DOCSLIB.ORG

How Understanding Arrangement Techniques Can Improve Your Songs Mike Levine on Jul 04, 2017 in Music Theory & Education 1 Comments

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
How Understanding Arrangement Techniques Can Improve Your Songs Mike Levine on Jul 04, 2017 in Music Theory & Education 1 Comments Arranging for Success - How Understanding Arrangement Techniques Can I : Ask.Au... Page 1 of 6 Arranging for Success - How Understanding Arrangement Techniques Can Improve Your Songs Mike Levine on Jul 04, 2017 in Music Theory & Education 1 comments Understanding some key universal concepts around arrangement, dynamics and composition can help you take your tracks to the next level. Here's how. Whether you’re in the studio or on stage, just having a strong song and performing it well is not enough. You also need a smart arrangement in order for your song to have its maximum impact. Giving your arrangement a dramatic arc helps make it more interesting and accessible to listeners. It's beyond the scope of this article to focus on specific instruments and how to arrange them for particular musical genres—that would require a series of books—but the aim here is to cover some global arranging concepts, which will apply no matter what the specific style or instrumentation. Contrast is King Just like a painting, a song arrangement needs contrast. If everything is too similar, it will be boring and the listeners will tune out. You want to keep their attention, so you should structure the song so that it’s not static. Think of it almost like a book or play, which has a beginning a middle and an end. You have a number of tools at your disposal for creating drama and interest with your arrangement, which include varying the dynamics, adding to the instrumentation as you go, and building the complexity of the instrument and vocal parts as the song progresses. Dynamics Many inexperienced musicians tend to ignore dynamics and just bash away at songs at full tilt the whole time. That approach usually leads to a boring outcome. It's much better to think of dynamics as a tool that you have at your disposal to make the arrangement more interesting. For example, you could have the band drop down in volume during some of the verses in a song, or for a particular verse to provide some contrast. Then when the chorus follows and the band kicks back into high gear, it will feel more exciting and powerful. https://ask.audio/articles/arranging-for-success-how-understanding-arrangement-techni... 3/01/2019 Arranging for Success - How Understanding Arrangement Techniques Can I : Ask.Au... Page 2 of 6 This somewhat exaggerated example shows the difference between a song with dynamic changes and one that’s static Instrumentation If you were arranging for an orchestra, you’d have an almost unlimited choice of instrumentation to use to spice up and build the arrangement as you go along. But if you're arranging for a band or pop ensemble, you have way fewer colors to work with. With only, say, drums, bass, guitar, keyboards, and vocals, you typically don't have the option to hold instruments out and bring them in later. You most likely will need them all in from the beginning, or close to it. However, you do have the option to arrange instrument parts to be sparser at the beginning, and played with less intensity. As the song moves along they can build in complexity and power. There are many ways to simplify the instruments for a particular section of an arrangement. Simplifying drum parts or having the drummer play quieter can change the overall feel pretty dramatically. A side stick can be substituted for snare in some cases, or the drummer can play a song intro or first verse by simply keeping time on the hi-hat or kick. Other instrument parts can be simplified as well. One example would be the bassist playing whole notes in an early section and then switching into a more standard (and busier) part in a subsequent section. Another would be to have the guitar playing arpeggiated parts before moving on to strumming chords later on. It's all very song dependent, of course—starting quietly or simply is not always appropriate—but the possibilities are there. Experimentation in rehearsal will quickly show you what works and what doesn't. In many musical styles, you can add instrumental fills around the vocal lines, starting in say the second verse to help build the arrangement. If you have more than one lead instrument, switch who does the fills each verse. You can bring in percussion, say, in the second chorus to provide a little lift. If it’s a tambourine or shaker, the percussionist could play quarter notes in the first chorus, and eighth- or sixteenth-notes in a subsequent chorus. https://ask.audio/articles/arranging-for-success-how-understanding-arrangement-techni... 3/01/2019 Arranging for Success - How Understanding Arrangement Techniques Can I : Ask.Au... Page 3 of 6 Instead of staying the same throughout, this shaker part’s complexity varies with different song sections Perhaps the ultimate change of pace in any song is a breakdown section, where most or all of the instruments drop out or simplify radically. If it's on a chorus with harmony vocals, you could make the breakdown an acapella section, or maybe just have the drums keep time on the bass drum or hi-hat as the vocalists sing. Then when you come back with full instrumentation, the impact is massive because the contrast is so great. Breakdown sections are often found late in the song, leading into a final chorus that marks the climax of the song's dramatic arc. Analysis To hear these concepts in action, it's instructive to analyze the arrangements of commercially released songs. If you listen with the arrangement in mind, it will become obvious that the dynamics, instrumentation and intensity were arranged with a strategic purpose in mind. Here are a few examples. Let's start with the Ed Sheeran song "Galway Girl." As you watch the video, read the notes below, which analyze what's going on in the arrangement: https://ask.audio/articles/arranging-for-success-how-understanding-arrangement-techni... 3/01/2019 Arranging for Success - How Understanding Arrangement Techniques Can I : Ask.Au... Page 4 of 6 ◾ Starts with the pre-chorus section ("She played the fiddle in an Irish band…") comes in with just guitar and lead vocal ◾ Verse: drums enter, along with pipes and strings—intensity rises ◾ Pre-chorus: Drums continuing full and background pipes and strings get busier and more intense ◾ Chorus: Pipes and strings play more, harmony vocals enter, intensity rises ◾ Verse: Instrumentation gets sparser (for contrast), energy level stays high ◾ Pre-chorus: Background instruments get more prevalent, again, building to chorus ◾ Chorus: background vocals re-enter, intensity rises ◾ Last verse, gets quiet and small ◾ Pre-chorus breakdown: Guitar and lead vocals only, brings energy even lower ◾ Last chorus: Comes in with full intensity, providing maximum contrast and huge energy boost ◾ Post chorus instrumental section: Voices, pipes and strings doing melodic line, big sound, high intensity, leads to ending Here's country song called "Biscuits" by Kelly Musgraves: ◾ Intro: Relatively stripped down, features acoustic guitar, bass drum, and pedal steel ◾ Verse: Lead vocals come in, steel fills in second half add slight energy build ◾ Chorus: Harmony vocals and banjo come in. Drums in full, more intense steel fills ◾ Post chorus vamp: Gradually lowers energy https://ask.audio/articles/arranging-for-success-how-understanding-arrangement-techni... 3/01/2019 Arranging for Success - How Understanding Arrangement Techniques Can I : Ask.Au... Page 5 of 6 ◾ Verse 2: Drums drop out, intensity lowers ◾ Chorus: Energy comes up significantly, additional background vocals (compared to first chorus) help build ◾ Bridge: Drops way down, drums drop out, rhythm simplifies ◾ "Mind Your Own Biscuits" section: Music totally stops. Similar effect as a breakdown ◾ Banjo solo, then steel solo, band playing full out. Intensity gets higher in second half steel solo ◾ Chorus—same as earlier chorus but has hand claps to add additional complexity and energy ◾ Vamp: Leads to ending Now, an example, of the recent Green Day song "Still Breathing." Here's the video: ◾ First verse: Guitar and vocal only, starts to build in second half ◾ Pre-chorus: Drums come in, intensity builds ◾ Chorus: High intensity, big rhythm guitars enter ◾ Verse 2: Level drops down, but a more prominent drum part than in first verse—intensity building ◾ Pre-chorus 2: Intensity builds ◾ Chorus 2: High intensity, big rhythm guitars ◾ Bridge: Intensity stays high—different chords and melody add contrast ◾ Breakdown: Guitar only with faint background vocals, energy drops ◾ Chorus: Full intensity, huge contrast with previous section ◾ Chorus repeat: Rhythm guitars more intense and up in mix—highest energy of the song ◾ Ending: Drops to mainly rhythm guitar and bass drum In all three of those songs, contrast was created between sections, intensity varied, and the arrangements never remained completely static from section to section. Try a similar analysis with music you like. You'll see these concepts are pretty universal. Coda As those examples demonstrate, putting some thought into the arrangement, and approaching the arranging process strategically will allow you to make your songs sound more dramatic, interesting, and fresh to the listener. Learn more recording, arranging, producing tips, tricks and techniques in the AskAudio Academy. https://ask.audio/articles/arranging-for-success-how-understanding-arrangement-techni... 3/01/2019 Arranging for Success - How Understanding Arrangement Techniques Can I : Ask.Au... Page 6 of 6 arrangement technique arrangement music arrangement composition Mike Levine More articles by this author Mike Levine is the former editor of Electronic Musician and recently served as U.S. Editor for Audiofanzine. He’s also a multi- instrumentalist, producer, mixer and composer. Mike has written music for commercials for Subway, Lysol, Advil, and Advil, among others; and for TV shows on CNN, Headline News and The History Channel.
Load more

Recommended publications
  • Concert Magic & Lesson Song Lists
    Concert Magic & Lesson Song Lists CONCERT MAGIC SONG LIST Category Song Name Key Mode Children's Songs Bingo G#1 EB Frère Jacques F#1 MP Good Morning To You F1 MP Hickory Dickory Dock D#1 EB I'm A Little Teapot A#0 MP Itsy, Bisty Spider A1 MP London Bridge C#1 MP Mary Had A Little Lamb C1 MP Pop Goes The Weasel E1 MP Row,Row,Row, Your Boat D1 MP The Farmer In The Dell G1 MP This Old Man B0 MP Twinkle,Twincle Little Star A0 MP Christmas Songs Deck The Halls C2 MP Hark The Herald Angels Sing A#1 MP Jingle Bells B1 MP Joy To The World D2 MP O Come All Ye Faithful C#2 MP Silent Night E2 MP The First Noel D#2 MP We Wish You A Merry Christmas F2 MP What Child Is This? (Greensleeves) F#2 MP Patriotic Songs America The Beautiful A2 MP Battle Hymn Of The Republic G#2 MP Hail To The Chief B2 MP My Country 'Tis Of Thee G2 MP Yankee Doodle A#2 MP American Classics Auld Lang Syne C#4 MP Beautiful Dreamer A#4 EB Bill Bailey Won't You Come Home G3 EB Bycicle Built For Two F4 EB Clementine A3 MP Danny Boy C3 EB Down In The Valley C#3 EB Fascination A#3 SK For He's A Jolly Good Fellow F#3 EB Give My Regards To Broadway G#3 SK Home On The Range B3 MP Home Sweet Home D#3 EB In The Good Old Summertime F3 EB Let Me Call You Sweetheart D3 EB Michael Row The Boat Ashore D4 MP My Bonnie Is Over The Ocean E3 EB Oh Susanna D#4 SK On Top Of Old Smokey E4 EB Take Me Out To The Ballgame C4 EB The Band Played On G4 EB The Camptown Races F#4 MP When Johnny Comes Marching Home G#4 MP When The Saints Go Marching In A4 EB 2 Concert Magic & Lesson Song Lists Category Song
    [Show full text]
  • Song Lyrics of the 1950S
    Song Lyrics of the 1950s 1951 C’mon a my house by Rosemary Clooney Because of you by Tony Bennett Come on-a my house my house, I’m gonna give Because of you you candy Because of you, Come on-a my house, my house, I’m gonna give a There's a song in my heart. you Apple a plum and apricot-a too eh Because of you, Come on-a my house, my house a come on My romance had its start. Come on-a my house, my house a come on Come on-a my house, my house I’m gonna give a Because of you, you The sun will shine. Figs and dates and grapes and cakes eh The moon and stars will say you're Come on-a my house, my house a come on mine, Come on-a my house, my house a come on Come on-a my house, my house, I’m gonna give Forever and never to part. you candy Come on-a my house, my house, I’m gonna give I only live for your love and your kiss. you everything It's paradise to be near you like this. Because of you, (instrumental interlude) My life is now worthwhile, And I can smile, Come on-a my house my house, I’m gonna give you Christmas tree Because of you. Come on-a my house, my house, I’m gonna give you Because of you, Marriage ring and a pomegranate too ah There's a song in my heart.
    [Show full text]
  • A Definition of Song from Human Music Universals Observed in Primate Calls
    bioRxiv preprint doi: https://doi.org/10.1101/649459; this version posted May 24, 2019. The copyright holder for this preprint (which was not certified by peer review) is the author/funder. This article is a US Government work. It is not subject to copyright under 17 USC 105 and is also made available for use under a CC0 license. A definition of song from human music universals observed in primate calls David Schruth1*, Christopher N. Templeton2, Darryl J. Holman1 1 Department of Anthropology, University of Washington 2 Department of Biology, Pacific University *Corresponding author, [email protected] bioRxiv preprint doi: https://doi.org/10.1101/649459; this version posted May 24, 2019. The copyright holder for this preprint (which was not certified by peer review) is the author/funder. This article is a US Government work. It is not subject to copyright under 17 USC 105 and is also made available for use under a CC0 license. Abstract Musical behavior is likely as old as our species with song originating as early as 60 million years ago in the primate order. Early singing likely evolved into the music of modern humans via multiple selective events, but efforts to disentangle these influences have been stifled by challenges to precisely define this behavior in a broadly applicable way. Detailed here is a method to quantify the elaborateness of acoustic displays using published spectrograms (n=832 calls) culled from the literature on primate vocalizations. Each spectrogram was scored by five trained analysts via visual assessments along six musically relevant acoustic parameters: tone, interval, transposition, repetition, rhythm, and syllabic variation.
    [Show full text]
  • Introduction to Music Theory
    Introduction to Music Theory This pdf is a good starting point for those who are unfamiliar with some of the key ​ concepts of music theory. Reading musical notation Musical notation (also called a score) is a visual representation of the pitched notes ​ ​ heard in a piece of music represented by dots over a set of horizontal staves. In the top ​ ​ example the symbol to the left of the notes is called a treble clef and in the bottom ​ ​ example is called a bass clef. ​ ​ People often like to use a mnemonic to help remember the order of notes on each clef, ​ ​ here is an example. ​ Intervals An interval is the difference in pitch between two notes as defined by the distance ​ ​ ​ between the two notes. The easiest way to visualise this distance is by thinking of the notes on a piano keyboard. For example, on a C major scale, the interval from C to E is ​ ​ a 3rd and the interval from C to G is a 5th. Click here for some more interval examples. ​ ​ It is also common for an increase by one interval to be called a half­step, or ​ ​ ​ ​ semi­tone, and an increase by two intervals to be called a whole step, or tone. ​ ​ ​ ​ ​ ​ ​ Joe Rees­Jones, University of York, Department of Electronics 19/08/2016 Major and minor scales A scale is a set of notes from which melodies and harmonies are constructed. There are two main subgroups of scales: Major and minor. The type of scale is dependant on the ​ ​ ​ ​ intervals between the notes: Major scale ­ Tone, Tone, Semi­tone, Tone, Tone, Tone, Semi­tone ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Minor scale ­ Tone, Semi­tone, Tone, Tone, Semi­tone, Tone, Tone ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ For example (by visualising a keyboard) the notes in C Major are: CDEFGAB, and C Minor are: CDE♭FGA♭B♭.
    [Show full text]
  • III CHAPTER III the BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – Flamboyant, Elaborately Ornamented A. Characteristic
    III CHAPTER III THE BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – flamboyant, elaborately ornamented a. Characteristics of Baroque Music 1. Unity of Mood – a piece expressed basically one basic mood e.g. rhythmic patterns, melodic patterns 2. Rhythm – rhythmic continuity provides a compelling drive, the beat is more emphasized than before. 3. Dynamics – volume tends to remain constant for a stretch of time. Terraced dynamics – a sudden shift of the dynamics level. (keyboard instruments not capable of cresc/decresc.) 4. Texture – predominantly polyphonic and less frequently homophonic. 5. Chords and the Basso Continuo (Figured Bass) – the progression of chords becomes prominent. Bass Continuo - the standard accompaniment consisting of a keyboard instrument (harpsichord, organ) and a low melodic instrument (violoncello, bassoon). 6. Words and Music – Word-Painting - the musical representation of specific poetic images; E.g. ascending notes for the word heaven. b. The Baroque Orchestra – Composed of chiefly the string section with various other instruments used as needed. Size of approximately 10 – 40 players. c. Baroque Forms – movement – a piece that sounds fairly complete and independent but is part of a larger work. -Binary and Ternary are both dominant. 2. The Concerto Grosso and the Ritornello Form - concerto grosso – a small group of soloists pitted against a larger ensemble (tutti), usually consists of 3 movements: (1) fast, (2) slow, (3) fast. - ritornello form - e.g. tutti, solo, tutti, solo, tutti solo, tutti etc. Brandenburg Concerto No. 2 in F major, BWV 1047 Title on autograph score: Concerto 2do à 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo.
    [Show full text]
  • Sampling and Remixes
    DE FR EN SEARCH Sampling and Remixes The articles about arrangements in the “Good to know” series have so far focused on “conventional” arrangements of musical works. Sampling and remixes are two additional and specic forms of arrangement. What rights need to be secured when existing recordings are used to produce a new work? What agreements have to be contracted? Text by Claudia Kempf and Michael Wohlgemuth From the copyright point of view, remixes and sampling are specic forms of arrangement. (Photo: Tabea Hüberli) Sound samplings come in many dierent forms and techniques. But they all have one thing in common: they incorporate parts of a musical recording into a new work. This regularly raises the question whether such parts of works or samples are protected by copyright or – especially in the case of very short sound sequences – whether they may be used freely. In the case of a remix, an existing production is taken and re-arranged and re-mixed. This may involve taking apart a whole work and putting it together again with the addition of new elements. Theoretically, the degree of re-arrangement in a remix may range from a simple cover version to a completely new arrangement. As a rule, a remix is simply an arrangement. Remixes generally keep a work’s existing title and add a tag which refers either to the form of use (radio edit / extended club version, or similar) or the name of the remixer (generally a well-known DJ). By contrast with conventional arrangements, in addition to using an existing work to create a derived work or arrangement, samples and remixes also use an existing sound recording.
    [Show full text]
  • CCLI 2015-2017 Top 100 Songs Vetted for United Methodist Congregations
    CCLI 2015-2017 Top 100 Songs Vetted for United Methodist Congregations CCLI Top 100 Vetting Team Taylor Burton-Edwards, Kim Chapman, Nelson Cowan, Keum Hwang, Jackson Henry, Laura Jaquith Bartlett, Lim Swee Hong, Robert McMichael, Janice McNair, and Lester Ruth One of the most significant indicators of the use of newer music in Christian congregations in The United States is the CCLI Top 100 list. CCLI is the nation’s leading provider of licensing services for churches that reproduce songs in print or on screen for congregational singing. As a list, the CCLI Top 100 only indicates what copyrighted songs congregations subscribing to the CCLI license are using the most. The list provides no information about the quality of the songs, either theologically, musically, or in terms of their use of language for humanity and God. The majority of the contemporary/modern worship corpus reflected in the CCLI Top 100 list is generated by artists whose theological traditions are not generally Wesleyan-Arminian. Most could be described as charismatic, Pentecostal, Calvinist, or neo-Calvinist. These traditions have not fully shared and sometimes have taken positions opposite to our core commitments as United Methodists. These commitments include: ¨ an understanding of salvation in which ongoing sanctification and making use of the means of grace are seen as crucial ¨ a practice of corporate worship and discipleship in which sacraments are central ¨ an attentiveness to doctrinal and biblical accuracy in lyrical form ¨ the importance of congregational singing, and ¨ the use of language for God that is expansive, inclusive, non-patriarchal and that consistently respects persons of all cultures, ethnicities, and physical and mental abilities.
    [Show full text]
  • Glossary for Music the Glossary for Music Includes Terms Commonly Found in Music Education and for Performance Techniques
    Glossary for Music The glossary for Music includes terms commonly found in music education and for performance techniques. The intent of the glossary is to promote consistent terminology when creating curriculum and assessment documents as well as communicating with stakeholders. Ability: natural aptitude in specific skills and processes; what the student is apt to do, without formal instruction. Analog tools: category of musical instruments and tools that are non-digital (i.e., do not transfer sound in or convert sound into binary code), such as acoustic instruments, microphones, monitors, and speakers. Analyze: examine in detail the structure and context of the music. Arrangement: setting or adaptation of an existing musical composition Arranger: person who creates alternative settings or adaptations of existing music. Articulation: characteristic way in which musical tones are connected, separated, or accented; types of articulation include legato (smooth, connected tones) and staccato (short, detached tones). Artistic literacy: knowledge and understanding required to participate authentically in the arts Atonality: music in which no tonic or key center is apparent. Artistic Processes: Organizational principles of the 2014 National Core Standards for the Arts: Creating, Performing, Responding, and Connecting. Audiate: hear and comprehend sounds in one’s head (inner hearing), even when no sound is present. Audience etiquette: social behavior observed by those attending musical performances and which can vary depending upon the type of music performed. Benchmark: pre-established definition of an achievement level, designed to help measure student progress toward a goal or standard, expressed either in writing or as an example of scored student work (aka, anchor set).
    [Show full text]
  • Album Hunter Mp3 Download Album Hunter Mp3 Download
    album hunter mp3 download Album hunter mp3 download. A fan-arrangement album celebrating the music and franchises from Super Smash Bros , featuring musicians from around the world. Harmony of Heroes is a Super Smash Bros fan-arrangement album celebrating and paying tribute to the music of Super Smash Bros, Super Smash Bros. Melee and Super Smash Bros. Brawl. It is a collaborative effort made up of musicians on a global scale, ranging from digitally synthesised music to live performances covering a variety of different genres. The diversity of the album allows us to reach out to many different types of fans no matter their musical preference. The album builds upon the success of Harmony of a Hunter and Harmony of a Hunter: 101% Run, two Metroid focused albums marking the 25 th Anniversary of the Metroid franchise. Both of these albums covered the majority of music present in Metroid games at that time, and Smash Bros felt like the next natural step in an effort to reach out to even more people. The name Heroes was chosen to describe the characters we choose in Super Smash Bros, the ones who help us reign triumphant in those epic brawls. They are our heroes. Our album is vast in content, covering the majority of franchises featured in these titles. While you can expect to hear iconic themes representing some of the game’s most notable additions, you may be surprised to find we have covered some of the more obscure ones too. In some cases, we haven’t been afraid to experiment a little, offering a fresh perspective to those who listen.
    [Show full text]
  • How to Effectively Listen and Enjoy a Classical Music Concert
    HOW TO EFFECTIVELY LISTEN AND ENJOY A CLASSICAL MUSIC CONCERT 1. INTRODUCTION Hearing live music is one of the most pleasurable experiences available to human beings. The music sounds great, it feels great, and you get to watch the musicians as they create it. No matter what kind of music you love, try listening to it live. This guide focuses on classical music, a tradition that originated before recordings, radio, and the Internet, back when all music was live music. In those days live human beings performed for other live human beings, with everybody together in the same room. When heard in this way, classical music can have a special excitement. Hearing classical music in a concert can leave you feeling refreshed and energized. It can be fun. It can be romantic. It can be spiritual. It can also scare you to death. Classical music concerts can seem like snobby affairs full of foreign terminology and peculiar behavior. It can be hard to understand what’s going on. It can be hard to know how to act. Not to worry. Concerts are no weirder than any other pastime, and the rules of behavior are much simpler and easier to understand than, say, the stock market, football, or system software upgrades. If you haven’t been to a live concert before, or if you’ve been baffled by concerts, this guide will explain the rigmarole so you can relax and enjoy the music. 2. THE LISTENER'S JOB DESCRIPTION Classical music concerts can seem intimidating. It seems like you have to know a lot.
    [Show full text]
  • Introduction to Music Technology
    PUBLIC SCHOOLS OF EDISON TOWNSHIP DIVISION OF CURRICULUM AND INSTRUCTION INTRODUCTION TO MUSIC TECHNOLOGY Length of Course: Semester (Full Year) Elective / Required: Elective Schools: High Schools Student Eligibility: Grade 9-12 Credit Value: 5 credits Date Approved: September 24, 2012 Introduction to Music Technology TABLE OF CONTENTS Statement of Purpose ----------------------------------------------------------------------------------- 3 Introduction ------------------------------------------------------------------------------------------------- 4 Course Objectives ---------------------------------------------------------------------------------------- 6 Unit 1: Introduction to Music Technology Course and Lab ------------------------------------9 Unit 2: Legal and Ethical Issues In Digital Music -----------------------------------------------11 Unit 3: Basic Projects: Mash-ups and Podcasts ------------------------------------------------13 Unit 4: The Science of Sound & Sound Transmission ----------------------------------------14 Unit 5: Sound Reproduction – From Edison to MP3 ------------------------------------------16 Unit 6: Electronic Composition – Tools For The Musician -----------------------------------18 Unit 7: Pro Tools ---------------------------------------------------------------------------------------20 Unit 8: Matching Sight to Sound: Video & Film -------------------------------------------------22 APPENDICES A Performance Assessments B Course Texts and Supplemental Materials C Technology/Website References D Arts
    [Show full text]
  • What Is the Sound of Classical Music? WELCOME to THE
    Life on Tour in the Classical Age of Music During the 18th century it was fashionable for wealthy young men to finish their education with a grand tour of Europe’s SATURDAY, DECEMBER 3, 2016 cultural capitals. Exposure to art, languages, and artifacts developed young minds and their knowledge of the world. Mozart was just 7 years old when he set off on his first grand tour with his parents and sister, designed as an opportunity to showcase young Wolfgang and sister Nannerl’s talents. What might it be like to go on tour in the 1760s? TRAVEL CHALLENGES The Mozart family traveled about 2,500 miles — In addition to carriage breakdowns, which meant delays for the distance from New York to Los Angeles — in a days while repairs were being made, the cold chill during the cramped, unheated, incredibly bumpy carriage. rides led to lots of illness. Rheumatic fever, tonsillitis, scarlet TM Travels by boat across rivers and the sea were fever, and typhoid fever were experienced by Mozart family WELCOME TO THE YOUNG PEOPLE’S CONCERTS ! equally unpleasant! members, who were bedridden for weeks at a time. TuneUp! Here we go on the next leg of our journey through 400 years of orchestral LODGING HIGHLIGHTS music. Next stop: the Classical Age of Music! You’ll hear right away how The family stayed everywhere from a cramped Wolfgang and Nannerl performed for some of Europe’s most different the music of this age sounds from the Baroque Age we visited last time. three-room apartment above a barber shop to distinguished royalty and at some of the world’s loveliest Buckingham palace! palaces.
    [Show full text]