Timbre As Motive Force

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Из курса от партнера Berklee College of Music

Creating Sounds for Electronic Music

159 оценки

Berklee College of Music

Creating Sounds for Electronic Music

159 оценки

What you’ll achieve: In this project-centered course*, you will create sounds and use them in your own musical compositions. Whether you're an aspiring producer, composer, or hobbyist, this course will help you gain skills in music production and confidence using software synthesizers. Along with your classmates, you will create a massive database of designed sounds, or patches, to use in your compositions. As part of the course, you will work with a free version of FXpansion Strobe 2. What you’ll need to get started: This course is designed for learners who are familiar with music production basics, and who have access to some basic music production equipment. Specifically, you should have experience with a digital audio workstation that supports VST, AAX, or AU plugins (Introduction to Music Production or Pro Tools Basics are recommended if you do not have this experience). You will also need a MIDI keyboard or controller (such as an oxygen 8), a digital audio workstation, such as Pro Tools, and FXpansion Strobe 2 (a free 90-day demo will be provided for Coursera learners in this course). *About Project-Centered Courses: This is a ‘project-centered course’, which means it is designed specifically to help you complete a personally meaningful real-world project, with your instructor and a community of learners with similar goals providing guidance and suggestions along the way. By actively applying new concepts as you learn, you’ll master the course content more efficiently; you’ll also get a head start on using the skills you gain to make positive changes in your life and career. When you complete the course, you’ll have a finished project that you’ll be proud to use and share.

Из урока

Creating Draft 3

This week, we'll create our third draft. We'll add special FX and texture to our etudes. We'll also expand on the 40-measure form and begin to develop our musical ideas further.

Timbre As Motive Force3:30

Познакомьтесь с преподавателями

Loudon Stearns
Assistant Professor
Contemporary Writing & Production

[MUSIC]

So we've reached the final lesson in our course.

I want to take a moment to think about how music moves forward.

We've focused a lot on the individual sounds.

And I really want to be again focused on the overall form.

Last week we spoke pretty in-depth about the listener's perspective and

so much of it was I want the audience to be focused on this one element,

and that's kind of a static thing, right?

We're saying, I'd like the listener to be focused on the arpeggio now, or

I'd like the listener to be focused on the bass during this section.

But I'd like to think about how we can give a sense of forward motion.

And to me I relate this back to harmony,

because when I was studying at Berklee we studied harmony so much.

And what I found over and over is that our sense of forward motion was kind of based

on that in a lot of the music we studied.

There'd be this dominant to tonic relationship.

Dominant sets up tension and the tonic was this relief.

And every time we had this tension we felt like we needed to move forward and

then we'd have a release and we felt like we arrived somewhere.

And then again there'd be more tension and there's release.

But in a lot of these electronic music styles there isn't much harmony.

And I find that harmony is not really used in that way so

much here, but I still feel the sense of forward motion.

I listen to this music and I know we're going somewhere.

I listen to this music and I know that I'm supposed to start jumping during a certain

moment and everyone does, right?

So there must be something in the music that's pushing us forward.

What is it?

For me what I notice,

at least the different aspect, some of this music will use harmony that way.

But most of it is using sound, an evolution in sound, to push us forward.

They're using sound as a way in my intro to make me think about the next section.

Very often it's a linear motion, right?

Something that's going [SOUND] right?

This kind of riser sound.

No matter what's going on in the music,

if I hear that in the background I know something's happening.

I'm thinking about the next section.

And that's the kind of perspective I'd like you to have

in your active listening this week, and also in your creation.

Every section of your music,

I'd like you to give the audience a clue as to what's coming next.

Remind them that they're on a journey at every at moment and

do so with evolutions of sound.

And so we'll explore sequenced elements, which are like constant pulses,

really nice for giving a sense of groove, but also great to add slow motion to.

Again, if you have slow motion, you're implying you're on a journey,

you're going somewhere else.

We'll look at special effects, like these kind of noise sweeps and

risers that are specifically there to give a sense of forward motion.

A kind of dance floor instruction, right.

You know by the sound what's about to happen.

You're thinking about the next section because you hear this thing.

And then we'll also look at this really interesting category, we call it textures.

And really they're there to create vibe, a certain feeling.

Really nice during breakdown sections to create kind of a contrast, and

kind of an open, spacey, introspective moment.

Your classmates are going to be really engaged

as you create this kind of final stage for this course.

But recognize that this really is just a draft.

It really is one stage in a much longer journey,

just like this course is one stage in your larger journey of being a music producer.

So don't feel that this project, though it is the last one in this course,

don't feel that it has to be complete or done.

It's still part of a longer process.

[MUSIC]

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