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Read e-book online Acoustic and MIDI Orchestration for the Contemporary PDF

By Andrea Pejrolo, Richard DeRosa

ISBN-10: 0240520211

ISBN-13: 9780240520216

Get entire counsel on either conventional orchestration and smooth construction concepts with this specific e-book. With powerful factors and transparent illustrations, you are going to tips on how to combine the conventional method of orchestration with the fashionable sequencing concepts and instruments to be had. you will find find out how to bridge the 2 ways for you to improve your ultimate production.

The accompanying CD features a entire and wide variety of examples, templates and sounds to permit you to listen to the strategies in the book.

By protecting either methods, this e-book offers a accomplished and sturdy studying adventure that would improve your abilities and end up super aggressive within the song creation company.

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Extra resources for Acoustic and MIDI Orchestration for the Contemporary Composer: A Practical Guide to Writing and Sequencing for the Studio Orchestra

Sample text

If you are dealing with video, the frame rate is dictated by the video frame rate of your project. If you are using MTC simply to synchronize music devices, it is advisable to use the highest frame rate available. 97 drop, 30, and 30 drop. Song position pointer: This message tells the receiving devices to which bar and beat to jump. It is mainly used in conjunction with the MIDI clock message in a master–slave MIDI synchronization situation. Song select: This message allows you to call up a particular sequence or song from a sequencer that can store more than one project at the same time.

When two comping instruments do need to play in the same register, quite often the rhythm is the element that creates contrast. For example, a guitarist could be strumming in a more rapid fashion while the keyboardist is playing long, sustained chords; or the keyboardist might be playing a syncopated rhythmic figure using full chords while the guitarist is playing a more transparent idea using arpeggios. These are just two ways to establish contrast. It is wise to listen to rhythm sections with a keen ear for each instrument within the section to become aware of the various possibilities.

The fifth octave may also be used in conjunction with one of these lower octaves, but the top two octaves are not really useful in this regard. Even though the range of the guitar and, in particular, the keyboard extends beyond either side of the third and fourth octaves, professionals stay primarily in this preferred area when comping. To create perspective for the listener, each instrument finds a different register, allowing both instruments to be heard simultaneously in a clear manner. When two comping instruments do need to play in the same register, quite often the rhythm is the element that creates contrast.

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Acoustic and MIDI Orchestration for the Contemporary Composer: A Practical Guide to Writing and Sequencing for the Studio Orchestra by Andrea Pejrolo, Richard DeRosa


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