Groovebasert musikkproduksjon III Groove, rytmisk grunnmønster og forslagstoner Foreleser: Hans T. Zeiner-Henriksen e-mail: [email protected] Tlf.: Mob.: 48059723 Kontor: 22854857 Shazz: “Fallin’ In Love” (PT. G Remix) (2001) Bpm: 127 Underworld: “Dark & Long” (1993) Bpm: 135 Frankie Knuckles Frankie Knuckles feat. Satoshi Tomiie: “Tears” (1989) Satoshi Tomiie Medway: “Resurrection” (1993) Bpm: 135 Boogie Drama: “Hypnofunk” (2002) Bpm: 125 Daft Punk: “Revolution 909” (1996) Bpm: 126 Groovebasert musikkproduksjon III Chicago house og demokratiseringsprosesser innen musikkproduksjon Foreleser: Hans T. Zeiner-Henriksen e-mail: [email protected] Tlf.: Mob.: 48059723 Kontor: 22854857 Paradise Garage, New York Paradise Garage, Larry Levan Studio 54, New York Frankie Knuckles - The Warehouse (77-83) Frankie Knuckles Select Discography (Warehouse 1977-79) Ashford & Simpson, “It Seems to Hang On” Roy Ayers, “Running Away” Peter Brown, “Do You Wanna Get Funky with Me” Bumble Bee Unlimited, “Love Bug” Candido, “Thousand Finger Man” George Duke, “I Want You for Myself” Ecstasy, Passion & Pain featuring Barbara Roy, “Touch and Go” First Choice, “Let No Man Put Asunder” Taana Gardner, “Work That Body” Jimmy “Bo” Horne, “Spank” Inner Life featuring Jocelyn Brown, “I’m Caught Up (In a One Night Love Affair)” Kat Mandu, “The Break” Chaka Kahn, “I’m Every Woman” Patti LaBelle, “Music Is My Way of Life” Machine, “There but for the Grace of God Go I” Sergio Mendes, “I’ll Tell You MFSB, “Love is the Message” Moroder, “E=MC ”2 The Originals, “Down to Love Town” Positive Force, “We Got the Funk” Diana Ross, “The Boss” Skatt Bross., “Walk the Night” Gino Soccio, “Dancer” Two Man Sound, “Que Tal America” T. Lawrence: Love Saves the Day. A History of American Dance Music Culture, 1970-1979. 2003. P. 406f. Klein & MBO: “Dirty Talk” (1982) Capricorn: “I Need Love” (1982) Chicago house Ronnie Hardy Frankie Knuckles “(...) the production of house music is about what is at that moment the most effective on the dance floor (...)” (H. Rietveld: This is Our House. House Music, Cultural Spaces and Technologies. 1998. P. 22.) Jesse Saunders/Vince Lawrence: “On and On” (1983) Phuture: “Acid Tracks” (Produced 85/86 - released 87) J. M. Silk (Steve “Silk” Hurley): “Jack Your Body” (1985). Jesse Saunders/Vince Lawrence: “On and On” (1983) Marshall Jefferson: “That was the single most important record to me of the twentieth century, because it let the non-musician know that he could make music. It was the revolution.” (S. Bidder: Pump Up the Volume. 2001, p. 30) RIMSHOT/ RIMCSHOTLSD/ r CLSDCLHIHAAVEST HIHAT r r r x x x x x x x xr3rx CHANDLSDCLCOHLSDACIHAPENVESLATHPIHAT rx x xr rx r X rx rx ≈x rx x ≈x x x ‰ x x3 ≈5x 3‰ ã㉉. ¿x¿≈x≈‰‰ x∑x∑¿¿x ≈≈x≈xŒ≈ ¿ ≈x‰ ≈≈.≈x¿¿‘x‘‰‰≈x x≈¿¿Œx‰≈ ¿x ≈¿≈xŒŒ ‰ ≈5≈¿ ‰¿‰5≈ ≈ ¿‘¿‘≈ COWBELL ãã cã≈ ≈≈ ≈ ≈‰ ≈‰ ≈ ≈ ≈ ‰ ≈ COWBELL ã xãx x x x x x x x x x x x HANDCHANDLAP CLAPx x x x x x x x x x x x x 3 HANDHANDCLAPCLAãP≈≈ ≈≈ ≈≈r ‘rrr rr r ∑r r3 5 ‘ HI ã xx ≈ xx ≈x Œx xx xx ≈ xx ‰ ‘xxx ≈ ‰ xx ≈x ‰ ∑x ≈ x 5‰ x Œ ‘ CHANDONGACLAMPIDã ‰ã ≈ Œ ≈ ‰ ‰ ≈ ‰∑‰ ≈≈ œ‰‰. ≈ ‰ ≈ ‰. 3 Œ HANDCLAP ã x ã x x x x x x x x x x x x x x x x x5 x HI OWHHIxI x x x xœ x xœ x x œx x œx xœ xœx x x x x CHONGALI ‰‰c ≈≈ ≈≈ ≈≈≈ r≈≈ œ œ ‰≈‰ œ≈≈ ≈≈ ≈≈ ≈3≈ ≈≈ ONGACONGAMID ãMã ID œ œœœ œ œ œœ œ ‘œ‘œ œ 3 œ ‘‘ CCONGA MHIDI MIDã œ œ œ œ œ 5 5 œ HOWI LOWOW œ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œ CONGAONGALLMOWID L œ ≈≈ œ œ≈ ≈≈ œ œ œ ≈ œœ ≈≈œœœ œ œ œ ≈ œ œ œ C MID ã œœ œœã㜜≈œœ ≈ ≈œœœ≈ œœœœœ‰ œœ ≈ œ ≈ œœœœœœ œœ‰œ ≈≈ œœ œ œœ œœ ≈ LLOWOW ã œ ≈œ œ ≈ œ ≈œ œ œ ≈ SNAREDRUMãã ∑∑ ‘‘ ≈ j ≈ ≈35 ‘‘ SNARENAREDRUMRUM œ œ œ 3 3 SSNARENARENARESDDRUMRUMRUMD c Œ ≈ Œj ‰ 5 5 j SSNAREDDRUM ã œjjœœ œœœœ œjjœ œœj œ œ œ œœœœœ œœ œ œ œœj ã ŒŒŒŒ ã㌌œ ‰‰ Œ≈≈Œ ŒŒ œ≈‰‰‰Œ Œ ‰‰ ŒŒŒŒ œ ‰‰ ≈≈≈œ ‰Œ‰ œ ≈≈œ œ ‰ ããã J ‘‘ J R ‘‘ BASSDRUM J R 3 BBBASSASSASSBDDDASSRUMRUMRUMDRUM 3 5 3 BASSASSDRUMRUM œ j œ jœ 5 5 B D œœœœ c≈≈œœœœœ œœ≈≈‰‰œœœœœ‰œ‰≈≈œœ.œœœœœ‰≈≈œœœœœœ ‰ ‰‰ ŒœœœœŒœ‰‰ Œ‰Œœœ œœ ‰œ‰ Œ Œ œ ããã ã ã㉉J ‰‰ ‰‰ R J ‘‘‰‰ JJ ‰ J‰J ‰ ‘‰‘ CLSDHIHAT r r r r ã ‰. ¿ ‰ ¿ ≈ Œ ≈ ¿ ‰ ¿ ‰ ¿ Œ ≈ ¿ ‰ ≈ ¿ ¿ ≈ HANDCLAP x x x x x xr xr xr x x ã ≈ ≈ Œ ≈ ‰ ≈ ‰ ≈ ‰ ≈ ‰ Œ HI œ œ CONGA MID œ œ œ œ œ œ œ œ œ œ œ œ LOW ã œ œ œ ≈ œ œ œ œ ≈ œ œ œ ≈ œ œ œ œ ≈ SNAREDRUM œ œ œj œ œ œj ã Œ ≈ Œ ‰ Œ ≈ Œ ‰ BASSDRUM œ œ œ œ œ œ œ œ ã ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ CLSDHIHAT r r r r ã ‰ ¿ ≈ ‰ ¿ ≈ ≈ ¿ ‰ ≈ ¿ ‰ ¿ ≈ ¿ ≈ Œ ≈ ¿ ¿ ≈ ≈ ¿ ¿ ≈ HANDCLAP x x x x xr xr xr xr ã ‰ Œ ‰ ‰ ≈ ‰. ‰ ≈ ‰. Œ HI œ œ CONGA MID œ œ œ œ œ œ œ œ œ œ œ œ LOW ã œ œ œ ≈ œ œ œ œ ≈ œ œ œ ≈ œ œ œ œ ≈ SNAREDRUM œ œ œj œ œ œj ã Œ ≈ Œ ‰ Œ ≈ Œ ‰ BASSDRUM œ œ œ œ œ œ œ œ ã ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ CLSDHIHAT r r r r ã ‰. ¿ ‰ ¿ ≈ Œ ≈ ¿ ‰ ¿ ‰ ¿ Œ ≈ ¿ ‰ ≈ ¿ ¿ ≈ HANDCLAP x x x x x xr xr xr x x ã ≈ ≈ Œ ≈ ‰ ≈ ‰ ≈ ‰ ≈ ‰ Œ HI œ œ CONGA MID œ œ œ œ œ œ œ œ œ œ œ œ LOW ã œ œ œ ≈ œ œ œ œ ≈ œ œ œ ≈ œ œ œ œ ≈ SNAREDRUM œ œ œj œ œ œj ã Œ ≈ Œ ‰ Œ ≈ Œ ‰ BASSDRUM œ œ œ œ œ œ œ œ ã ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ CLSDHIHAT r r r r ã ‰ ¿ ≈ ‰ ¿ ≈ ≈ ¿ ‰ ≈ ¿ ‰ ¿ ≈ ¿ ≈ Œ ≈ ¿ ¿ ≈ ≈ ¿ ¿ ≈ HANDCLAP x x x x xr xr xr xr ã ‰ Œ ‰ ‰ ≈ ‰. ‰ ≈ ‰. Œ HI œ œ CONGA MID œ œ œ œ œ œ œ œ œ œ œ œ LOW ã œ œ œ ≈ œ œ œ œ ≈ œ œ œ ≈ œ œ œ œ ≈ SNAREDRUM œ œ œj œ œ œj ã Œ ≈ Œ ‰ Œ ≈ Œ ‰ BASSDRUM œ œ œ œ œ œ œ œ ã ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ Jesse Saunders/Vince Lawrence: “On and On” (1983) Phuture: “Acid Tracks” (Produced 85/86 - released 87) J. M. Silk (Steve “Silk” Hurley): “Jack Your Body” (1985). Phuture: Acid Tracks Produced 85/86 - released 87 Acid house - Roland TB-303 TB303 & c œ œ œ œ œ œ œ œ œ œ œ œ œ HiHat x X x Xr x X x Xr ã c ≈ ‰ ≈ ≈ ‰ ≈ Cowbell x x ã c Ó. ≈ ≈ Bass Dr. œj œj œj œj ã c ‰ ‰ ‰ ‰ ! # " # ! # " # ! # " # ! # " # *(+,# *(+, ! '()## " # ! # " # ! # " # ! # " # *(+,# '()# *(+, $%& '()# '()# !"## '()# $%& '()# TB303 !"## & c œ œ œ œ œ œ œ œ œ œ œ œ œ HiHat x X x Xr x X x Xr ã c ≈ ‰ ≈ ≈ ‰ ≈ Cowbell x x ã c Ó. ≈ ≈ Bass Dr. œj œj œj œj ã c ‰ ‰ ‰ ‰ Jesse Saunders/Vince Lawrence: “On and On” (1983) Phuture: “Acid Tracks” (Produced 85/86 - released 87) J. M. Silk (Steve “Silk” Hurley): “Jack Your Body” (1985). J. M. Silk (Steve “Silk” Hurley): “Jack Your Body” (1985). Steve “Silk” Hurley: "I was using drum machines, being limited by my playing abilities, since I was not really a musician. Basically, I tried to emulate other records, concentrating on basslines and programming." (Interview by Ryan Watson for Eye Weekly 25/5-2000. http://www.eye.net/eye/issue/issue_05.25.00/thebeat/hurley.html) SynthBass ? # ## c œ œ œ œ œ œ œ œ œ œ œ œ # œ œ. œ œ. HiHat Xj Xj Xj Xj Xj Xj Xj Xj ã c ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ Bass Dr. œj œj œj œj œj œj œj œj ã c ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ SynthBass ? # ## c œ œ œ œ œ œ œ œ œ œ œ œ # œ œ. œ œ. HiHat Xj Xj Xj Xj Xj Xj Xj Xj ã c ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ Bass Dr. œj œj œj œj œj œj œj œj ã c ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ DIN-sync MIDI Roland MSQ 700 (84) + MSQ-100 (85) Ensoniq Mirage (84/85-88) Roland TR-808 (81-84) Roland TB-303 (82-84) Roland-106 (84) “Its sampled snippets of sung or spoken vocal do not add up to coherent verses, rather instead becoming part of the rhythmic syntax of the track itself. Its ability – by means of the sampler and the sequencer – to turn any sound into a rhythmic element, remains the basic template for most contemporary dance music.” (J. Gilbert & E. Pearson: Discographies. Dance Music, Culture and the Politics of Sound. 1999. P. 74.) First Choice: “Let No Man Put Asunder” Shep Pettibone mix - 1983 0.00->0.42: Intro 0.42->1.22: Verse, Bridge, Chorus. 1.22->1.30: Interlude. 1.30->2.11: Verse, Bridge, Chorus. 2.11->2.27: Interlude. 2.27->7.59: Groove-oriented improvisation on the material of the chorus. Ex.: From 4.11 “The drum machine (...) bears no resemblance to traditional drums and drumming practice. The instrument has no direct, physical sound-producing mechanism; (…). It can be played, or programmed, with a series of buttons on its front panel, a keyboard, or a computer, and requires none of the physical coordination and discipline of a drummer.” (P. Théberge: Any Sound You Can Imagine. Making Music/Consuming Technology. 1997. p. 3f.) Wurlitzer Side Man, 1959 Roland TR 33 and TR55, 1972 CR-78, 1978. LinnDrum, 1982-85 Akai MPC-60, 1988! Akai MPC-3000, 1994 Akai S612, 1985! ! Akai S900, 1986 Akai S1000, 1988! ! Akai S3200, 1996 TR808, 1981-84! ! TR909, 1984-85 TR606, 1982 ! ! TR707, 1985 Roland TR-909 vs.