简介
Get complete guidance on both traditional orchestration and modern production techniques with this unique book. With effective explanations and clear illustrations, you will learn how to integrate the traditional approach to orchestration with the modern sequencing techniques and tools available. You will discover how to bridge the two approaches in order to enhance your final production. The accompanying CD includes a comprehensive and wide selection of examples, templates and sounds to allow you to hear the techniques within the book. By covering both approaches, this book provides a comprehensive and solid learning experience that will develop your skills and prove extremely competitive in the music production business. * Complete orchestration manual covering both traditional and modern techniques * Versatile, non-software specific, perfect choice for professionals and colleges * Accompanying DVD with examples, templates and sounds brings techniques to life.
目录
Front Cover 1
Acoustic and MIDI Orchestration for the Contemporary Composer 4
Copyright Page 5
Contents 6
Foreword 12
Acknowledgments 16
Chapter 1 \u2013 Basic Concepts for the MIDI Composer, Arranger, and Orchestrator 18
1.1 Introduction to MIDI and audio sequencing 18
1.2 Review of the MIDI standard 19
1.3 MIDI messages and their practical applications 22
1.3.1 Channel voice messages 22
1.3.2 Most commonly used control changes 27
1.3.3 Extended controllers 27
1.3.4 Coarse versus fine 29
1.3.5 Control your sounds 29
1.3.6 Registered and non-registered parameters 31
1.3.7 Channel mode messages 32
1.3.8 System real-time messages 33
1.3.9 System common messages 35
1.3.10 System exclusive messages (SysEx) 36
1.4 Principles of orchestration 36
1.4.1 Composition 36
1.4.2 Range 37
1.4.3 Register and the overtone series 38
1.4.4 Transposition 40
1.4.5 Concert instruments 40
1.4.6 Transposing instruments 40
1.4.7 Weight, balance, and intensity 41
1.4.8 Hazards of writing at the piano 41
1.5 Final considerations 43
1.6 Summary 44
1.7 Exercises 45
Chapter 2 \u2013 Writing and Sequencing for the Rhythm Section 49
2.1 Introduction: general characteristics 49
2.2 The components of the rhythm section 49
2.3 The role of the essential instruments 50
2.3.1 The bass 51
2.3.2 The drumset (and auxiliary percussion) 51
2.3.3 Keyboards and guitars 52
2.4 Color and style 53
2.4.1 Basses 53
2.4.2 Guitars 53
2.4.3 Keyboards 53
2.4.4 Mallet percussion 54
2.4.5 Drumset 55
2.4.6 Auxiliary percussion 56
2.5 Writing parts for the rhythm section 57
2.5.1 Bass parts 57
2.5.2 Drumset parts 57
2.5.3 Guitar parts 58
2.5.4 Keyboard parts 60
2.5.5 Mallet parts 60
2.6 Sample scores for the rhythm section 60
2.7 Sequencing the rhythm section: an introduction 62
2.7.1 The keyboard 62
2.7.2 The acoustic piano 63
2.7.3 Sequencing and mixing techniques for the acoustic piano 66
2.7.4 The alternate keyboards: electric pianos and organs 67
2.8 The synthesizer 70
2.8.1 Hardware and software synthesizers 70
2.8.2 Synthesis techniques 72
2.8.3 Analog subtractive synthesis 72
2.8.4 Additive synthesis 74
2.8.5 Frequency modulation synthesis 75
2.8.6 Wavetable synthesis 75
2.8.7 Sampling 76
2.8.8 Physical modeling synthesis 77
2.8.9 Granular synthesis 79
2.9 Sequencing for the guitar: overview 80
2.9.1 Sequencing techniques for the guitar 81
2.9.2 Mixing the virtual guitar 85
2.10 Sequencing for the bass: overview 87
2.10.1 Sequencing techniques for the bass 87
2.10.2 Mixing the virtual bass 90
2.11 Sequencing for drums and percussion: overview 92
2.11.1 Sequencing techniques for drums and percussion 94
2.11.2 Quantization for drums and percussion 96
2.11.3 Groove quantization 101
2.11.4 Performance controllers for drums and percussion 102
2.11.5 Final touches 103
2.12 Mixing the virtual drums and percussion 104
2.13 Final considerations on sequencing for the rhythm section: tempo changes 108
2.14 Summary 110
2.15 Exercises 113
Chapter 3 \u2013 Writing and Sequencing for the String Orchestra 115
3.1 Introduction: general characteristics 115
3.2 Creating sound 116
3.2.1 \u201cOpen\u201d string versus \u201cstopped\u201d string 117
3.2.2 Bowings 117
3.3 Performance techniques for greater expression 119
3.3.1 Portamento 121
3.3.2 Pizzicato 121
3.3.3 Harmonics 122
3.3.4 Mutes 123
3.4 The specific instruments 123
3.4.1 The violin 123
3.4.2 Functions of the violins in an orchestration 125
3.4.3 The viola 125
3.4.4 Functions of the violas in an orchestration 127
3.4.5 The violoncello 127
3.4.6 Functions of the cellos in an orchestration 129
3.4.7 The double bass 129
3.4.8 Functions of the basses in an orchestration 131
3.5 Orchestration examples 131
3.6 The harp 132
3.6.1 Spelling matters 133
3.6.2 Mass edit 134
3.6.3 Pedal charts 134
3.6.4 Pedal changes 135
3.6.5 The harp glissando 135
3.6.6 Ensemble context 135
3.7 Sequencing for the string orchestra 136
3.7.1 Synthesis techniques and library options 136
3.7.2 Multi-layer patches 138
3.7.3 Key-switching libraries 140
3.7.4 Advanced layering techniques for strings 142
3.8 MIDI sequencing techniques for strings 143
3.8.1 Attack and release control 144
3.8.2 Performance controllers 148
3.8.3 Extended performance controllers 149
3.9 Hardware MIDI controllers for string sequencing 152
3.9.1 Special sequencing techniques for strings 156
3.9.2 Legato, staccato, and d茅tach茅 156
3.9.3 Sul tasto, sul ponticello, and mute 156
3.9.4 Trills and tremolos 157
3.9.5 Detuning techniques 159
3.10 Sequencing for the harp 161
3.11 Mixing the string section 163
3.11.1 Panning the string orchestra 163
3.11.2 Equalization for the string orchestra 164
3.11.3 Reverberation 165
3.12 The final touches 167
3.13 Summary and final considerations on writing and sequencing for the string orchestra 168
3.14 Exercises 171
Chapter 4 \u2013 Writing and Sequencing for the Woodwind Section 173
4.1 General characteristics 173
4.2 The woodwind section 173
4.2.1 \u201cDoubling\u201d 174
4.3 Creating sound 175
4.3.1 Tonguing (articulation) 176
4.3.2 The slur 176
4.3.3 The trill 177
4.3.4 Grace notes 177
4.4 The specific instruments 178
4.4.1 The flute 178
4.4.2 The piccolo flute 179
4.4.3 The alto flute 179
4.4.4 The oboe 181
4.4.5 The English horn 181
4.4.6 The clarinet 182
4.4.7 The clarinet 183
4.4.8 The bass clarinet 184
4.4.9 The bassoon 185
4.5 The saxophones 186
4.5.1 Saxophone tone quality 186
4.5.2 Saxophone range 186
4.5.3 Saxophone transposition 187
4.6 Concerns regarding orchestration 188
4.7 Sequencing for the woodwind section: an introduction 191
4.8 Synthesis techniques and library options 191
4.9 Sequencing techniques for the woodwind section: input controllers 195
4.10 Use of MIDI control changes and editing techniques 197
4.10.1 Attack and release control 197
4.10.2 Filter and timbre control 202
4.11 Performance controllers 203
4.12 Performance extended controllers 204
4.13 Special sequencing techniques for woodwind: the saxophone section 206
4.13.1 Blending acoustic and MIDI 208
4.14 Final touches 208
4.14.1 Performance noises 210
4.15 Mixing the woodwind section 211
4.15.1 Panning the woodwind instruments 211
4.15.2 Equalization for the woodwind instruments 212
4.15.3 Reverberation 215
4.16 Summary 216
4.17 Exercises 218
Chapter 5 \u2013 Writing and Sequencing for the Brass Section 220
5.1 General characteristics 220
5.2 The brass section in the orchestra 220
5.3 The brass section in the jazz band 221
5.4 Creating sound 221
5.4.1 Tonguing 222
5.4.2 Slurs 222
5.4.3 The glissando 222
5.4.4 Articulation markings and effects 223
5.5 The specific instruments 223
5.5.1 The French horn 223
5.5.2 The trumpets 225
5.5.3 The piccolo trumpet 226
5.5.4 The flugelhorn 227
5.5.5 The tenor trombone 228
5.5.6 The bass trombone 229
5.5.7 The tuba 230
5.5.8 The euphonium 231
5.6 Mutes 232
5.6.1 Mute preparation 233
5.7 Orchestrating the brass 233
5.7.1 Orchestrating brass and woodwinds 235
5.8 Sequencing for the brass section: an introduction 235
5.8.1 Synthesis techniques and library options 235
5.8.2 What to look for 237
5.9 MIDI controllers for sequencing the brass section 240
5.10 Sequencing techniques for the brass instruments 242
5.10.1 Micro-level automation 245
5.10.2 Quantization 246
5.11 Performance controllers for the brass 249
5.11.1 Breath controller 249
5.11.2 Portamento 249
5.11.3 Aftertouch and soft pedal 251
5.12 Extended performance controllers: attack and brightness 252
5.12.1 Attack control 253
5.12.2 Brightness control 253
5.13 Advanced sequencing techniques for the brass: detuning 254
5.13.1 Solo instrument detuning 254
5.13.2 Section detuning 255
5.13.3 Velocity-to-pitch 255
5.14 Addition of real instruments 257
5.15 The final touch: performance noises 257
5.16 Mixing the brass section 258
5.16.1 Panning the brass instruments 258
5.16.2 Equalization for the brass instruments 261
5.16.3 Reverberation for the brass instruments 261
5.17 Summary 264
5.18 Exercises 266
Appendix A: Music Scores 268
DVD Audio Examples List 294
Index 300
A 300
B 300
C 301
D 301
E 301
F 301
G 302
H 302
I 302
J 302
K 302
L 302
M 302
N 303
O 303
P 303
Q 304
R 304
S 304
T 305
U 305
V 306
W 306
X 306
Y 306
Acoustic and MIDI Orchestration for the Contemporary Composer 4
Copyright Page 5
Contents 6
Foreword 12
Acknowledgments 16
Chapter 1 \u2013 Basic Concepts for the MIDI Composer, Arranger, and Orchestrator 18
1.1 Introduction to MIDI and audio sequencing 18
1.2 Review of the MIDI standard 19
1.3 MIDI messages and their practical applications 22
1.3.1 Channel voice messages 22
1.3.2 Most commonly used control changes 27
1.3.3 Extended controllers 27
1.3.4 Coarse versus fine 29
1.3.5 Control your sounds 29
1.3.6 Registered and non-registered parameters 31
1.3.7 Channel mode messages 32
1.3.8 System real-time messages 33
1.3.9 System common messages 35
1.3.10 System exclusive messages (SysEx) 36
1.4 Principles of orchestration 36
1.4.1 Composition 36
1.4.2 Range 37
1.4.3 Register and the overtone series 38
1.4.4 Transposition 40
1.4.5 Concert instruments 40
1.4.6 Transposing instruments 40
1.4.7 Weight, balance, and intensity 41
1.4.8 Hazards of writing at the piano 41
1.5 Final considerations 43
1.6 Summary 44
1.7 Exercises 45
Chapter 2 \u2013 Writing and Sequencing for the Rhythm Section 49
2.1 Introduction: general characteristics 49
2.2 The components of the rhythm section 49
2.3 The role of the essential instruments 50
2.3.1 The bass 51
2.3.2 The drumset (and auxiliary percussion) 51
2.3.3 Keyboards and guitars 52
2.4 Color and style 53
2.4.1 Basses 53
2.4.2 Guitars 53
2.4.3 Keyboards 53
2.4.4 Mallet percussion 54
2.4.5 Drumset 55
2.4.6 Auxiliary percussion 56
2.5 Writing parts for the rhythm section 57
2.5.1 Bass parts 57
2.5.2 Drumset parts 57
2.5.3 Guitar parts 58
2.5.4 Keyboard parts 60
2.5.5 Mallet parts 60
2.6 Sample scores for the rhythm section 60
2.7 Sequencing the rhythm section: an introduction 62
2.7.1 The keyboard 62
2.7.2 The acoustic piano 63
2.7.3 Sequencing and mixing techniques for the acoustic piano 66
2.7.4 The alternate keyboards: electric pianos and organs 67
2.8 The synthesizer 70
2.8.1 Hardware and software synthesizers 70
2.8.2 Synthesis techniques 72
2.8.3 Analog subtractive synthesis 72
2.8.4 Additive synthesis 74
2.8.5 Frequency modulation synthesis 75
2.8.6 Wavetable synthesis 75
2.8.7 Sampling 76
2.8.8 Physical modeling synthesis 77
2.8.9 Granular synthesis 79
2.9 Sequencing for the guitar: overview 80
2.9.1 Sequencing techniques for the guitar 81
2.9.2 Mixing the virtual guitar 85
2.10 Sequencing for the bass: overview 87
2.10.1 Sequencing techniques for the bass 87
2.10.2 Mixing the virtual bass 90
2.11 Sequencing for drums and percussion: overview 92
2.11.1 Sequencing techniques for drums and percussion 94
2.11.2 Quantization for drums and percussion 96
2.11.3 Groove quantization 101
2.11.4 Performance controllers for drums and percussion 102
2.11.5 Final touches 103
2.12 Mixing the virtual drums and percussion 104
2.13 Final considerations on sequencing for the rhythm section: tempo changes 108
2.14 Summary 110
2.15 Exercises 113
Chapter 3 \u2013 Writing and Sequencing for the String Orchestra 115
3.1 Introduction: general characteristics 115
3.2 Creating sound 116
3.2.1 \u201cOpen\u201d string versus \u201cstopped\u201d string 117
3.2.2 Bowings 117
3.3 Performance techniques for greater expression 119
3.3.1 Portamento 121
3.3.2 Pizzicato 121
3.3.3 Harmonics 122
3.3.4 Mutes 123
3.4 The specific instruments 123
3.4.1 The violin 123
3.4.2 Functions of the violins in an orchestration 125
3.4.3 The viola 125
3.4.4 Functions of the violas in an orchestration 127
3.4.5 The violoncello 127
3.4.6 Functions of the cellos in an orchestration 129
3.4.7 The double bass 129
3.4.8 Functions of the basses in an orchestration 131
3.5 Orchestration examples 131
3.6 The harp 132
3.6.1 Spelling matters 133
3.6.2 Mass edit 134
3.6.3 Pedal charts 134
3.6.4 Pedal changes 135
3.6.5 The harp glissando 135
3.6.6 Ensemble context 135
3.7 Sequencing for the string orchestra 136
3.7.1 Synthesis techniques and library options 136
3.7.2 Multi-layer patches 138
3.7.3 Key-switching libraries 140
3.7.4 Advanced layering techniques for strings 142
3.8 MIDI sequencing techniques for strings 143
3.8.1 Attack and release control 144
3.8.2 Performance controllers 148
3.8.3 Extended performance controllers 149
3.9 Hardware MIDI controllers for string sequencing 152
3.9.1 Special sequencing techniques for strings 156
3.9.2 Legato, staccato, and d茅tach茅 156
3.9.3 Sul tasto, sul ponticello, and mute 156
3.9.4 Trills and tremolos 157
3.9.5 Detuning techniques 159
3.10 Sequencing for the harp 161
3.11 Mixing the string section 163
3.11.1 Panning the string orchestra 163
3.11.2 Equalization for the string orchestra 164
3.11.3 Reverberation 165
3.12 The final touches 167
3.13 Summary and final considerations on writing and sequencing for the string orchestra 168
3.14 Exercises 171
Chapter 4 \u2013 Writing and Sequencing for the Woodwind Section 173
4.1 General characteristics 173
4.2 The woodwind section 173
4.2.1 \u201cDoubling\u201d 174
4.3 Creating sound 175
4.3.1 Tonguing (articulation) 176
4.3.2 The slur 176
4.3.3 The trill 177
4.3.4 Grace notes 177
4.4 The specific instruments 178
4.4.1 The flute 178
4.4.2 The piccolo flute 179
4.4.3 The alto flute 179
4.4.4 The oboe 181
4.4.5 The English horn 181
4.4.6 The clarinet 182
4.4.7 The clarinet 183
4.4.8 The bass clarinet 184
4.4.9 The bassoon 185
4.5 The saxophones 186
4.5.1 Saxophone tone quality 186
4.5.2 Saxophone range 186
4.5.3 Saxophone transposition 187
4.6 Concerns regarding orchestration 188
4.7 Sequencing for the woodwind section: an introduction 191
4.8 Synthesis techniques and library options 191
4.9 Sequencing techniques for the woodwind section: input controllers 195
4.10 Use of MIDI control changes and editing techniques 197
4.10.1 Attack and release control 197
4.10.2 Filter and timbre control 202
4.11 Performance controllers 203
4.12 Performance extended controllers 204
4.13 Special sequencing techniques for woodwind: the saxophone section 206
4.13.1 Blending acoustic and MIDI 208
4.14 Final touches 208
4.14.1 Performance noises 210
4.15 Mixing the woodwind section 211
4.15.1 Panning the woodwind instruments 211
4.15.2 Equalization for the woodwind instruments 212
4.15.3 Reverberation 215
4.16 Summary 216
4.17 Exercises 218
Chapter 5 \u2013 Writing and Sequencing for the Brass Section 220
5.1 General characteristics 220
5.2 The brass section in the orchestra 220
5.3 The brass section in the jazz band 221
5.4 Creating sound 221
5.4.1 Tonguing 222
5.4.2 Slurs 222
5.4.3 The glissando 222
5.4.4 Articulation markings and effects 223
5.5 The specific instruments 223
5.5.1 The French horn 223
5.5.2 The trumpets 225
5.5.3 The piccolo trumpet 226
5.5.4 The flugelhorn 227
5.5.5 The tenor trombone 228
5.5.6 The bass trombone 229
5.5.7 The tuba 230
5.5.8 The euphonium 231
5.6 Mutes 232
5.6.1 Mute preparation 233
5.7 Orchestrating the brass 233
5.7.1 Orchestrating brass and woodwinds 235
5.8 Sequencing for the brass section: an introduction 235
5.8.1 Synthesis techniques and library options 235
5.8.2 What to look for 237
5.9 MIDI controllers for sequencing the brass section 240
5.10 Sequencing techniques for the brass instruments 242
5.10.1 Micro-level automation 245
5.10.2 Quantization 246
5.11 Performance controllers for the brass 249
5.11.1 Breath controller 249
5.11.2 Portamento 249
5.11.3 Aftertouch and soft pedal 251
5.12 Extended performance controllers: attack and brightness 252
5.12.1 Attack control 253
5.12.2 Brightness control 253
5.13 Advanced sequencing techniques for the brass: detuning 254
5.13.1 Solo instrument detuning 254
5.13.2 Section detuning 255
5.13.3 Velocity-to-pitch 255
5.14 Addition of real instruments 257
5.15 The final touch: performance noises 257
5.16 Mixing the brass section 258
5.16.1 Panning the brass instruments 258
5.16.2 Equalization for the brass instruments 261
5.16.3 Reverberation for the brass instruments 261
5.17 Summary 264
5.18 Exercises 266
Appendix A: Music Scores 268
DVD Audio Examples List 294
Index 300
A 300
B 300
C 301
D 301
E 301
F 301
G 302
H 302
I 302
J 302
K 302
L 302
M 302
N 303
O 303
P 303
Q 304
R 304
S 304
T 305
U 305
V 306
W 306
X 306
Y 306
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