MIDI Realizations Using VSL #3

Module Assignment #3

In preparation for your Module Assignment #3:

Go to the Comp Seminar classesv2 site, find the Resources Folder, then click on it to find the Music 413b – Spring 2015 Folder for materials to download.

1. Carefully browse the following Class Notes from the Adler and Blatter texts:

  • Adler_Orchestration_ScoringPercussion+Aux_ClassNotes.pdf
    (Browse)
  • Adler_Orchestration_ScoringOrchestra_ClassNotes.pdf
    (Browse)
  • Brant_Textures_And_Timbres
    (Chs. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 21)

2. Review your Spectrotone Chart and manuals.

3. Review the Instrumentology pages on the VSL website.

4. Review the VSL Reference Poster in Rm. 403.

6. Ongoing VSL Concepts:

Ongoing Use Of:

  • Note data
  • Velocity data
  • Tempo curve
  • Velocity Data Crossfading

More VSL Concepts:

  • Vienna Ensemble
  • Vienna MIR

7. Implement the Module #3 Logic Assignments:

Go to Rm. 403, log-in to the workstation (use the secret netID), then click on your individual folder for Logic Project materials to use.  Save your completed work in your own Rm. 403 folder.

Module #3-A.9a: Brant, Ch 9a: Unisons Assignment – DUE Wednesday, 4/15!

1. Re-read Brant’s Ch. 9: Unisons focusing on Ex. 2a on page 17

2. Re-consult your Spectrotone Chart.

3. Open up the Sibelius file: Ch9_Brant_Unisons_Ex_9a_To_Score_Sibelius7

4. Plan the following four iterations:

  • a. Score for Harp (melody); Wind Timbre 1 (sustained harmony).
  • b. Score for Harp/Marimba unison (melody); Wind Timbre 2 (sustained harmony).
  • c. Score for Harp/Marimba/Vibe/Glock unison & octaves (melody); Wind Timbre 1 & 3 (sustained harmony).
  • d. Score for Harp/Marimba/Vibe/Glock/celeste/piano unison&octaves (melody); Wind Timbre 2 & 4 (sustained harmony).

5. Open up the Logic file: “Brant Chapter 9a to Score”. For this project, you will be using Vienna Instruments Pro once again. There is an instance of Vienna Instruments Pro on each MIDI channel in the project. For each instance of VI Pro, add the instrument matrix corresponding to the track’s MIDI data, as you have done in previous assignments.

6. The reverberation and space are configured for you already using Vienna Suite’s Hybrid Equalizer. You may make any panning adjustments you see fit inside of Logic Pro.

7. Your main goal is to strive for melodic & harmonic balance focusing on Brant’s observations and orchestral techniques.  For the melodic aspect, explore different unison and octave doublings and choose different combinations for each iteration.  For the sustained harmonic aspect, use only one instrument per pitch.  Create different sounding sustained harmonic timbres according to the designated Wind Timbre groupings using different instruments and different harmonic formations that are either juxtaposing, interlocking or enclosed.  Use velocity data for your dynamics.

8. This assignment shouldn’t take you any longer than 2 hrs.

Module #3-A.9b: Brant, Ch 9b: Unisons Assignment – DUE Wednesday, 4/15!

1. Re-read Brant’s Ch. 9: Unisons focusing on Ex. 2b on page 17

2. Re-consult your Spectrotone Chart.

3. Open up the Sibelius file: Ch9_Brant_Unisons_Ex_9b_To_Score_Sibelius7

4. Plan the following two iterations:

  • a. Score for Wind Timbre 1/String Timbre 2 (undulating texture); Wind Timbre 3/Percussion Timbre 3 (sustained harmony).
  • b. Score for Wind Timbre 2/String Timbre 1 (undulating texture); Wind Timbre 4/Percussion Timbre 3 (sustained harmony).

5. Open up the Logic file: “Brant Chapter 9b to Score”. As in #9a, you will be using Vienna Instruments Pro. There is an instance of Vienna Instruments Pro on each MIDI channel in the project. For each instance of VI Pro, add the instrument matrix corresponding to the track’s MIDI data, as you have done in previous assignments.

6. The reverberation and space are configured for you already using Vienna Suite’s Hybrid Equalizer. You may make any panning adjustments you see fit inside of Logic Pro.

7. Your main goal is to strive for melodic & harmonic balance focusing on Brant’s observations and orchestral techniques.  For the undulating, explore different unison doublings and choose different combinations for each iteration.  For the sustained harmonic aspect, use only one instrument per pitch.  Create different sounding sustained harmonic timbres according to the designated Wind & Percussion Timbre groupings using different instruments and different harmonic formations that are either juxtaposing, interlocking or enclosed.  Use velocity data for your dynamics.

8. This assignment shouldn’t take you any longer than 2 hrs.

Module #3-A.10a: Brant, Ch 10a: Octaves Assignment – DUE Wednesday, 4/15!

1. Re-read Brant’s Ch. 10: Octaves focusing on Ex. 2 on page 23

2. Re-consult your Spectrotone Chart.

3. Open up the Sibelius file: Ch10_Brant_Octave_Ex_10a_To_Score_Sibelius7

4. Plan the following four iterations:

  • a. Score for String Timbre 2 (upper 8va); Wind Timbre 1 (8ba).
  • b. Score for String Timbre 1 (upper 8va); Wind Timbre 2 (8ba).
  • c. Score for Wind Timbre 1/String Timbre 2 MIXED in both octaves.
  • d. Score for Wind Timbre 2/String Timbre 1 MIXED in both octaves.

5. Open up the Logic file: “Brant Chapter 10a to Score”. As in #9a, you will be using Vienna Instruments Pro. There is an instance of Vienna Instruments Pro on each MIDI channel in the project. For each instance of VI Pro, add the instrument matrix corresponding to the track’s MIDI data, as you have done in previous assignments.

6. The reverberation and space are configured for you already using Vienna Suite’s Hybrid Equalizer. You may make any panning adjustments you see fit inside of Logic Pro.

7. Your main goal is to strive for melodic & harmonic balance focusing on Brant’s observations and orchestral techniques in Iterations a & b.  Iterations c & d allow you to be more expansive.  Strive to create unique & different combinations for each of the four Iterations. Use velocity data for your dynamics.

8. This assignment shouldn’t take you any longer than 2 hrs.

Module #3-A.10b: Brant, Ch 10b: Octaves Assignment – DUE Wednesday, 4/15!

1. Re-read Brant’s Ch. 10: Octaves focusing on the example at the top of page 24

2. Re-consult your Spectrotone Chart.

3. Open up the Sibelius file: Ch10_Brant_Octaves_Ex_10b_To_Score_Sibelius7

4. Plan the following two iterations:

  • a. Score for a Wind Timbre of your choice and a String Timbre of your choice.  EXPLORE MULTIPLE DOUBLINGS, OCTAVES, RANGES & HARMONIC COLORS!  Create different sounding harmonic timbres using different instruments and different harmonic formations that are either juxtaposing, interlocking or enclosed. Use velocity data to create loud dynamics and massive sound.
  • b. Score for a different Wind Timbre of your choice and a different String Timbre of your choice.  EXPLORE MULTIPLE DOUBLINGS, OCTAVES, RANGES & HARMONIC COLORS!  Create different sounding harmonic timbres using different instruments and different harmonic formations that are either juxtaposing, interlocking or enclosed. Use velocity data to create loud dynamics and massive sound.

5. Open up the Logic file: “Brant Chapter 10b to Score”. As in #9a, you will be using Vienna Instruments Pro. There is an instance of Vienna Instruments Pro on each MIDI channel in the project. For each instance of VI Pro, add the instrument matrix corresponding to the track’s MIDI data, as you have done in previous assignments.

6. The reverberation and space are configured for you already using Vienna Suite’s Hybrid Equalizer. You may make any panning adjustments you see fit inside of Logic Pro.

7. EXPLORE MULTIPLE DOUBLINGS, OCTAVES, RANGES & HARMONIC COLORS!  Create different sounding harmonic timbres using different instruments and different harmonic formations that are either juxtaposing, interlocking or enclosed. Use velocity data to create loud dynamics and massive sound.

8. This assignment shouldn’t take you any longer than 2 hrs.

Module #3-B: Ravel’s Bolero – DUE Tuesday, 4/21!

  • 1. Listen to the VSL Bolero recording; it’s a track in your project.
  • 2. Your Logic project file is all set to go.
  • 3. Edit the opening flute solo instrument so that its articulations are a mixture of articulations from other instruments in Wind Timbre 1.  Implement a second solo instrument at a unison doubling that is also from Wind Timbre 1 to play along with the opening flute solo.  Its articulations should be a different mixture of articulations from other instruments in Wind Timbre 1.
  • 4. Change the subsequent clarinet solo instrument to a saxophone solo instrument (in its top two octaves) and edit its articulations so that they are a mixture of articulations from other instruments in Wind Timbre 3.  Implement a second solo instrument at an octave doubling that is also from Wind Timbre 3 to play along with this saxophone solo.  Its articulations should be a different mixture of articulations from other instruments in Wind Timbre 3.
  • 5. Edit the following bassoon solo instrument so that its articulations are also a mixture of articulations from other instruments in Wind Timbre 2.  Implement a second and third solo instrument at multiple octave doublings that are also from Wind Timbre 2 to play along with the bassoon solo.  Their articulations should be a different mixture of articulations from other instruments in Wind Timbre 2 as well.
  • 6. This assignment shouldn’t take you any longer than 4 hrs.

Module #3-C.11: Brant, Ch 11: Orchestral Contrast – DUE Tuesday, 4/21!

1. Re-read Brant’s Ch. 11 focusing on the Ex. 7b on page 29

2. Re-consult your Spectrotone Chart.

3. Open up the Sibelius file: Ch11_Brant_Orchestral_Contrast_Ex_11_To_Score_Sibelius7

4. Plan the following three iterations:

  • a. Realize the original scoring of piccolo, Eb Clarinet, strings and tuba with correct sounding articulations.
  • b. Add one octave doubling each to the Piccolo and Eb Clarinet from Wind Timbre 1.  For the strings, add unison & octave doublings from Wind Timbres 3 & 4.  They may be accent doublings only.  For the tuba, add one unison & one octave doubling from Wind Timbres 1-4. Explore adding piano doublings where effective.
  • c. Add more octave doublings to the Piccolo and Eb Clarinet from Wind Timbre 1.  For the strings, add additional unison & octave doublings from Wind Timbres 3 & 4.  They may be accent doublings only.  For the tuba, add additional unison & octave doublings from Wind Timbres 1-4. Explore adding piano, marimba and vibraphone doublings where effective.

5. Open up the Logic file: “Brant Chapter 11 to Score”. You will be using Vienna Instruments Pro in this assignment. There is an instance of VI Pro on each MIDI channel in the project. For each instance of VI Pro, add the instrument matrix corresponding to the track’s MIDI data, as you have done in previous assignments.

6. The reverberation and space are configured for you already using Vienna Suite’s Hybrid Equalizer. You may make any panning adjustments you see fit inside of Logic Pro.

7. EXPLORE MULTIPLE DOUBLINGS, OCTAVES, RANGES & HARMONIC COLORS!  Create different sounding harmonic timbres using different instruments and different harmonic formations that are either juxtaposing, interlocking or enclosed. Use velocity data to create loud dynamics and massive sound.

8. This assignment shouldn’t take you any longer than 4 hrs.

 

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