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Member Since 28 Nov 2005
Offline Last Active Jun 08 2016 04:54 PM

Posts I've Made

In Topic: OPEN CALL: Game audio articles, tutorials and references

30 June 2012 - 11:30 PM

Here's a good one for you. Not exactly for beginners, but it's a trove of excellent information. Northern Sounds put a complete annotated version of Rimsky-Korsakov's Principles of Orchestration online plus a course on jazz arranging from Chuck Israels. (Israels is a legendary jazz bassist.)


In Topic: Patience

07 August 2010 - 02:44 PM

Just to follow on Nate's post...

I actually did a lot of gigging outside of school during my final years of college. I played in various jazz groups and sometimes was performing 3-4 days a week aside from my classes. This was invaluable experience.

I used the school computers to learn Finale and print charts and parts for school projects and gigs. I didn't even have my own computer until my last year of college. I learned the basics of sequencing on the old Opcode Vision in the mid 90's during free time in the school computer lab. My purpose was mainly to record chord changes to practice jazz improv. It never went much beyond that.

I didn't start delving deeply into sequencing and DAWs until about three years after college when my wife bought a nice computer and a copy of Logic. I also taught myself everything I needed to know about audio and film sync by reading books, paying close attention to what was going on when I was in the recording studio, and asking some questions of colleagues. Learning the technology was much less work and effort than actually developing musical skills.

I never planned on working in film, TV, or games, but having a solid musical background made the move into those industries possible.

In Topic: Patience

06 August 2010 - 06:46 PM

As a fellow percussionist and now professional musician, I say forget the gear for now. Focus on your musical studies. You can always buy gear and learn it. The gear you buy now may be outdated in 4 years or whenever you graduate anyway. Save your money. If you want to learn about software and other gear, avail yourself of the equipment at your school. That's what you're paying tuition for! <wink>

In Topic: Aleatoric Axe-periment !!

19 June 2010 - 05:06 PM

Original post by jjandreau
D# lydian...so A# minor I suppose? :D Sounds zesty.

Not exactly. I was thinking more traditional - A lydian. The D# note is what makes it lydian instead of plain A major so I'd use that note as a jumping off point and stay within your Amaj13(#11) which is lydian harmony! :)

In Topic: Aleatoric Axe-periment !!

19 June 2010 - 03:10 PM

What is an F#m6/3 chord? That's not a standard chord symbol.

Is the 6/3 a figured bass indication meaning a simple F#m with an A in the bass (F#m/A)? If so the polychord sounds like an Amaj13 to me.

Or did you mean an F#m6 with an A in the bass (usually shown as F#m6/A)? If that's what you meant, then this is an Amaj13(#11) chord to my ear.

If it's an Amaj13(#11) harmony, things get interesting and your horn semitone movement makes perfect sense.

If writing for orchestra, I might...

1. After the horn portamento, sustain and diminuendo the whole chord (horns and strings).
2. Then double the D# (#11) in a different instrument on the top of voicing as the horns fade away and strings continue the sustain. Flute could be nice for this note (or oboe if the player is good -- this could be a high entrance).
3. Use the D# as the melody note for the beginning of a flowing lydian melody.

Don't use the entire orchestra for a while so you have somewhere to build.

As I think about this, it might be nice to start with the horns and strings in mutes. The strings will be silky and the horns won't be too brooding.

Uh-oh, starting to sound more like Debussy's "Daphnis and Chloe". [wink]