Composition for computer musicians:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Boston, Mass.
Course Technology
2009
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes index. |
| Beschreibung: | XIII, 220 S. Ill. 24 cm. CD (12 cm) |
| ISBN: | 9781598638615 1598638610 |
Internformat
MARC
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| 020 | |a 9781598638615 |9 978-1-598-63861-5 | ||
| 020 | |a 1598638610 |9 1-598-63861-0 | ||
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| 100 | 1 | |a Hewitt, Michael |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Composition for computer musicians |c Michael Hewitt |
| 264 | 1 | |a Boston, Mass. |b Course Technology |c 2009 | |
| 300 | |a XIII, 220 S. |b Ill. |c 24 cm. |e CD (12 cm) | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Includes index. | ||
| 650 | 4 | |a Popular music |x Writing and publishing | |
| 650 | 4 | |a Software sequencers | |
| 650 | 0 | 7 | |a Musik |0 (DE-588)4040802-4 |2 gnd |9 rswk-swf |
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Datensatz im Suchindex
| _version_ | 1804139336370749440 |
|---|---|
| adam_text | Contents
Introduction
.................................................xiii
Chapter
1
Getting the Best out of Your Setup
________________________ 1
Score-Writing Programs
..........................................1
Loop-Based Computer Programs
...................................2
Propellerhead Reason
...........................................2
The DAW
...................................................2
ReWire Technology
..........................................3
The DAW as the Heart of the Setup
...............................4
Ableton Live
.................................................4
Slowly Building Up Your Studio
....................................5
Conclusion
...................................................6
Chapter
2
Knowing Your Genre
9
The Implications of Genre
........................................10
Genre and Compositional Technique
................................10
A New Way of Listening to Music
..................................11
Open Your Mind to Other Genres
..................................12
Conclusion
...................................................12
Chapter
3
Rhythm and Dram Programming
15
Using Pre-Composed Dram Loops
..................................15
Studying a Real Drum Kit
........................................16
To Learn about Drumming, Watch a Drummer
.........................18
VI
Contents
vii
Drum Machines
...............................................19
Hardware Drum Machines
....................................19
Software Drum Machines
.....................................20
Functional Elements of Drum Programming: The Kick and the Snare
..........20
Kick-Snare Patterns
..........................................23
Two-, Four-, and Eight-Bar Extensions
............................27
The Ride
....................................................28
Quantization
.................................................30
Swing
......................................................30
Creating Natural Velocity Curves
...................................32
Creating a Groove
.............................................33
Using Fills
...................................................35
Providing Color and Atmosphere
..................................36
Features of Style: The Drum Kit
....................................38
Key Questions to Ask
...........................................39
Processing the Drum Track
.......................................39
Conclusion
...................................................40
Chapter
4
Writing for Percussion
45
Secondary Instruments and Samples
.................................45
Congas and Bongos
............................................47
Daraboukas
..................................................48
Tablas
......................................................50
Djembe and
Udu
..............................................51
Writing Percussion Parts
.........................................53
Writing Functional Percussion as a Substitute
.......................53
Writing for Functional Percussion as an Addition to Conventional Drums
. . .55
Conclusion
...................................................56
Chapter
5
Dance Music Drum Programming
59
The Kick Element
..............................................60
The Snare Element
.............................................61
The Ride Element
..............................................62
Speedcore
...................................................63
Hardcore
....................................................64
Hard Dance and Trance
.........................................65
viii
Composition
for Computer Musicians
.
Psychedelic Trance
.............................................65
Techno
.....................................................66
Hardcore Techno
...........................................67
Minimal and Detroit Techno
...................................61
Tribal Styles
..................................................68
House
......................................................69
Processing Your Drum Track
......................................71
Drums for Punctuation
..........................................72
Conclusion
...................................................73
Chapter
6
Common Values
75
Bass, Lead, and Harmony
........................................16
Conclusion
...................................................78
Chapter
7
Producing Basslines
79
Providing
a
Bassline............................................80
Root Basses
...............................................81
Octave Basslines
............................................83
Root and Fifth Basses
........................................83
Triadic Basses
.............................................84
Sixth and Seventh Chord Basses
.................................84
Pentatonic Basslines
.........................................84
Chromatic Basslines
.........................................86
A Full Chromatic Bass Scale
......................................87
Basslines and Chord Progressions
...................................87
Synthesized Basses
.............................................90
Programming and Writing Step-Bass Patterns
..........................93
Sub-Basses
...................................................95
Writing Basses: A Simple Strategy
..................................96
Conclusion
..........................,........................96
Chapter
8
Writing Melodic Leads
____________ 99
Lead Instruments
..............................................99
Melody
....................................................101
Contents
¡χ
Key....................................................101
Scale and Mode
...........................................103
Tonic and Dominant
........................................104
Steps and Leaps
...........................................106
Melodic Structure
.............................................109
Fast Track to Melody Writing
....................................
Ill
Conclusion
..................................................
Ill
Chapter
9
Melody, Bass, and Harmony
113
The Importance of Musical Harmony
...............................113
Melody and Bass Doubling
......................................114
Heterophony
................................................114
Melodic Independence
..........................................115
Homophony
.................................................115
Putting a Bass to a Lead
........................................117
Modal Approaches to Harmonizing Bass and Lead
.....................120
Conclusion
..................................................122
Chapter
10
The Creative Use of FX
________________________________123
The Necessity for FX
..........................................123
Natural or Endemic Effects on Acoustic Instruments
....................123
Master and Insert FX
..........................................124
Master FX
...............................................125
Insert FX
................................................126
Creative Use of FX
............................................126
Compression
.............................................127
Side-Chaining
.............................................128
Reverb
..................................................128
Delay
..................................................131
Filtering
.................................................134
Chorus
.................................................135
FX Chaining
.............................................135
Experimentation
..............................................136
Conclusion
..................................................137
χ
Composition
for Computer Musicians
Chapter
11
Writing for Strings
_______________________________139
Four Types of Strings
..........................................139
Types of String Ensemble
.......................................140
Scoring String Chords
..........................................141
Styles of String Writing
.........................................142
Legato Strings
............................................143
Pizzicato Strings
...........................................144
Staccato Strings
...........................................146
Détache
Strings
...........................................147
Octave Strings
............................................148
Tremelo Strings
...........................................149
Conclusion
..................................................149
Chapter
12
Writing for Pads
_____________________________________151
Using Pads
..................................................151
Types of Pads
................................................153
Conclusion
..................................................154
Chapter
13
Writing for Acoustic Instruments
________________________157
Challenges with Acoustic Instruments
...............................157
The Importance of Research
.....................................157
Conclusion
..................................................159
Chapter
14
Arpeggiation
____________________________________161
What Is an Arpeggiator?
........................................161
Features of an Arpeggiator
......................................161
Monophonie/Polyphonie
.....................................162
Pitch Control
.............................................162
Number of Octaves
.........................................162
Note Resolution
...........................................162
Gate Control
.............................................162
Velocity Control
...........................................162
Tempo Control
............................................163
Contents
x¡
Swing
Control
............................................163
Pattern Control
...........................................163
Curve Control
............................................163
Example of an Arpeggiator
......................................163
Uses of Arpeggiators
...........................................164
Writing Riffs
................................................166
Conclusion
..................................................168
Chapter
15
Sampling
169
The Morality of Sampling
.......................................169
Ripping Samples
..............................................170
Developing Your Own Sample Library
..............................172
Creating Your Own Sample Patches
................................173
Resampling
.................................................176
The Legalities of Sampling
.......................................177
Conclusion
..................................................178
Chapter
16
Control Data
_________________________________________179
Changes of Control Data as Process
................................180
Conclusion
..................................................183
Chapter
17
Approaching Structure
185
Musical Form
................................................185
Continuity and Contrast; Repetition and Change
....................185
Song Form
...............................................186
Structure in Dance Music
.......................................187
Study Your Favorite Tracks
......................................189
Less Is More
................................................189
Conclusion
..................................................190
Chapter
18
Layering and Sequencing
________________________________191
Laying Down the Drum Track
....................................191
Laying Down the Bass
..........................................195
X¡¡
Composition
for Computer Musicians
Laying Down Your Lead Material
.................................196
Leave Yourself Somewhere to Go
..................................197
Sequencing Your Music
.........................................199
Final Editing
................................................200
Conclusion
..................................................201
Chapter
19
Mixing and Mastering
203
Mixing the Track: Levels
........................................203
Mixing the Track: Panning
......................................205
Mixing: EQ
.................................................207
Mastering the Track
...........................................209
Conclusion
..................................................209
Conclusion
___________________________________________211
Where to Next?
..............................................211
Index
213
|
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| id | DE-604.BV035650733 |
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| indexdate | 2024-07-09T21:42:28Z |
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| isbn | 9781598638615 1598638610 |
| language | English |
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| spelling | Hewitt, Michael Verfasser aut Composition for computer musicians Michael Hewitt Boston, Mass. Course Technology 2009 XIII, 220 S. Ill. 24 cm. CD (12 cm) txt rdacontent n rdamedia nc rdacarrier Includes index. Popular music Writing and publishing Software sequencers Musik (DE-588)4040802-4 gnd rswk-swf Komposition Musik (DE-588)4133320-2 gnd rswk-swf Computerunterstütztes Verfahren (DE-588)4139030-1 gnd rswk-swf Soundverarbeitung (DE-588)4485311-7 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content Musik (DE-588)4040802-4 s Soundverarbeitung (DE-588)4485311-7 s DE-604 Komposition Musik (DE-588)4133320-2 s Computerunterstütztes Verfahren (DE-588)4139030-1 s Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017705331&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Hewitt, Michael Composition for computer musicians Popular music Writing and publishing Software sequencers Musik (DE-588)4040802-4 gnd Komposition Musik (DE-588)4133320-2 gnd Computerunterstütztes Verfahren (DE-588)4139030-1 gnd Soundverarbeitung (DE-588)4485311-7 gnd |
| subject_GND | (DE-588)4040802-4 (DE-588)4133320-2 (DE-588)4139030-1 (DE-588)4485311-7 (DE-588)4151278-9 |
| title | Composition for computer musicians |
| title_auth | Composition for computer musicians |
| title_exact_search | Composition for computer musicians |
| title_full | Composition for computer musicians Michael Hewitt |
| title_fullStr | Composition for computer musicians Michael Hewitt |
| title_full_unstemmed | Composition for computer musicians Michael Hewitt |
| title_short | Composition for computer musicians |
| title_sort | composition for computer musicians |
| topic | Popular music Writing and publishing Software sequencers Musik (DE-588)4040802-4 gnd Komposition Musik (DE-588)4133320-2 gnd Computerunterstütztes Verfahren (DE-588)4139030-1 gnd Soundverarbeitung (DE-588)4485311-7 gnd |
| topic_facet | Popular music Writing and publishing Software sequencers Musik Komposition Musik Computerunterstütztes Verfahren Soundverarbeitung Einführung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017705331&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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