Download Acoustic and MIDI Orchestration for the Contemporary by Andrea Pejrolo, Richard DeRosa PDF

By Andrea Pejrolo, Richard DeRosa

Get whole information on either conventional orchestration and smooth creation recommendations with this special ebook. With potent factors and transparent illustrations, you are going to find out how to combine the normal method of orchestration with the trendy sequencing thoughts and instruments on hand. you will find the right way to bridge the 2 ways so one can improve your ultimate production.

The accompanying CD encompasses a entire and good selection of examples, templates and sounds to permit you to listen to the recommendations in the book.

By overlaying either ways, this e-book presents a complete and reliable studying adventure that might improve your abilities and turn out super aggressive within the song construction enterprise.

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Read or Download Acoustic and MIDI Orchestration for the Contemporary Composer: A Practical Guide to Writing and Sequencing for the Studio Orchestra PDF

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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

Example text

This location serves as an aural boundary defining the fundamental harmonic region (below this point) and the extended harmonic region (above this point). Please remember that this characteristic serves merely as a guideline. As with all music creativity there is always a certain amount of flexibility regarding the arrangement of notes within a voicing. 9 is derived from most of the notes of the overtone series as it is heard from the note C. It creates a dominant 13th with an augmented 11th. Notice that there is only one chord tone in the first octave (in this case, the root).

The “local” is the internal connection between the keyboard and the sound generator. 3). This setting is not recommended in a sequencing/studio situation, as the sound generator would play the same notes twice, reducing its polyphony (the number of notes the sound generator can play simultaneously) by half. It is, though, the recommended setup for a live situation in which the MIDI ports are not used. 4), the sound generator receives the triggered notes only from the MIDI IN port, which makes this setting ideal for the MIDI studio.

To understand the MIDI standard is extremely important for a successful and smooth production process. The MIDI standard is based on 16 independent channels on which MIDI data are sent and received by the devices. On each channel a device can transmit messages that are independent of the other channels. Every device that needs to be connected to a MIDI studio or system must have a MIDI interface. The MIDI standard uses three ports to control the data flow: IN, OUT, and THRU. While the OUT port sends out MIDI data generated from a device, the IN port receives the data.

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