Composition for Computer Musicians

By Michael Hewitt

You are tremendous familiar with the software program that you just use, have an outstanding knowing of your personal style, or even have an exceptional uncomplicated figuring out of track thought. despite the fact that, this doesn't unavoidably suggest for you to write potent track tracks. you would like one other type of wisdom besides - the information of composition. This pleasant advisor explains the fundamentals of composing songs and song at the desktop utilizing any tune utilizing any track production and recording software, even if you opt cause, reside, Cubase, good judgment, seasoned instruments, electronic Performer, Finale, Sibelius, FL Studio, SONAR, or anything. it is not as not easy because it sounds, and this booklet eases the educational curve so you may be making song very quickly. you will quick how one can application rhythm and drums, create basslines and melodic leads, and use FX and samples. you will additionally find out about blending and gaining knowledge of your song and allotting it to a mass viewers. Composition for computing device Musicians explains all of it whereas displaying you the fundamentals of track idea all through so you can be yes you are not simply making noise at the machine - you are utilizing your desktop to make professional-sounding track.

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Ninety five Writing Basses: an easy method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ninety six end. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ninety six bankruptcy eight Writing Melodic Leads ninety nine Lead tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ninety nine Melody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . one zero one ix Contents Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . one zero one Scale and Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Tonic and Dominant. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Steps and Leaps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Melodic constitution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 quickly music to Melody Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 end. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 bankruptcy nine Melody, Bass, and concord the significance of Musical concord . . . . . . . . . . Melody and Bass Doubling . . . . . . . . . . . . . . . . . Heterophony . . . . . . . . . . . . . . . . . . . . . . . . . . . Melodic Independence. . . . . . . . . . . . . . . . . . . . . Homophony. . . . . . . . . . . . . . . . . . . . . . . . . . . . placing a Bass to a Lead . . . . . . . . . . . . . . . . . . . Modal techniques to Harmonizing Bass and Lead end. . . . . . . . . . . . . . . . . . . . . . . . . . . . . bankruptcy 10 The inventive Use of FX 113 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 . 114 . 114 . one hundred fifteen . a hundred and fifteen . 117 . one hundred twenty . 122 123 the need for FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 traditional or Endemic results on Acoustic tools . . . . . . . . . . . . . . . . . . . . 123 grasp and Insert FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 grasp FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . one hundred twenty five Insert FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 inventive Use of FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Side-Chaining . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Reverb. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 hold up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Filtering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 refrain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . a hundred thirty five FX Chaining . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . one hundred thirty five Experimentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 end. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 x Composition for machine Musicians bankruptcy eleven Writing for Strings 139 4 kinds of Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 different types of String Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . one hundred forty Scoring String Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 types of String Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Legato Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Pizzicato Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . one hundred forty four Staccato Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Detache Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Octave Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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