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Andrea Pejrolo, Richard DeRosa's Acoustic and MIDI Orchestration for the Contemporary PDF

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By Andrea Pejrolo, Richard DeRosa

Get entire assistance on either conventional orchestration and glossy creation options with this detailed booklet. With potent reasons and transparent illustrations, you are going to find out how to combine the conventional method of orchestration with the fashionable sequencing thoughts and instruments to be had. you'll find easy methods to bridge the 2 techniques with a purpose to increase your ultimate production.

The accompanying CD features a accomplished and wide array of examples, templates and sounds to permit you to listen to the options in the book.

By masking either methods, this booklet presents a finished and sturdy studying event that would improve your talents and end up super aggressive within the tune creation company.

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

Example text

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). In the second octave, along with the root, there is the 5th of the chord. (This is why instruments in the bass register play roots and 5ths.

The violinist uses the least amount of energy since there is no breath support needed. The sound of the string actually becomes thinner since there is less string length. ) The flautist needs to support the note with a significant amount of breath. The timbre of this note is quite bright but not shrill and it penetrates rather nicely. The trumpeter needs an exorbitant amount of energy to play this note and many trumpet players cannot even accomplish this. To capture specific pitches on a brass instrument, beyond the specific valve or slide positions, the performer must use air in combination with embouchure (the mouth’s position against the mouthpiece) support.

The bulk of the bass’s range exists well below the bass clef staff and would require an excessive amount of leger lines. To bypass this problem, it was decided that all bass parts should be written an octave higher. As a result, the reading of music becomes much simpler since most of the notes now lie within the bass clef staff (illustration provided in Chapter 3). 24 Acoustic and MIDI Orchestration for the Contemporary Composer Guitar: The guitar is similar to the double bass as it uses a register transposition of an octave.

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