Acoustic and MIDI orchestration for the contemporary composer ( PDFDrive )

Sách học về âm nhạc dành cho những ai đang học tập và làm việc trong lĩnh vực sản xuất, phối khí cũng như kỹ sư âm thanh. Kiến thức chuyên về cách soạn MIDI trong nhạc dàn giao hưởng, có thể áp dụng hiệu quả cho các dòng nhạc phổ biến, thịnh hành ở VN như POP, Ballad, Bolero. Cung cấp cho người đọc kiến thức hữu ích về cách soạn Strings, Violin cùng với những quãng âm thích hợp kết hợp chúng lại một cách hài hòa như là cách một nhạc trưởng hay làm trong các buổi biểu diễn giao hưởng.

Acoustic and MIDI Orchestration for the Contemporary Composer This page intentionally left blank Acoustic and MIDI Orchestration for the Contemporary Composer Andrea Pejrolo and Richard DeRosa AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press An imprint of Elsevier Linacre House, Jordan Hill, Oxford OX2 8DP, UK 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA First edition 2007 Copyright © 2007, Andrea Pejrolo and Richard DeRosa Published by Elsevier Ltd All rights reserved The right of Andrea Pejrolo and Richard DeRosa to be identified as the authors of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publisher Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone (ϩ44) (0) 1865 843830; fax (ϩ44) (0) 1865 853333; email: permissions@elsevier.com Alternatively you can submit your request online by visiting the Elsevier web site at http://elsevier.com/locate/permissions, and selecting Obtaining permission to use Elsevier material Notice No responsibility is assumed by the publisher for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions or ideas contained in the material herein Because of rapid advances in the medical sciences, in particular, independent verification of diagnoses and drug dosages should be made British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress ISBN: 978-0-240-52021-6 For information on all Focal Press publications visit our website at: www.focalpress.com Typeset by Charon Tec Ltd (A Macmillan Company), Chennai, India www.charontec.com Printed and bound in Great Britain 07 08 09 10 11 10 Contents Foreword xi Acknowledgments xv Chapter – Basic Concepts for the MIDI Composer, Arranger, and Orchestrator 1.1 Introduction to MIDI and audio sequencing 1.2 Review of the MIDI standard 1.3 MIDI messages and their practical applications 1.3.1 Channel voice messages 1.3.2 Most commonly used control changes 1.3.3 Extended controllers 1.3.4 Coarse versus fine 1.3.5 Control your sounds 1.3.6 Registered and non-registered parameters 1.3.7 Channel mode messages 1.3.8 System real-time messages 1.3.9 System common messages 1.3.10 System exclusive messages (SysEx) 1.4 Principles of orchestration 1.4.1 Composition 1.4.2 Range 1.4.3 Register and the overtone series 1.4.4 Transposition 1.4.5 Concert instruments 1.4.6 Transposing instruments 1.4.7 Weight, balance, and intensity 1.4.8 Hazards of writing at the piano 1.5 Final considerations 1.6 Summary 1.7 Exercises 1 5 10 10 12 12 14 15 16 18 19 19 19 20 21 23 23 23 24 24 26 27 28 Chapter – Writing and Sequencing for the Rhythm Section 2.1 Introduction: general characteristics 2.2 The components of the rhythm section 2.3 The role of the essential instruments 2.3.1 The bass 2.3.2 The drumset (and auxiliary percussion) 2.3.3 Keyboards and guitars 32 32 32 33 34 34 35 v vi Contents 2.4 2.5 2.6 2.7 2.8 2.9 2.10 2.11 2.12 2.13 2.14 2.15 Color and style 2.4.1 Basses 2.4.2 Guitars 2.4.3 Keyboards 2.4.4 Mallet percussion 2.4.5 Drumset 2.4.6 Auxiliary percussion Writing parts for the rhythm section 2.5.1 Bass parts 2.5.2 Drumset parts 2.5.3 Guitar parts 2.5.4 Keyboard parts 2.5.5 Mallet parts Sample scores for the rhythm section Sequencing the rhythm section: an introduction 2.7.1 The keyboard 2.7.2 The acoustic piano 2.7.3 Sequencing and mixing techniques for the acoustic piano 2.7.4 The alternate keyboards: electric pianos and organs The synthesizer 2.8.1 Hardware and software synthesizers 2.8.2 Synthesis techniques 2.8.3 Analog subtractive synthesis 2.8.4 Additive synthesis 2.8.5 Frequency modulation synthesis 2.8.6 Wavetable synthesis 2.8.7 Sampling 2.8.8 Physical modeling synthesis 2.8.9 Granular synthesis Sequencing for the guitar: overview 2.9.1 Sequencing techniques for the guitar 2.9.2 Mixing the virtual guitar Sequencing for the bass: overview 2.10.1 Sequencing techniques for the bass 2.10.2 Mixing the virtual bass Sequencing for drums and percussion: overview 2.11.1 Sequencing techniques for drums and percussion 2.11.2 Quantization for drums and percussion 2.11.3 Groove quantization 2.11.4 Performance controllers for drums and percussion 2.11.5 Final touches Mixing the virtual drums and percussion Final considerations on sequencing for the rhythm section: tempo changes Summary Exercises 36 36 36 36 37 38 39 40 40 40 41 43 43 43 45 45 46 49 50 53 53 55 55 57 58 58 59 60 62 63 64 68 70 70 73 75 77 79 84 85 86 87 91 93 96 Contents Chapter – Writing and Sequencing for the String Orchestra 3.1 Introduction: general characteristics 3.2 Creating sound 3.2.1 “Open” string versus “stopped” string 3.2.2 Bowings 3.3 Performance techniques for greater expression 3.3.1 Portamento 3.3.2 Pizzicato 3.3.3 Harmonics 3.3.4 Mutes 3.4 The specific instruments 3.4.1 The violin 3.4.2 Functions of the violins in an orchestration 3.4.3 The viola 3.4.4 Functions of the violas in an orchestration 3.4.5 The violoncello 3.4.6 Functions of the cellos in an orchestration 3.4.7 The double bass 3.4.8 Functions of the basses in an orchestration 3.5 Orchestration examples 3.6 The harp 3.6.1 Spelling matters 3.6.2 Mass edit 3.6.3 Pedal charts 3.6.4 Pedal changes 3.6.5 The harp glissando 3.6.6 Ensemble context 3.7 Sequencing for the string orchestra 3.7.1 Synthesis techniques and library options 3.7.2 Multi-layer patches 3.7.3 Key-switching libraries 3.7.4 Advanced layering techniques for strings 3.8 MIDI sequencing techniques for strings 3.8.1 Attack and release control 3.8.2 Performance controllers 3.8.3 Extended performance controllers 3.9 Hardware MIDI controllers for string sequencing 3.9.1 Special sequencing techniques for strings 3.9.2 Legato, staccato, and détaché 3.9.3 Sul tasto, sul ponticello, and mute 3.9.4 Trills and tremolos 3.9.5 Detuning techniques 3.10 Sequencing for the harp 3.11 Mixing the string section 3.11.1 Panning the string orchestra 3.11.2 Equalization for the string orchestra 3.11.3 Reverberation vii 98 98 99 100 100 102 104 104 105 106 106 106 108 108 110 110 112 112 114 114 115 116 117 117 118 118 118 119 119 121 123 125 126 127 131 132 135 139 139 139 140 142 144 146 146 147 148 viii Contents 3.12 3.13 3.14 The final touches Summary and final considerations on writing and sequencing for the string orchestra Exercises Chapter – Writing and Sequencing for the Woodwind Section 4.1 General characteristics 4.2 The woodwind section 4.2.1 “Doubling” 4.3 Creating sound 4.3.1 Tonguing (articulation) 4.3.2 The slur 4.3.3 The trill 4.3.4 Grace notes 4.4 The specific instruments 4.4.1 The flute (in C) 4.4.2 The piccolo flute (in C) 4.4.3 The alto flute (in G) 4.4.4 The oboe (in C) 4.4.5 The English horn (in F) 4.4.6 The clarinet (in B ) 4.4.7 The clarinet (in A) 4.4.8 The bass clarinet (in B ) 4.4.9 The bassoon (in C) 4.5 The saxophones 4.5.1 Saxophone tone quality 4.5.2 Saxophone range 4.5.3 Saxophone transposition 4.6 Concerns regarding orchestration 4.7 Sequencing for the woodwind section: an introduction 4.8 Synthesis techniques and library options 4.9 Sequencing techniques for the woodwind section: input controllers 4.10 Use of MIDI control changes and editing techniques 4.10.1 Attack and release control 4.10.2 Filter and timbre control 4.11 Performance controllers 4.12 Performance extended controllers 4.13 Special sequencing techniques for woodwind: the saxophone section 4.13.1 Blending acoustic and MIDI 4.14 Final touches 4.14.1 Performance noises 4.15 Mixing the woodwind section 4.15.1 Panning the woodwind instruments 4.15.2 Equalization for the woodwind instruments 4.15.3 Reverberation 150 151 154 156 156 156 157 158 159 159 160 160 161 161 162 162 164 164 165 166 167 168 169 169 169 170 171 174 174 178 180 180 185 186 187 189 191 191 193 194 194 195 198 Contents 4.16 4.17 ix Summary Exercises Chapter – Writing and Sequencing for the Brass Section 5.1 General characteristics 5.2 The brass section in the orchestra 5.3 The brass section in the jazz band 5.4 Creating sound 5.4.1 Tonguing 5.4.2 Slurs 5.4.3 The glissando 5.4.4 Articulation markings and effects 5.5 The specific instruments 5.5.1 The French horn 5.5.2 The trumpets 5.5.3 The piccolo trumpet 5.5.4 The flugelhorn 5.5.5 The tenor trombone 5.5.6 The bass trombone 5.5.7 The tuba 5.5.8 The euphonium 5.6 Mutes 5.6.1 Mute preparation 5.7 Orchestrating the brass 5.7.1 Orchestrating brass and woodwinds 5.8 Sequencing for the brass section: an introduction 5.8.1 Synthesis techniques and library options 5.8.2 What to look for 5.9 MIDI controllers for sequencing the brass section 5.10 Sequencing techniques for the brass instruments 5.10.1 Micro-level automation 5.10.2 Quantization 5.11 Performance controllers for the brass 5.11.1 Breath controller 5.11.2 Portamento 5.11.3 Aftertouch and soft pedal 5.12 Extended performance controllers: attack and brightness 5.12.1 Attack control 5.12.2 Brightness control 5.13 Advanced sequencing techniques for the brass: detuning 5.13.1 Solo instrument detuning 5.13.2 Section detuning 5.13.3 Velocity-to-pitch 5.14 Addition of real instruments 5.15 The final touch: performance noises 5.16 Mixing the brass section 5.16.1 Panning the brass instruments 199 201 203 203 203 204 204 205 205 205 206 206 206 208 209 210 211 212 213 214 215 216 216 218 218 218 220 223 225 228 229 232 232 232 234 235 236 236 237 237 238 238 240 240 241 241 ... 4.4.2 The piccolo flute (in C) 4.4.3 The alto flute (in G) 4.4.4 The oboe (in C) 4.4.5 The English horn (in F) 4.4.6 The clarinet (in B ) 4.4.7 The clarinet (in A) 4.4.8 The bass clarinet (in B ). . .Acoustic and MIDI Orchestration for the Contemporary Composer This page intentionally left blank Acoustic and MIDI Orchestration for the Contemporary Composer Andrea Pejrolo and Richard... interface (1 IN, OUT) are added In this setup, the MIDI data are sent to the computer from the MIDI synthesizer (device A), where the sequencer records them and plays them back The data are sent to the