It's because a guitar has 6 strings of which 5 may be ringing plus the vocalist puts the number of voices near the acceptable ball park for complexity.
A vocalist with a pianist is another example for the same reason. We don't pair vocalist with only a flute player usually because then only two notes sound at the same time and fails most peoples criteria for sufficient complexity.
This also applies to song form which is where most books on music composition instruction start. A song can have one section that repeats which could be labeled AA.
Although it occurs in the classical repertoire, most modern people find it far too simplistic both as listeners and composers.
Another form is to have a first section with a contrasting section as in AB. The complexity has increased but not much and still fails the music psychology test.
After that comes ABA. This is just at the lower range of the acceptable complexity scale and you run the risk of boring more than half of your audience with something like this in my opinion.
When we come AA'BA'' we're making real progress. This is the form of a lot of jazz standards. The A's are called verses and the B is called a bridge and the whole thing is called a chorus.
This terminology is different when talking about pop music which we'll get to in a moment. The problem with jazz is that if each person takes a turn soloing over several repeats of the form then it fails the complexity test by containing too many sections of music.
AABA for the first statement of the material then AABA again for the first soloist and maybe played more than once. Then AABA again for the second soloist. and the third and the fourth.
So there's something like AABAAABAAABAAABAAABAAABAAABAAABAAABAAABA etc.. That's 40 sections of music which is way beyond what most people will sit through especially if there's a drum solo.
Some people will "chunk" each AABA into a single section but that leaves 10 which is still too high.
แสดงบทความที่มีป้ายกำกับ flute แสดงบทความทั้งหมด
แสดงบทความที่มีป้ายกำกับ flute แสดงบทความทั้งหมด
วันพฤหัสบดีที่ 9 กรกฎาคม พ.ศ. 2552
Movie Composer Guidance System
Ever wonder how scores are put together for movies? Been thoroughly disappointed at the dearth of books on the subject? And the quality of the books you’ve been able to find?
This link is the MOTHERLOAD for anyone wishing to learn how to compose for film. Leave it to a computer technician to explain the process better than anyone else.
You do have to wade through everything about how to tell a computer to do it but it’s worth it.
Mazz where are you? Check this out!!!
http://eprints.ecs.soton.ac.uk/13924/
Highlights;
Music changes when new emotion or new subject of dialogue is present
When there’s a change of scene or new character introduced.
Camera movement
A new action
Reaction to a dialoge or event
Preference for short repeated motifs by some composers who focus on rhythms and chords
Music modified by whether it’s night or day, inside or outside, transition, location, dialogue and action as well as gender, mood, species, age and body size.
The music may also be written for items/props, locations and occurences. And may take into account increasing age and death of a character.
Music changes as a characters motivations are fulfilled.
Specific events are gain, loss transformation and introduction.
5th interval heroic
chromatic worry
(I would say the descending tritone often represents evil.)
Keys normally change either from major to minor or the reverse as well as cycle of fifths
If strings contain accents then it’s more probably to use brass instead of woodwinds
If strings are smooth then woodwinds a more likely coinciding choice.
Normal chord progressions apply such as IV I if more music is coming or V I if music is ending
If the rhythmic motions of bodies in a scene have determined that scenes rhythm and the next scene does not have any way to determine a rhythm then carry forward the previous rhythm,
If no previous music then a subsequent music’s rhythm is brought backwards.
If neither previous nor subsequent music exists for a scene then default is 120bpm.
2/4 beat is standard if composing based on short repeating rhythms and motifs.
There is a wonderful chart showing the likely hood of key progressions.
And weighting of instruments such as
6 for piano
5 for violin
5 for flute
4 oboe
2 guitar
1 trumpet
Low probability notes exist on low probability beats (weak beats and off beats)
Action Hero gets Strings with Brass in Major Key and Dotted rhythms.
minor fast strings equals dangerous tension
When fighting over a gun, when the hero gets it the music is major, when the villain gets it the music is minor.
Use musical transitions for segment changes
Homophony simple
Polyphony complex
Melody covers notes of the chords
This link is the MOTHERLOAD for anyone wishing to learn how to compose for film. Leave it to a computer technician to explain the process better than anyone else.
You do have to wade through everything about how to tell a computer to do it but it’s worth it.
Mazz where are you? Check this out!!!
http://eprints.ecs.soton.ac.uk/13924/
Highlights;
Music changes when new emotion or new subject of dialogue is present
When there’s a change of scene or new character introduced.
Camera movement
A new action
Reaction to a dialoge or event
Preference for short repeated motifs by some composers who focus on rhythms and chords
Music modified by whether it’s night or day, inside or outside, transition, location, dialogue and action as well as gender, mood, species, age and body size.
The music may also be written for items/props, locations and occurences. And may take into account increasing age and death of a character.
Music changes as a characters motivations are fulfilled.
Specific events are gain, loss transformation and introduction.
5th interval heroic
chromatic worry
(I would say the descending tritone often represents evil.)
Keys normally change either from major to minor or the reverse as well as cycle of fifths
If strings contain accents then it’s more probably to use brass instead of woodwinds
If strings are smooth then woodwinds a more likely coinciding choice.
Normal chord progressions apply such as IV I if more music is coming or V I if music is ending
If the rhythmic motions of bodies in a scene have determined that scenes rhythm and the next scene does not have any way to determine a rhythm then carry forward the previous rhythm,
If no previous music then a subsequent music’s rhythm is brought backwards.
If neither previous nor subsequent music exists for a scene then default is 120bpm.
2/4 beat is standard if composing based on short repeating rhythms and motifs.
There is a wonderful chart showing the likely hood of key progressions.
And weighting of instruments such as
6 for piano
5 for violin
5 for flute
4 oboe
2 guitar
1 trumpet
Low probability notes exist on low probability beats (weak beats and off beats)
Action Hero gets Strings with Brass in Major Key and Dotted rhythms.
minor fast strings equals dangerous tension
When fighting over a gun, when the hero gets it the music is major, when the villain gets it the music is minor.
Use musical transitions for segment changes
Homophony simple
Polyphony complex
Melody covers notes of the chords
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