Tuesday, 8 December 2015
Monday, 7 December 2015
Wednesday, 2 December 2015
Tuesday, 1 December 2015
Monday, 30 November 2015
Wednesday, 25 November 2015
Tuesday, 24 November 2015
Monday, 23 November 2015
Lyrics
Brief 1
Lyric writing can as is seen as the hardest part of songwriting.
Thee job can be made easier by breaking it down into several parts.
First come up with an intention.
1. What kind of song is it?
2. Person narrative ...First (I) , Second(You), Third (They)
3. Where is the narrative based?
4. What happens in this narrative.
Rhyme.
This is usually where people start, they think of a line and try to end the last word of corresponding lines.
Starting with the lyric is a great way of writing you will need to find the meter and rhythm of the lyric and build the song up from there
Try using a rhythm first, and use this to fit the internal rhythm of the lyric on and around, you will probably need to change the phrasing of the words, or the words themselves.
Some lyrical devices
http://www.world-of-songwriting.com/poetic-devices.html
Lyric writing can as is seen as the hardest part of songwriting.
Thee job can be made easier by breaking it down into several parts.
First come up with an intention.
1. What kind of song is it?
2. Person narrative ...First (I) , Second(You), Third (They)
3. Where is the narrative based?
4. What happens in this narrative.
Rhyme.
This is usually where people start, they think of a line and try to end the last word of corresponding lines.
Starting with the lyric is a great way of writing you will need to find the meter and rhythm of the lyric and build the song up from there
Try using a rhythm first, and use this to fit the internal rhythm of the lyric on and around, you will probably need to change the phrasing of the words, or the words themselves.
Some lyrical devices
http://www.world-of-songwriting.com/poetic-devices.html
"It's in the trees!
It's coming!"
When I was a child:
Running in the night,
Afraid of what might be
Hiding in the dark,
Hiding in the street,
And of what was following me...
Now hounds of love are hunting.
I've always been a coward,
And I don't know what's good for me.
Here I go!
It's coming for me through the trees.
Help me, someone!
Help me, please!
Take my shoes off,
And throw them in the lake,
And I'll be
Two steps on the water.
I found a fox
Caught by dogs.
He let me take him in my hands.
His little heart,
It beats so fast,
And I'm ashamed of running away
From nothing real--
I just can't deal with this,
But I'm still afraid to be there,
Among your hounds of love,
And feel your arms surround me.
I've always been a coward,
And never know what's good for me.
Oh, here I go!
Don't let me go!
Hold me down!
It's coming for me through the trees.
Help me, darling,
Help me, please!
Take my shoes off
And throw them in the lake,
And I'll be
Two steps on the water.
I don't know what's good for me.
I don't know what's good for me.
I need your love love love love love, yeah!
Your love!
Take your shoes off
And throw them in the lake!
Do you know what I really need?
Do you know what I really need?
I need love love love love love, yeah!
It's coming!"
When I was a child:
Running in the night,
Afraid of what might be
Hiding in the dark,
Hiding in the street,
And of what was following me...
Now hounds of love are hunting.
I've always been a coward,
And I don't know what's good for me.
Here I go!
It's coming for me through the trees.
Help me, someone!
Help me, please!
Take my shoes off,
And throw them in the lake,
And I'll be
Two steps on the water.
I found a fox
Caught by dogs.
He let me take him in my hands.
His little heart,
It beats so fast,
And I'm ashamed of running away
From nothing real--
I just can't deal with this,
But I'm still afraid to be there,
Among your hounds of love,
And feel your arms surround me.
I've always been a coward,
And never know what's good for me.
Oh, here I go!
Don't let me go!
Hold me down!
It's coming for me through the trees.
Help me, darling,
Help me, please!
Take my shoes off
And throw them in the lake,
And I'll be
Two steps on the water.
I don't know what's good for me.
I don't know what's good for me.
I need your love love love love love, yeah!
Your love!
Take your shoes off
And throw them in the lake!
Do you know what I really need?
Do you know what I really need?
I need love love love love love, yeah!
Wednesday, 18 November 2015
L2 Groups songs of oppression
Tianna
Daniel
Natalie
Kadie
Elijah
Gradi
Eduard
Aaliyah
Loreena
Elijah
Johanna
Russa
Aaron
Kyrah
Sydney
Daniel
Natalie
Kadie
Elijah
Gradi
Eduard
Aaliyah
Loreena
Elijah
Johanna
Russa
Aaron
Kyrah
Sydney
L 3 Protest song groups.
Alex N
Issac
James
Grace
Felicia
Raph
David
Elli
Tega
Juan
Oscar
Meryem
Leonie
Ria
Elizabeth
Khadesha
Jody
Alex D
Erika
Porsha
Monique
Tamica
Tuesday, 17 November 2015
Sound for Film
Academy Award® winning writer-director George Lucas (Star Wars, American Graffiti) once told a reporter at Variety, “Sound is 50 percent of the moviegoing experience.” But in a recent video interview, Trance director Danny Boyle says that sound makes an even greater impact.
“The truth is, for me, it’s obvious that 70, 80 percent of a movie is sound,” he says. “You don’t realise it because you can’t see it.”
When making a film, sound is very important.
This sound can be record whilst filming or recorded separately and added to the film later.
Whether the character in the film can hear the sound or not is unrelated to the process of recording it.
Diegetic sound is that which the character can hear.
Non Diegetic sound is that which the character cannot hear.
The sound of film can be broken down into different elements that create the atmosphere and describe to the audience what is happening.
Voice over (This is used when eh dialogue captured during the recording is not good enough quality.) (Diegetic)
Foley (This is the sounds added after the film was made and often exaggerates the action and tells you what is happening during the film.e.g. door opening, gun shot, punching.) (Diegetic)
Sound Track (This is the musical score and any atmospheric sounds used to enhance the mood of the film, often orchestral, or popular music songs or sounds to add tension. (Non- Diegetic)
Your task is to find examples of these and embed them on your blog!
Monday, 16 November 2015
Protest Songs and Groups!
140 A
|
140 C
|
David
Elli
Tega
Juan
Oscar
Meryem
|
Leonie
Elizabeth
Khadesha
Jody
Grace
|
139
|
140 B
|
Alex N
Isaac
James
Grace
Felicia
Raph
|
Alex D
Erika
Porsha
Monique
Tamica
|
One chord groove.
Create a section of your song that has a one chord groove.
when using one chord you should make sure groove is interesting
Superstition and the minor pentatonic
Minor 3rd
Tone
Tone
Minor 3rd
Tone
Use this scale form Eb for superstition and rearrange some of the riffs within the track.
Wednesday, 11 November 2015
Mavin Assignment
Use the link below to recreate the original as a mixing assignment.
This is a competition and the due date is the last day of term! Wha't going on!
This is NOT a remix and it is designed to get you to grips with creating what is needed. this will in tern help you to create the sound you want within a mix.
Saturday, 7 November 2015
Arranging-remix
A remix of an arrangement can transform a song or production into a new and possibly better composition.
Before we can start we need to find all the different elements of an arrangement and know what they are.
List all the elements of an arrangement and decide what you wish to change!Assignment Brief
Before we can start we need to find all the different elements of an arrangement and know what they are.
List all the elements of an arrangement and decide what you wish to change!Assignment Brief
Arrangement for Production!
Rhythm and tempo in arrangement!
How fast a track is also influences how long a section is.
When producing a track it is good to look at the arrangement.
how many bars of what for how long
16 bars of 4/4 at 120 bpm = 32seconds
8 bars of 4/4 at 60 bpm = 32 seconds
4 bars of 44/ at 120 bpm= 8 seconds
How many bars will you cover in Minute at 120 bpm
Let's make 3 sections for our track?
Tempo/ Bars
How long is section A?
How long is section B?
How long is section C?
How fast a track is also influences how long a section is.
When producing a track it is good to look at the arrangement.
how many bars of what for how long
16 bars of 4/4 at 120 bpm = 32seconds
8 bars of 4/4 at 60 bpm = 32 seconds
4 bars of 44/ at 120 bpm= 8 seconds
How many bars will you cover in Minute at 120 bpm
Let's make 3 sections for our track?
Tempo/ Bars
How long is section A?
How long is section B?
How long is section C?
How many of each section!
your task is to decide how long and how many of each section and make a template for this in logic!
then add different rhythms to illustrate these sections.
Nothing is set in stone you can change the tempo lengths of sections and rhythms later.
Assignment Brief
Assignment Brief
Chords and Arrangement tools
When writing a song it is good to look at the arrangement.
how many bars of what for how long
16 bars of 4/4 at 120 bpm = 32seconds
8 bars of 4/4 at 60 bpm = 32 seconds
4 bars of 44/ at 120 bpm= 8 seconds
How many bars will you cover in Minute at 120 bpm
Let's make a song with a verse and chorus!
How long do we and the verse to be?
How long do we want the chorus to be?
Once you have decided these two sections, now choose your chords.
Assignment Brief
how many bars of what for how long
16 bars of 4/4 at 120 bpm = 32seconds
8 bars of 4/4 at 60 bpm = 32 seconds
4 bars of 44/ at 120 bpm= 8 seconds
How many bars will you cover in Minute at 120 bpm
Let's make a song with a verse and chorus!
How long do we and the verse to be?
How long do we want the chorus to be?
Once you have decided these two sections, now choose your chords.
Assignment Brief
Tuesday, 13 October 2015
Lyric Writing
Brief 1
Lyric writing can as is seen as the hardest part of songwriting.
Thee job can be made easier by breaking it down into several parts.
First come up with an intention.
1. What kind of song is it?
2. Person narrative ...First (I) , Second(You), Third (They)
3. Where is the narrative based?
4. What happens in this narrative.
Rhyme.
This is usually where people start, they think of a line and try to end the last word of corresponding lines.
Starting with the lyric is a great way of writing you will need to find the meter and rhythm of the lyric and build the song up from there
Try using a rhythm first, and use this to fit the internal rhythm of the lyric on and around, you will probably need to change the phrasing of the words, or the words themselves.
Some lyrical devices
http://www.world-of-songwriting.com/poetic-devices.html
Lyric writing can as is seen as the hardest part of songwriting.
Thee job can be made easier by breaking it down into several parts.
First come up with an intention.
1. What kind of song is it?
2. Person narrative ...First (I) , Second(You), Third (They)
3. Where is the narrative based?
4. What happens in this narrative.
Rhyme.
This is usually where people start, they think of a line and try to end the last word of corresponding lines.
Starting with the lyric is a great way of writing you will need to find the meter and rhythm of the lyric and build the song up from there
Try using a rhythm first, and use this to fit the internal rhythm of the lyric on and around, you will probably need to change the phrasing of the words, or the words themselves.
Some lyrical devices
http://www.world-of-songwriting.com/poetic-devices.html
Monday, 12 October 2015
Electric pianos
Queen Wurlitzer 200a
Stevie Clavinet D6
Freak Power Fender Rhodes
Effects associated with these.
Tremelo
Wah Wah
Distortion
Stevie Clavinet D6
Freak Power Fender Rhodes
Effects associated with these.
Tremelo
Wah Wah
Distortion
Monday, 5 October 2015
Sunday, 4 October 2015
Lyric writing
Brief 1
Lyric writing can as is seen as the hardest part of songwriting.
Thee job can be made easier by breaking it down into several parts.
First come up with an intention.
1. What kind of song is it?
2. Person narrative ...First (I) , Second(You), Third (They)
3. Where is the narrative based?
4. What happens in this narrative.
Rhyme.
This is usually where people start, they think of a line and try to end the last word of corresponding lines.
Starting with the lyric is a great way of writing you will need to find the meter and rhythm of the lyric and build the song up from there
Try using a rhythm first, and use this to fit the internal rhythm of the lyric on and around, you will probably need to change the phrasing of the words, or the words themselves.
Some lyrical devices
http://www.world-of-songwriting.com/poetic-devices.html
Lyric writing can as is seen as the hardest part of songwriting.
Thee job can be made easier by breaking it down into several parts.
First come up with an intention.
1. What kind of song is it?
2. Person narrative ...First (I) , Second(You), Third (They)
3. Where is the narrative based?
4. What happens in this narrative.
Rhyme.
This is usually where people start, they think of a line and try to end the last word of corresponding lines.
Starting with the lyric is a great way of writing you will need to find the meter and rhythm of the lyric and build the song up from there
Try using a rhythm first, and use this to fit the internal rhythm of the lyric on and around, you will probably need to change the phrasing of the words, or the words themselves.
Some lyrical devices
http://www.world-of-songwriting.com/poetic-devices.html
Synthesis
Sound moves in waves!
The shape of these waves determines the sound.
In analogue synthesis a tone is generated.
The Amplitude determines the volume.
The wavelength the frequency ( frequency is pitch )
Types of wave.
There are Many waves to modify a sound wave.
one way to effect the fysial shape is an envelope filter.
The shape of these waves determines the sound.
In analogue synthesis a tone is generated.
The Amplitude determines the volume.
The wavelength the frequency ( frequency is pitch )
Types of wave.
There are Many waves to modify a sound wave.
one way to effect the fysial shape is an envelope filter.
Re-arranging 10-11 4.10.15
This week we are looking at re-arranging
Michael Jackson's Billy Jean .
By this stage i would like you to be thinking about arranging things with phrases, not just blocks and bars.
You could consider
1. changing the phrasing or melody of the main bass line.
2. changing the emphasis of the beat
3. modifying the sounds to make the song have a more contemporary twist.
Michael Jackson's Billy Jean .
By this stage i would like you to be thinking about arranging things with phrases, not just blocks and bars.
You could consider
1. changing the phrasing or melody of the main bass line.
2. changing the emphasis of the beat
3. modifying the sounds to make the song have a more contemporary twist.
Wednesday, 23 September 2015
Songwriting 2-30
In 4 groups Construct a 3 chord trick and add it to the previous one chord grove you made last week.
Use them in any order and as many times as you like.
Use them in any order and as many times as you like.
Group 1 In 140 c
Group 2 In 140 b
Group 3 In 140
Group 4 In 139 a
Songwriting! 3 chord trick
1 2 3 4 5 6 7
C D- E- F G A- B dim
The anchor points and 3 most important chords of a key are 1 4 5!
These in the key of C are C F G notice the are all major!
1 2 3 4 5 6 7
A B C# - D E F#- G# dim
Your task today is to construct two different patterns using only chords 1, 4 ,5
Other 3 chord tricks can use the relative minor.
The relative minor of C is A- the relative minor of F is D- and the relative minor of G is E minor.
The relative major and minors are pretty much interchangeable but add a different texture.
Electronic Production
Lesson objectives.
1. To be aware of straight and swung grooves
(Teaching objectives: to explain the difference between straight and swung. only play to 5:40)
Quantise to 8 and 8 triplet.
Question 1. Where can you count 3 and what is emphasising the swing?
Question 2. What Instruments are playing?
Question 3. Count the beats in the bar, What beat is the main emphasis on?
Question 4. What is the percussion doing in relation to the groove.
Question 5 What type of reverb is on the percussion; plate or spring?
Within logic create a swung rhythm and quantise it to the correct Value.
1. To be aware of straight and swung grooves
(Teaching objectives: to explain the difference between straight and swung. only play to 5:40)
Quantise to 8 and 8 triplet.
Question 1. Where can you count 3 and what is emphasising the swing?
Question 2. What Instruments are playing?
Question 3. Count the beats in the bar, What beat is the main emphasis on?
Question 4. What is the percussion doing in relation to the groove.
Question 5 What type of reverb is on the percussion; plate or spring?
Within logic create a swung rhythm and quantise it to the correct Value.
Bands for 3 revisited chord tricks 29.9.15
In the same groups as last week add one of the new sections you have been construction in composition to the songs from last week. (Video reminders on blog)
It does't have to be the same persons adding to the original chord progression, this mean you may have to change the key to make it fit.
140 a
It does't have to be the same persons adding to the original chord progression, this mean you may have to change the key to make it fit.
140 a
Elijah
Johanna
Tiana
Zoe
Aaliyah
140 b
Sydney
Russa
Kyrah
Kadie
Dylan
139
Gradi
Daniel
Kyra
Natalie
Aaron
140 c
Loreena
Eduard
Need a laptop chords are E-, D, A, E-
Need a laptop chords are E-, D, A, E-
Another section! 29.9.15
Last week (22nd) we started our songs using a tree chord trick!
This week I would like you to write a new and different chard sequence to your last one and add it, making a new section.
Try and make the first chord of your new section a different one from the chords you were using in your previous sequence.
1. First look at the chords you used (1 4 5)
2. The find a chord that sounds like a you have changed sections.
3. Add them to your original chord sequence.
you can use the same chords but they should be in a differer order.
This week I would like you to write a new and different chard sequence to your last one and add it, making a new section.
Try and make the first chord of your new section a different one from the chords you were using in your previous sequence.
1. First look at the chords you used (1 4 5)
2. The find a chord that sounds like a you have changed sections.
3. Add them to your original chord sequence.
you can use the same chords but they should be in a differer order.
Saturday, 19 September 2015
Monday 2:00-3:30
Group 1 In 140 b
Group 2 In 140 c
Group 3 In 139
Group 4 In 140 a
leading on from the Songwriter session toady in groups our task today is to construct a rhythm led verse pattern using as little amount of chords as possible.
Then leading to the chorus.
The chorus can use more chords but let the verse inform the chorus and use a different starting chord from the verse pattern.
3 Chord Trick
1 2 3 4 5 6 7
C D- E- F G A- B dim
The anchor points and 3 most important chords of a key are 1 4 5!
These in the key of C are C F G notice the are all major!
Your task today is to construct two different patterns using only these chords and then put a melody to it!
Other 3 chord tricks can use the relative minor.
The relative minor of C is A- the relitive minor of F is D- and the relitive minor of G is E minor.
The realive major and minors are pretty much interchangable but add a different texture.
Songwriting
Learning Outcomes: To be aware of pedal points and implement different chords for different sections.
Come together where do the chords have to change
Pedal points!
Pedal points are the points in a song where the chords have to shift.
This is directly related to the shift in the melody.
Though the chords in the verse change subtly you can play.
Your mission today is to make a one chord verse with a melody!
Come together where do the chords have to change
Pedal points!
Pedal points are the points in a song where the chords have to shift.
This is directly related to the shift in the melody.
Though the chords in the verse change subtly you can play.
Your mission today is to make a one chord verse with a melody!
Wednesday, 16 September 2015
Come together!
First Listen to the original and make yourself aware of the sections
Then ascertain the instruments within the recording.
Now rearrange the Logic file to create a new composition.
First Consider:
what instruments you want
Then
How you wish the track to flow and progress in a different way.
Then ascertain the instruments within the recording.
Now rearrange the Logic file to create a new composition.
First Consider:
what instruments you want
Then
How you wish the track to flow and progress in a different way.
Tuning a Drum!
Below is a diagram of tuning pairs and where to start and finish a round!
Top skin = The Batter Head
Bottom Skin = The Resonance Head.
The first time you tune a drum take your time and strip it down to the drum to find the Resonant frequency and check all the lugs and nuts for rattling.
Start with the Resonance head (the Bottom) and in parts get them first hand tight and then 1/4 terns until you are near the pitch you want.
Normally: The resonance head has more influence on the pitch then the Batter head.
The Batter has more influence on the tone.
If both heads are at the same tension, the drum will have increased resonance.
If the resonance head is lower than the batter head the drum will have less sustain.
If the batter head is lower than the resonance head the drum will have more sustain and resonance.
There is techniques but is is more judgement and practice.
Top skin = The Batter HeadBottom Skin = The Resonance Head.
The first time you tune a drum take your time and strip it down to the drum to find the Resonant frequency and check all the lugs and nuts for rattling.
Start with the Resonance head (the Bottom) and in parts get them first hand tight and then 1/4 terns until you are near the pitch you want.
Normally: The resonance head has more influence on the pitch then the Batter head.
The Batter has more influence on the tone.
If both heads are at the same tension, the drum will have increased resonance.
If the resonance head is lower than the batter head the drum will have less sustain.
If the batter head is lower than the resonance head the drum will have more sustain and resonance.
There is techniques but is is more judgement and practice.
Saturday, 12 September 2015
Theory of Keys! Tool 1
Learning Objective!
To play every chord in the key of C major.
Pitch: Is the determination of a sound in judging it to be Higher or Lower than another sound!
A Musical Note: is a single pitched sound.
Scale: A set of musical notes put into an order
Key: The pitch at which the a scale is.
Interval: The distance between two notes
Semitone: The smallest distance between two musical notes (americans call it half step)
Tone: Two Semitones (the second smallest distance between two notes. Americans call it whole step)
Minor third: Three Semitones ( The important interval in a minor chord)
Major third: Four Semitones (The important distance in a major chord)
Perfect Fifth: Seven Semitones
Major scale: Tone, Tone, Semitone, Tone Tone Tone Semitone
Root note: Name of a chord or the musical note where you start when building a chord
Chord: Three or more notes played at the same time.
Major Chord: Root + Major third + fifth
Minor Chord: Root + Minor third + fifth
Major Key Chords: In a major key you have seven chords and because of the the major scale these chords are.
M, m, m, M, M, m, half dim
C major Key, Chords:
C Major D minor E minor F Major G Major A minor B half diminished
Half Diminished: Root Major third + Minor third
Homework: To be able to play every chord and name it in the key of C Major
To play every chord in the key of C major.
Pitch: Is the determination of a sound in judging it to be Higher or Lower than another sound!
A Musical Note: is a single pitched sound.
Scale: A set of musical notes put into an order
Key: The pitch at which the a scale is.
Interval: The distance between two notes
Semitone: The smallest distance between two musical notes (americans call it half step)
Tone: Two Semitones (the second smallest distance between two notes. Americans call it whole step)
Minor third: Three Semitones ( The important interval in a minor chord)
Major third: Four Semitones (The important distance in a major chord)
Perfect Fifth: Seven Semitones
Major scale: Tone, Tone, Semitone, Tone Tone Tone Semitone
Root note: Name of a chord or the musical note where you start when building a chord
Chord: Three or more notes played at the same time.
Major Chord: Root + Major third + fifth
Minor Chord: Root + Minor third + fifth
Major Key Chords: In a major key you have seven chords and because of the the major scale these chords are.
M, m, m, M, M, m, half dim
C major Key, Chords:
C Major D minor E minor F Major G Major A minor B half diminished
Half Diminished: Root Major third + Minor third
Homework: To be able to play every chord and name it in the key of C Major
Piano and Chords
A Musical Note: is a single pitched sound.
Scale: A set of musical notes put into an order
Key: The pitch at which the a scale is.
Interval: The distance between two notes
Semitone: The smallest distance between two musical notes (americans call it half step)
Tone: Two Semitones (the second smallest distance between two notes. Americans call it whole step)
Minor third: Three Semitones ( The important interval in a minor chord)
Major third: Four Semitones (The important distance in a major chord)
Perfect Fifth: Seven Semitones
Major scale: Tone, Tone, Semitone, Tone Tone Tone Semitone
Root note: Name of a chord or the musical note where you start when building a chord
Chord: Three or more notes played at the same time.
Major Chord: Root + Major third + fifth
Minor Chord: Root + Minor third + fifth
Homework: To be able to play every chord and name it in the key of C Major
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