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

By Andrea Pejrolo, Richard DeRosa

Get entire tips on either conventional orchestration and sleek creation thoughts with this distinct publication. With powerful causes and transparent illustrations, you'll the right way to combine the normal method of orchestration with the trendy sequencing strategies and instruments to be had. you'll find how one can bridge the 2 ways in an effort to increase your ultimate production.

The accompanying CD contains a finished and large choice of examples, templates and sounds to permit you to listen to the strategies in the book.

By overlaying either ways, this e-book presents a complete and stable studying event that might advance your talents and end up super aggressive within the song construction company.

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

Example text

4 Mallet percussion Vibes: Made of metal bars, this instrument offers a liquid sound ranging from dark and creamy to shimmery and bright. It is most commonly used in jazz and is also very effective for film music. The mallets can be softer or harder as they affect the mood and expression of the sound. Marimba: Made of wooden bars, this instrument offers a stereotypically African as well as Mexican flavor, but is also quite effective in film music and some contemporary music productions. The sound is warm and rich in the lower to middle registers.

Middle” C (named as such because it is found exactly in the middle of the keyboard and also, on staff paper, directly between the treble and bass clef staves) marks the beginning of the fourth octave. 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.

RPN messages—CC#101 (coarse), 100 (fine): RPN messages allow for up to 16,384 parameters to be controlled, as they use the coarse–fine system explained earlier by using a double 7-bit system. As you can see, this allows for a huge selection of parameters that can eventually be controlled in a synthesizer. At the moment, though, only seven parameters are registered with the MMA: pitch-bend sensitivity, channel fine tuning, channel coarse tuning, tuning program change, tuning bank select, modulation depth range and reset.

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