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Buscaki, the app that connects service providers and customers

The population keeps business cards (from the plumber, the electrician, the bakery), and when you need the services of these professionals … where’s the card? Busca is an application designed to solve situations like this. It is an app that we developed for iOS and Android that connects the customer with service providers. Through Buscaki, you can find professionals in twenty categories (and more than two hundred types of services provided) near you. Busca makes it possible for you not only to discover the professional but also to talk to him by message or chat . Just in time. Busca was built using geolocation tools. That is, when the client searches for a professional, the first names that appear to him are the closest to his home. The user can register more than one address in Buscaki. For example, the user may have his / her residence in the city registered, as well as the house on the beach, or the place inside. And seek the professionals closest to the address where you will need the services.

The idea came to the app’s creator, the entrepreneur Felipe Reis, from his disgust at seeing his mailbox full of pamphlets and business cards every day. An informal survey started with acquaintances: who kept these advertising materials for professionals? The answer: none. “The professional make a folder or business card, spends fifty, one hundred reais, but his return is very low”, says Felipe Reis. With the idea germinating, it took shape, definitely, when Reis consulted a general service provider if he would advertise in an app like the idealized one. “On the spot” was the professional’s response. Thus was born Buscaki, which already has 240 registered professionals. For now, it is available in Curitiba and the metropolitan area.

Understand the benefits of the native app over the hybrid

Everyone knows that people love their smartphones. And the main reason for this affection is the apps that run on them. For this reason, we at DevMaker invest in quality in the development of mobile applications. Between native or hybrid development, we chose to develop apps only natively. You will understand why. (Oh, and we’ve already explained what “native” and “hybrid” mean).

Well, to start, let’s give a brief explanation about the two types of apps.

Native applications are programs developed for a specific platform (for example, an application specially built to run on the iPhone, with the iOS operating system; or else an app developed to run on a smartphone with the Android operating system; or on the Windows Phone). In other words, a native application is designed to run perfectly on that specific operating system, extracting its full potential. The hybrid application is developed in a mixed way, a little bit in the language of one operating system, a little bit in the language of another. In general, beneath its application shell, the hybrid app pulls content from the web (for example, from the website of the company that owns the application). Developing a hybrid app can be more economical. But the quality of the native is still superior. There are ardent defenders of both, with good arguments from side to side. However, on the native side, there is an unbeatable argument for your choice. The best argument that can be found in any market.

It’s the user experience.

It is a fact: people love smartphones, as we said. They develop a personal relationship with them. (Do you know someone who lost his cell phone and shrugged: “No problem, tomorrow I buy another one”?). This affection does not arise from the device itself, but from what is inside it. In other words – it doesn’t hurt to repeat –  because of the applications. That is, the application has to give the user great user experience. As there are many of them on the market, a bad experience makes the consumer quickly abandon the app that does not work well. For example, only 16% of users, according to research, try to install more than once the app that “bugged” the installation.

The experience of using the native app is unquestionably superior. The hybrid application is faster and cheaper to develop. But always remember the user who is going to use the application. He expects the app to be bug-free and quick to use (often, the hybrid app, because it has to load web content, unlike the native app, whose data pack is already complete when downloaded, is slower to use ). That is, the user’s expectation is that the app has a wonderful performance. And here lies the problem with the hybrid app. The style and internal logic of the iPhone and Android are very different from each other. When building a native app for each one, these differences are taken into account. As skilled as the developer of the hybrid application is, he, trying to bridge the gap between the two styles, will not be able to get close to the user experience of the native app.

A second technical argument: you have developed a hybrid app that depends on loading data from the web. This means that the user will not be able to use the application when offline (when there is no wi-fi nearby or the 3G or 4G signal is bad or non-existent). Not to mention the common conflicts that hybrid apps have with smartphone hardware, such as the camera and GPS. This all frustrates the user. It is a demanding market, and everything that is below the goodwill, sooner or later, end up in the cell phone’s trash. The reaction of 92% of customers who have a negative experience with the application is generally one of two options: 1) never use it again; 2) download the competitor’s application.

Best Apps for Teaching Music

Do you remember the first time you were let loose on a Portastudio? Or your mates drum machine? Technology has been shaping music for years now and it’s breathtaking to see the power of the music apps being released for the iOS system iPad and iPhone. Here is a selection of music apps that will add inspiration and quality to your teaching projects:

 Garage Band – Recording Studio App

Turns your iPad or iPhone into a collection of touch instruments and a full-featured recording studio. Files are compatible with the grown-up Mac version. Amazingly powerful, easy to use, and featuring great sounds and playability. You can play on-screen kits, keyboards, and guitars by strumming and tapping or using some of the pre-set grooves.

 NodeBeat HD – Generative Music App

Accessible music maker that allows you to create your own music in minutes or listen to it generate its own. Features rhythm and pitch generators that organically shift through the screen space and a playable keyboard background. Great stuff.

 Shiny Drum – Instrument App

Drum machine type playable pads with 12 sounds per kit. Excellent sound quality and expandable with more electronic and acoustic sounds available to buy and a very accessible interface for beginner musicians and SEN students.

Acoustic Mirror – Practice App

Acoustic Mirror provides hands free automated recording and playback for your students practice sessions. Intuitive user interface helps you create instant feedback on practice and performance.

Bionic Ears – Ear Training App

Bionic Ears plays intervals and phrases for you to imitate on your instrument and evaluates your response. It keeps track of your strengths and weaknesses and works you hardest in the areas where you need it most. Free version also available.

iReal b – Song Book App

Although this no longer comes pre-loaded with a selection of standards (because of copyright issues), you can find plenty of songs on forums which can be imported. You can use it as a book full of your favourite charts or as a backing band that accompany you from the sheet. Tunes can be transposed, looped for practice, edited, shared, and written from scratch or from one of the 50 chord progression templates. Different backing band style packs are available to buy as an upgrade.

TNR-i – Instrument App

This is the iOS version of the hugely popular Yamaha instrument TENORI-ON which allows you to create music intuitively by arranging sounds in space – what you see on the screen grid is what you hear. On the 16×16 grid of buttons, the horizontal axis is time and the vertical is pitch and as you lay sounds onto these buttons you can combine rhythms and melodies to create music. TNR-i can produce 16 layers of sounds at the same time and these can be stored in up to 16 song blocks. And now I would like to invite you to read more about being a free-thinking music educator. Part of my success is through combining my performance career with my teaching one and I offer plenty of information to help you do the same.

Circle of Fifths

The Circle of Fifths shows the relationships among the twelve tones of the Chromatic Scale, their corresponding key signatures and the associated Major and Minor keys. In lay terms: The Circle of Fifths is a music theory diagram for finding the key of a song, transposing songs to different keys, composing new songs and understanding key signatures, scales, and modes..

Click any Key for more info.

C Major A Minor C Major A Minor
G Major E Minor F Major D Minor
D Major B Minor B♭ Major G Minor
A Major F# Minor E♭ Major C Minor
E Major C# Minor A♭ Major F Minor
B Major G# Minor D♭ Major B♭ Minor
F# Major D# Minor G♭ Major E♭ Minor
C# Major A# Minor C♭ Major A♭ Minor

The Circle Of Fifths is used in music theory to represent the relationship between Diatonic Scales. The numbers on the Circle Of Fifths chart show how many sharps or flats the key signature for the scale has. Thus a Major Scale built on A has 3 sharps in its key signature as shown by the Circle of Fifths.

Reading Key Signatures using the Circle of Fifths

All songs have key signatures. Understanding what a key is and what it’s signature looks like, is a must to being able to read music and understanding the Circle of Fifths. The Circle of fifths makes it very easy to see, how many sharps or flats are in any given key signature. At the top of the Circle Of Fifths Diagram, the key of C has no sharps or flats in its key signature. Starting from the key of C and moving clockwise by ascending fifths, the key of G has one sharp, the key of D has 2 sharps and so on. Example: Circle of fifths c major key signature circle of fifths g major key signature circle of fifths d major key signature Starting at C each step clockwise gets a sharp – #.
C Major G Major D Major Going counter-clockwise from the top by descending fourths, the key of F has one flat, the key of B♭ has 2 flats, and so on. Example: Circle of fifths c major key signature circle of fifths f major key signature Starting at C each step counter-clockwise gets a flat -♭.

C Major F Major B♭ Major

Moving counter-clockwise around the Circle of fifths adds flats to the key signature, and moving clockwise around the Circle of Fifths adds sharps to the key signature. Notice that there are flats after the key name starting on B♭Major going counter-clockwise around the Circle of Fifths and sharps starting on F# Major going clockwise around the Circle of Fifths. Try to memorize this fact. You can make it easy to find the next key signature moving clockwise around the Circle of Fifths, by counting up five steps on your fingers. C, D, E, F, and G. G is a 5th up from C and is the next key on the Circle of Fifths. You could start again from that key G to find the next key up. But remember the note you start on counts as one. G, A , B ,C, D So would be D is the next key signature a fifth up from the key before it. But remember that’s only when you go clockwise around the Circle of Fifths to find the next Key or fifth up!

When you go counter-clockwise around the Circle of FIfths the whole thing turns into the Circle of Fourths. To use your hands to find the next key counter-clockwise start on C and count up 4 steps – C, D, E, F and thats the next key on the Circle of Fourths. The piano has white keys and black keys. If I play only the white keys I am playing in the key of Circle of fifths c major scale on piano = circle of fifths c major scale key signature.

Key of C on Piano. Key Signature for the key of C

But if I add a black key to the mix then I’m changing keys. I can look at the circle of fifths and find that the key of G, for instance, has one black key and the black key is an F# so to play in the key of G I can play all the white keys but not the F key I would instead play the F# key. Then I’d be playing in the key of G. The order of sharps and flats is always the same. meaning if you see one sharp in the key signature then that will be a F# and only a F# if there are two sharps they will be F# and C# and if there are 3 sharps they would be F# C# and G# . In order to remember which order that the sharps and flats of a key signature are written, there are several mnemonics that can help: The order of the sharps is Fat Cats Go Dancing At Eds Broiler. From this you can say that if you know the key of E major has four sharps, the mnemonic shows which sharps they are (F#,C#, G#,D#). The mnemonic for flats is ‘Boogie Ends And Down Go Cats Fast’.

Keys are not considered closely related to each other if they are near each other in the Chromatic Scale (or on a keyboard). What makes two keys “closely related” is having similar key signatures. So the most closely related key to C Major, for example, is A minor, since they have the same key signature (no sharps and no flats). This is where Modes comes into play. The next most closely related keys to C Major would be G Major (or E minor), with one sharp, and F Major (or D minor), with only one flat. The keys that are most distant from C Major, with six sharps or six flats, are on the opposite side of the circle.

Tonal music often modulates by moving between adjacent Keys on the Circle Of Fifths. This is because keys wich describe Diatonic Scales contain seven pitch classes that are contiguous on the Circle Of Fifths. It follows that Keys a perfect fifth apart share six of their seven notes. and, the notes not held in common differ by only a semitone. Thus modulation by a perfect fifth can be accomplished in a very musical fashion. Another use for the Circle of Fifths is to determine chord patterns. The symbol used for this are I (major), ii (minor), iii (minor), IV (major), V (major), vi (minor) and viio (diminished). On the Circle of Fifths, the numerals are arranged as follows starting from F then moving clockwise: IV, I, V, ii, vi, iii and video. So, for example, a piece asks that you play a I-IV-V chord pattern, looking at the circle you can see that it corresponds to C – F – G. Now if you want to play it in another key, say for example on G, you then align the numeral I to G and you’ll see that the I-IV-V chord pattern now corresponds to G – C – D. and now is the perfect time to introduce Diatonic Harmony.

Diatonic Harmony: If we look at The Major Scale in the key of C (white keys on a piano) and we start on the C key and move up a note at a time C, D, E, F, G, A, B, C or we can think of those notes as numbers C=1, D=2, E=3, F=4, G=5, A=6, B=7, C=8 once we think in numbers we can use this Diatonic Harmony chart. If you hold down key 3 then chances are that the next note you want to press is 6 and then from 6 chances are you would want to move to 2 and so on. Click here to see more info and a video.

Circle of fifths diatonic harmony chart

Transposition with the circle of fifths: The Circle of Fifths can also be used when transposing from a major key to a minor key or vice versa. To do this play the inner or outer circle on the circle of fifths that shares the same key signature. The term interval is used in music theory alot and is the distance between two notes. All music really gets it’s feeling by how the intervals are used. There are only seven notes in a scale so all intervals can be made with just seven notes. Think of a piano, if I press two keys at one time anywhere on the keyboard then there is a certain amount of keys between them.

Circle of fifths C Major Scale on a Piano

The distance between the C and the G key on the piano is known as a perfect fifth interval. Another way to find a perfect fifth on a piano is to start on any key and count seven keys to the right (both black and white) to find a perfect fifth. Seven half step is a “perfect fifth”, called ‘perfect’ because it is neither major nor minor, but applies to both major and minor scales and chords, and a ‘fifth’ because though it is a distance of seven semitones on a keyboard, it is a distance of five steps within a major or minor scale. A simple way to hear the relationship between these notes is by playing them on a piano keyboard. If you traverse the circle of fifths backwards, the notes will feel as though they fall into each other. This aural relationship is what the mathematics describe.

Perfect fifths may be justly tuned or tempered. Two notes whose frequencies differ by a ratio of 3:2 make the interval known as a justly tuned perfect fifth. Cascading twelve such fifths does not return to the original pitch class after going round the circle, so the 3:2 ratio may be slightly detuned or tempered. Temperament allows perfect fifths to cycle and allows pieces to be transposed, or played in any key on a piano or other fixed-pitch instrument without distorting their harmony. The primary tuning system used for Western (especially keyboard and fretted) instruments today is called twelve-tone equal temperament. The term ‘fifth’ defines an interval or mathematical ratio which is the closest and most consonant non-octave interval. The circle of fifths is a sequence of pitches or key tonalities, represented as a circle, in which the next pitch is found seven semitones higher than the last. Musicians and composers use the circle of fifths to understand and describe the musical relationships among some selection of those pitches. The circle’s design is helpful in composing and harmonizing melodies, building chords, and moving to different keys within a composition.