the piece in many ways. It is loud, but it also tests the boundaries of the chord progression. Many tones that conflict with the progression’s framework are intentionally added to create the feeling of “strife” and “agony”. However, just enough of the original progression remains that it is recognizable.

Recapitulation to original theme (similar to Takemitsu’s return to Bach in “Folios”)

Kaleidoscope is a reworking of one of my prior compositions. As I reworked the piece, I asked myself: Should I include (i.e. “quote”) the original piece verbatim anywhere in this piece? If so, where should I include the original piece? Should it be at the beginning? At the end? Perhaps it should not be included at all?

This piece took a turn further outside of traditional voice leading than I first anticipated, and for that reason I was leaning toward leaving out any verbatim “quoting” of the original. I was worried it might sound out of place. That being said, I also don’t expect that someone hearing this piece will have heard the original, and for that reason it would be wise to include some of the original piece.

One piece by Toru Takemitsu called “Folios”, which is completely original and quite atonal, ends with a verbatim quotation of a piece by Bach. In the end, I chose to do something similar with my piece. After the listener has heard the variations of the “theme”, we finally get its “recap” in E Minor as well as A Minor, which breaks apart a little bit near the end of its second iteration and finally dovetails into the Outro.

Outro

I wanted a lot of sound in the Outro section. I also wanted to draw upon the 7th chord texture mentioned before. Lastly, I hope that I chose the appropriate amount of “spice” and “power” for this section.

Sneak Preview of Kaleidoscope for Guitar

Below is a recording of my “sneak peak” performance of the new piece. The piece is a little new to me, and therefore the performance is a little “green” but the ideas are all there. Also, please be aware that the mic I used got “overdriven”. I will record a higher quality version, but I did not want to miss the opportunity to share my progress with you. Enjoy!

Sneak Preview of "Kaleidoscope"
Sneak Preview of "Kaleidoscope"

Sneak Preview of "Kaleidoscope"

Thank you for being a Member!

Memberships made this article and this piece possible. So, if you are a member, Thank You! If you are not a member, please consider becoming a member. Tiers start from as little as $5 one-time and $7/month.

If you are not yet ready to become a member, you can always stay connected by joining the newsletter. You will be notified once this piece is available in the store. Also, as a member, you will enjoy a discount, partial or full depending on your tier. Lastly, if you would like a lesson on this piece and/or others, please contact me.

Renaissance Jam: A Deeper Look

Over the weekend, I have been taking a deeper look into a piece that I wrote a while back that I like to call “Renaissance Jam” or “Renaissance Orchestra”. As the name implies, it sounds like something that could have been written in the 16th century. It is also a fun and hypnotic progression that I always thought would make it fitting for players to improvise (hence the word “jam”).

Peculiar Progression

I don’t know how in the world I imagined such a piece because there are aspects of the progression that remain mysterious to me to this very day. The basic outline of the chord progression is as follows: A minor, G major, Bb major, and D major. At the end (at D major), there is a turnaround of F major and G major, which can bring us back to the beginning (A minor), A major, or can take us to D major.

Renaissance music is known for having some peculiar chord progressions. Mainly guided by voice leading (i.e. the melodic direction of the individual pitches), music from the renaissance did not always fit into the nice “boxes” that chord progressions typically have since the 1600’s. In other words, by focusing on the individual (and most often singable) melodies, crafting beautiful lines first, and only then finding places for all the voices to converge “as chords”, musicians of the renaissance created unique progressions that are unimaginable if one takes a “chord first” approach.

The reason why the chord progression in my piece is peculiar is because there are no keys to which A minor, G major, Bb major, and D major are all native. In fact, G major and Bb major both have two different kinds of B pitches–the former a natural and the latter a flat. These two chords, being only a measure apart, “should” result in a terrible sound. However, what keeps it sounding good is how the notes are approached and introduced (i.e. voice leading).

Examination of Voice Leading

So how did I get away with such a peculiar progression? Let’s examine the voice leading, but first let’s see what we can learn from some examples of pieces from the renaissance.

The following example is Ricercare #3 by Francesco DaMilano, also known as “Il Divino” or “The Devine” for his amazing command of the lute. In the following example, the voices alternate between D sharp and D natural. Although the motion can sound unfamiliar to the modern ear, none of the voice leading sounds like it has “violated the rules”. In other words, nothing about this section sounds bad. The D natural pitches tend to bring us to the C# in an A major chord, and the D sharp pitches tend to bring is to the E in an E major chord. There are two times that the D natural brings us up to the E in an E major chord (mm. 106 and 119), but the motion does not sound contrived.

Example of Renaissance (Ricecare #3) Piece by DaMilano
Example of Renaissance (Ricecare #3) Piece by DaMilano

Try the following example for yourself. It is taken from measures 116-119 above.

As for my piece, it has its own peculiar cross relation. Other than the B to Bb motion described above, the following occurs in the F –> G –> D turnaround.

You can even have a little fun with it with added embellishments as well. Try the following

A “Renaissance Jam” Version of Giant Steps?

One way that I often describe this piece is like a Renaissance version of John Coltrane’s Giant Steps. Similar to Giant Steps, Renaissance Jam is meant to be a jam piece, an improvisational work for performers. Also similar to Giant Steps, and mentioned earlier, the chord progression is unusual. In John Coltrane’s work, there are unique turns that take one chord into the next. The name “Giant Steps” is said to come from the minor third movements from one group of chords to the next. (Note: a minor third is one half step higher than a major second, hence a “giant” step”). In my work, a similar “stretch” brings one chord to the next (e.g. G major –> Bb Major, the latter a minor third higher than the former).

“[T]he bass line is kind of a loping one. It goes from minor thirds to fourths, kind of a lop-sided pattern in contrast to moving strictly in fourths or in half-steps.”

John Coltrane, quoted from Album Liner Notes

Next Steps for Renaissance Jam

I plan to create a “concert version” (i.e. highly embellished, virtuosic version) of this piece. 20th century composer, Joaquín Rodrigo, wrote many new and original works based on older pieces from the 16th and 17th centuries. In this vein, I plan to take the “jam” piece I wrote, and create a new concert version. Watch the video below for a sneak peak of the latest developments.

video
Renaissance Jam

Interested in studying the original version? It is available in the shop. Special thanks to all my members/patrons for making posts like this possible, and supporting my future work.

Performance with Gallery@57

Last October, Gallery@57 in Malden, MA graciously invited me to perform as part of their “Artists at Work” event. Today, I found the video of myself performing at the event, as recorded by MATV/UMA (thanks — you did great!). I am posting the video here for you to enjoy.

"Chiisai Aki" performed by Devin Ulibarri
"Chiisai Aki" performed by Devin Ulibarri

"Chiisai Aki" performed by Devin Ulibarri

For the event, I performed three arrangements of Japanese folk tunes, all of which are about the autumn season. The arrangement in this video is “Chiisai Aki ga Mitsuketa”, which roughly translates to “I found a small autumn”. The arrangements are published by Gendai Guitar. The melody, in e minor, is beautiful and mysterious.

I hope that you enjoy. If you like it, please add a comment below. Thanks!

Interested in hearing more? Please check out my media page for more videos.

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A Few New Changes for the New Year

We have just entered a new year — hurrah!

First of all, please congratulate yourself on your accomplishments in 2020. Let’s face it, 2020 was not an easy year. On the bright side, we could say that, because 2020 was so incredibly challenging, that you will just that much more benefit from your 2020 accomplishments. Small achievements count as big achievements, big achievements as huge achievements. You get the idea.

As for the updates on this website, I have the following to announce:

  • We have been live for less than a week’s time and we have already greeted our first two members. Congrats to our new members.
  • I have implemented an automatic shop discount for all membership levels. Narrative members receive 7% off everything in the shop. Supporter members receive 27% off. Super-supporters receive 47% off. Personal Patrons receive 77% off. “Three Lucky Sevens” and above tiers receive 100% off everything in the shop. Please see the Membership Levels page to see the updated verbiage.
  • We now have a new “Observer” tier. For a one-time fee of $5, you can have 5% off everything in the shop and access to exclusive offers. Please check out the description for Observer tier for more info.

As this website is very new, I am still building things out. I encourage all new members to give me feedback for how to make this site a fun place. For those reading this who are not members, please remember that you may always contact me. I receive the message just as if you were sending me a direct message.

Thank you again, and Happy New Year!

Website Debut Today

Hello folks! I have been working on the newest version of my website, which you can read a little bit about in previous posts. There is still work to be done, but I have decided to debut the website today so that I can share my work and my process with the various stakeholders.

Website Features

I did my best to make the website fun. Features are fun, so I put as many features on the website as would make sense without (hopefully) creating too much clutter.

This website does a lot of things. It has an in-house newsletter feature thanks to the work of The Newsletter Plugin. The Newsletter is very nice. In fact, if you sign up for it you will receive an automated series of emails with news and discounts.

The other thing the website does, is it has a membership features. In fact, if you become a member today you will get instant access to member-only posts and pages. Paid Memberships Pro is the engine for this feature.

The website has its own store, which is run with WooCommerce. There, you can find a selection of original music and arrangements.

There is more going on under the hood as well, which I will detail in later posts. There is also more to come.

I hope that you enjoy the site, and if you have any questions or requests please do not hesitate to contact me. (Contact form is thanks to Ninja Forms. Gotta’ give credit where credit is due.)

Image Reference: OpenClipArt.org

Why not Patreon?

If you are wondering why I chose not to use Patreon, this is why.

Patreon has certain pitfalls, such as requiring patrons to run non-free software and the inability to accept checks/cash. Plus, Patreon takes an additional cut on top of already-existing payment processing fees, which means a larger portion of your payment will go to the artist (me).

The membership features on the site are thanks to Paid Memberships Pro WordPress Plugin (licensed as free software). I manage the plugin and all the data on the site, so you are working more directly with me than if I had chosen a 3rd party (better privacy). Also, if you want/need to pay with check or cash, contact me, and I will accommodate (complete privacy).

Lastly, and I mention this because I am benefiting as we speak from this, because it is free software (free as in freedom) I am able personally benefit from the ability to copy and modify the source code. This gives me greater control over how I present myself, and how I operate myself as a professional musician.

If you are a musician and you are reading this, and thinking “I want a site with some/all of these features”, please contact me and we can discuss the possibilities. And for those musicians who already have a Patreon page, and want to at least have the freedom of control that comes with WordPress, there is a Patreon plugin for WordPress that integrates the two.

Become a Member and be Rewarded

Choosing a career as an independent musician with a mission to contribute to the community, has required me to make a financial sacrifice. However, I know that sacrifice is worth it because I have seen how our work has transformed communities, and would love your support to make it sustainable.

To thank you for your support, I’ve created a tiered membership community, where members get exclusive access to audio and video of my compositions, and sheet music. You can find some of this material for sale on this site, but members get special access as part of their membership. Certain tiers also include a free guitar/music+code lesson.

You are contributing to more than my music, you are also contributing to my journey. I’m deeply grateful for this, and will be sharing member-only essays about my life as an independent artist, including both the triumphs and heartaches. I hope you find this both rewarding and inspiring, especially for anyone who has considered quitting their day job and going ‘all in.’

What tiers are available?

Tiers start with narrative, supporter, super-supporter, and personal patron, and go all the way up to “Quarterly Original with Dedication”. The tiers start from $7/month.

So, what are you waiting for? Become a member and start receiving benefits today!

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Hello world! Website 2.0

Welcome to the website for the music, education projects, advocacy, social, and opinions of Devin Ulibarri. (Yes, I really plan to do all those things on this site.)

How is this website a “2.0”?

For those reading this who have visited this site before, the difference will be obvious.

For those reading this who never saw the old site before, this is what it looked like.

Old devinulibarri.com
Old devinulibarri.com

I am sure you will agree that this was a very simple website. I purposely made it simple. One reason is because I decided to use Register4Less’ free storage. 10MB of storage comes free with the price of the domain. (For those of you who are wondering how much space “10MB” is, it is about the size of of one or two high-definition photos. In other words, not very much space at all.)

Why did I do confine myself to 10MB? I will admit that part of the reason is because it was kind of fun. I had to come up with workarounds, and I could not use a CMS like WordPress because it would take too much space.

So, my site ended up looking like it was created in the 1990’s. I suppose it was probably a bad idea for marketing myself, but it was kind of fun.

Meanwhile, I did get a few websites up and running with WordPress. I will share all my adventures in learning WordPress in future posts, but what working on all these sites gave me is experience in creating websites.

This new version of devinulibarri.com is created with WordPress and is the culmination of years of work tinkering on other sites (and, of course, all the hard work of the various WordPress and plugin developers). I plan to take full advantage of what WordPress can do, so that anyone can come to this site and leave with music, guitar tips, new ideas, and/or a new friend.

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