Book Description
The third edition of this high successful orchestration text follows the approach established in its innovative predecessor: Learning orchestration is best achieved through familiarity with the orchestral literature; this familiarity is most effectively accomplished from the music notation in combination with the recorded sound. The text has been revised to reflect the most informed reactions to the first and second editions, as well as Professor Adler's revisions. For comprehensiveness, conciseness, and contemporaneity, The Study of Orchestration remains without peer.
Customer Reviews:
Outstanding.......2007-05-06
I am a complete novice but I recognize this is the required study program. You must also buy the CD/DVDs that go along with the book.
Not cheap, but an outstanding learning tool. I would recommend that you read a book on music theory and composition before buying this set to get the most out of the program.
Multi-Media companion discs to The Study of Orchestration Book (6 CDs).......2007-03-16
This 6-disc set provides audio, video and music, and some musical scores to support the examples in The Study of Orchestration Book. The videos show players playing the various orchestral instruments to illustrate performance techniques. The audio examples let the student hear the various orchestration techniques being discussed. The examples and the book in general are very detailed and absolutely worth the purchase price. I highly recommend the book and CDs to everyone studying orchestration.
The way the discs are used is there is a main menu where the user can select which instruments to view and listen to the examples. There was a strange problem with the discs I received. The digital material and menu do not match the book examples or the content printed on the CDs. Strangely, CD 4 is blank (I've tried to read it on several computers) and the main menu doesn't have any pointers that reference CD 4. Also, the other 5 discs do not contain the contents listed on the CD, many examples are missing. Both my book and the discs are listed as "3rd edition" and the cover graphics are identical. I believe this is a manufacturing problem from the publisher and therefore other sets may also exhibit this problem. Perhaps the digital content on the discs was from the 1st or 2nd edition. I'm still working with the vendor I bought the discs from to get a new set of discs and I'm hopeful the next set I receive contains the correct digital content.
If you really want to know how to orchestrate via textbook.......2007-03-08
Every composer is aware that there are countless orchestration books- and every one will tell you basically about how to do the job. Every book will have your standard instrumentation, how they function mechanically, and ranges, or something to that effect. Of course this is important.
However, when it comes down the actual art of Orchestration, elements usually left to experience are taught through Samuel Adler's CD accompanied book. No matter how close a description of an effect, or sound is, the luxury of having a dictionary of them at hand is amazing.
Overall, this is a great concept and book- and I don't believe that there is any book out there that does what it does that well.
A good book!.......2007-02-24
Great, it's got everything you need in one consise but thorough reference. An excellent reference for composer or orchestrator to have.
Very very good!.......2006-11-07
I studied classical piano and composition myself for most of my life and have professional degrees in both. When I write my music, I need to look up stuff now and then, or brush up my knowledge. This book is perfect for this! I wish I had bought it years ago.
Average customer rating:
- Great reference material
- Good value
- Generous and Wonderful
- grrrrreat!
- Sure it's expensive, but you pay for what you get
|
Into the Woods (Vocal Score)
Manufacturer: Alfred Publishing Company
ProductGroup: Book
Binding: Paperback
 Sondheim
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Into the Woods
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Into the Woods
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Into the Woods (accompaniment/karaoke)
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Into the Woods (1987 Original Broadway Cast)
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Into the Woods (2002 Broadway Revival Cast)
ASIN: 0897242084 |
Book Description
Stephen Sondheim's Tony-Award winning musical includes: Agony * It Takes Two * Stay With Me * Any Moment * No More * No One is Alone
Customer Reviews:
Great reference material.......2007-05-19
The vocal score for "Into the Woods," while not practical for use at the piano due to the nature of the binding, is a terrific study aid for those interested in analyzing Sondheim's brilliant work. I recommend it to anyone wishing to enhance his or her understanding and appreciation of the piece.
Good value.......2007-01-05
Good condition, received fast. It's great, it's Sondheim, what else can I say?
Generous and Wonderful.......2005-08-31
Being one who always wanted to audition using the Witch's song or the Baker's Wife's song, I am delighted and grateful to Sondheim and Co. for putting out this amazing vocal score. The effort to do so must have been incredible. My only wish, not complaint, is that the chords were also represented by "C" or "Dmaj7" so that I could play along as I sing. I can read music, but if I have to play piano chords by sight only, it takes me days to finger it one note at a time. Well, that's probably my fault - practice, practice, practice! Anyway, it's quite a thorough job and now I have audition pieces galore! Only hope the accompanists can play it!
grrrrreat!.......2005-08-03
The musical score was in tip top shape and it came to my house in perfect timing for me to be able to use it for a local production. thank you.
Sure it's expensive, but you pay for what you get.......2004-01-08
This book is not for the intermediate pianist who wants to find some new music to play for the family at the family reunion. Not unless you've got a whole bunch of singers who want to join in...
This book contains ALL the music, compressed into one unit for the piano, and is the ultimate book for a piano accompanist- say in rehersal or such. Here lies the reason it costs so much: the market for this book is the amateur or even semi-professional theatre groups perfoming this show.
As this type of piano book, it's incredible. Every bit of music found in the musical is in the book, from underscoring to... well, you name it. And while it's fun to go through the book and learn the pieces, and say "hey, it sounds just like the recording!" it won't be much fun for anyone else to listen to unless you've got a singer (I'm learning to sing just so I can flush out my playing). Which, of course, is the whole point of the book.
Great music (Sondheim, of course), sounds great, and is perfect for accompanying a vocalist. Just make sure this is what you want.
Book Description
Write the songs that make the whole world sing.
A step-by-step guide to writing music, this book shows musicians how to compose simple chord progressions and melodies, and leads them through more advanced compositional techniques and musical forms. Designed for composers of all types of music, it includes instruction on composing stand-alone melodies, using different scales and modes, themes and variations, orchestration, and composing for film, theater, and videogames.
-Perfect complement to The Complete Idiot's Guide to Music Theory and The Complete Idiot's Guide to Songwriting
-Includes a comprehensive glossary of musical terms, as well as an appendix of various computer-based composition tools
-Easy-to-use oversize trim
Customer Reviews:
Will Definately help you write music.......2006-06-29
This is undoubtedly the best book i've ever read on music composition. Be warned though, if you do not have a background in basic music theory the concepts in the book may be a little confusing. However, if you read Miller's other book the guide to music theory first you should have no problem picking up the concepts in this book. I cant say enough good things about Miller. This book is full of so many great things and yet he writes in such a way that even someone with just a basic background in music can understand him. If you follow what he says you will definately be able to write your own compositions
O.K. follow-up to Music Theory.......2006-03-05
This is a very good book. It elaborates on the Idiot's guide to music theory specefically in the area of composition. My only gripe is that the first half is very redundant with the previous book. Many paragraphs are identical. I would have been much happier if they had been embellished, or if the two books would have been combined into one larger volume. The book does go into much more detail later on, with topics such as rhythmic patterns etc. Still the first half doesn't even feel like a review as much as it feels like Deja Vu.
A good start, but lacking in places.......2006-02-01
On the positive side, the book is very helpful in starting composition. While at times laconic, it covers pretty much all the basic areas of composition, starting with an intro into what you can do and what you will need and going on to harmony, melody, rhythm, and even touching on atonality. It explains the key ideas behind development, the use of phrasing, and even the ranges of common instruments and notes on transposing them.
On the negative side, it often fails to explain things as well as it could. For example, while the book gives a basic explanation of atonality and minimalism, it doesn't really say much about how to really use these techniques. While development is discussed well, actually creating full-length pieces seems to have been glossed over and there is little information on how various musical forms like the sonata or concerto are actually structured (something I struggled with for a long time).
Overall, an excellent introduction, but not really a complete guide in any sense.
Perfect follow-on to Idiot's Guide to Music Theory.......2005-10-31
Just like this author's previous book, "The Complete Idiot's Guide to Music Theory", information is presented in a very readable way without losing necessary details. The author presents many musical examples and each chapter has exercises with some solutions included in the back of the book. This book is designed to be read from beginning to end, and the exercises are very instructive in that by doing them you WILL learn how to compose music based on formal techniques. This book consists of 18 chapters in 5 parts, with each part showcasing a different aspect of composition. Since Amazon does not show a table of contents for this book at the time I am writing this, I shall summarize for the purpose of completeness:
Part 1 is entitled "Before You Start," and it describes different types of composition, and discusses the tools needed to start composing music.
Part 2 is entitled "Harmonic Composition," and discusses the art of composing music, chords-first. Also described is the creation of a harmonious chord progression, using both standard and extended chords, and using chord substitution to create more sophisticated compositions.
Part 3 is labeled "Melodic Composition," and introduces melody creation techniques, including scales and modes, structural tones, embellishments, rhythm, syncopation, melodic contour, flow, tension and release. Also discussed is fitting chords to a melody and reharmonizing existing chord progressions.
Part 4 is entitled "Developing the Composition," and gives instruction on transforming a composition from something basic to a substantial work. Short melodies are transformed into a full musical piece. The use of repetition, variation, and creating multiple-voice compositions is included.
The fifth and final part of this book is entitled "Advanced Techniques". The subject matter moves beyond basic composition into more advanced musical areas. Orchestration, chromaticism, atonality, contemporary composition, and ultimately songwriting are discussed.
I would therefore highly recommend that you first read the "Complete Idiot's Guide to Music Theory", and then this book for someone who wants to self-study music theory and composition. These two books are particularly valuable to someone who is familiar with the computer and would like to get into computer music but does not have a formal education in music. These two books will get you up and running to the point where you can understand what some of the computer music books written by musicians are talking about.
Average customer rating:
- An opus work on both Csound and computer music
- The Definitive csound Book
- Nobody Does it Better
- The definitive Csound compendium
- Not for beginners
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The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing,and Programming
Manufacturer: The MIT Press
ProductGroup: Book
Binding: Paperback
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The Computer Music Tutorial
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ASIN: 0262522616 |
Book Description
Created in 1985 by Barry Vercoe, Csound is one of the most widely used software sound synthesis systems. Because it is so powerful, mastering Csound can take a good deal of time and effort. But this long-awaited guide will dramatically straighten the learning curve and enable musicians to take advantage of this rich computer technology available for creating music.
Written by the world's leading educators, programmers, sound designers, and composers, this comprehensive guide covers both the basics of Csound and the theoretical and musical concepts necessary to use the program effectively. The thirty-two tutorial chapters cover: additive, subtractive, FM, AM, FOF, granular, wavetable, waveguide, vector, LA, and other hybrid methods; analysis and resynthesis using ADSYN, LP, and the Phase Vocoder; sample processing; mathematical and physical modeling; and digital signal processing, including room simulation and 3D modeling. The book comes with two CD-ROMs that include more than forty additional HTML chapters; hundreds of musical compositions; more than 3,000 working instruments; the Csound application for Macintosh, PC, and Linux; and a number of Csound audio and score-generating utilities.
Book/CD-ROM Contributors include: Bill Alves, Stephen Beck, Mike Berry, Riccardo Bianchini, Kim Cascone, Michael Clarke, Richard Dobson, Archer Endrich, John ffitch, Rajmil Fischman, Michael Goggins, Matt Ingalls, Richard Karpen, Eric Lyon, Gabriel Maldonado, Hans Mikelson, Jon Nelson, Dave Phillips, Jean Piché, Russell Pinkston, Paris Smaragdis, Erik Spjut, Barry Vercoe, Scotty Vercoe.
Customer Reviews:
An opus work on both Csound and computer music.......2006-04-12
This book is one of a relatively small number of texts that are essential for the library of the computer music practitioner. The book has two CD-ROMs full of several books worth of material. This book is not only a remarkable reservoir of information specific to the Csound compiler, it is also very useful as a general source concerning many aspects of computer music techniques and synthesis methods.
Many have lamented the terse documentation of the Csound manual since it does not provide sufficient examples of how the various opcodes and features of the language may be used by composers and researchers. The Csound Book succeeds brilliantly in filling the void. Even for the seasoned computer musician, the text provides numerous opportunities for "ah ha!" moments and spurs renewed creative responses to musical problems. Part of the reason for this lies in the abundant resources of the language itself and its continued development and refinement by members of the Csound community.
This is a great companion book, allowing the reader to explore practical applications of concepts such as Fourier synthesis, digital filter theory, chaotic systems, reverberation, and algorithmic composition. This is accomplished very elegantly and always with reference to direct experience with the aid of numerous examples of Csound code. The book serves an important function by providing concrete examples of myriad synthesis methods, digital signal processing techniques, and specialized applications within one conceptual framework.
This book is full of excellent graphics, uniform and well commented coding examples, illustrative instrument-design flowcharts, thorough indexing, appendices of various kinds, all of it extremely well edited. There is an impressive unity to the text even though different authors have written the various chapters.
There is a treasure trove of instruments and compositions contained on the CD-ROMs. Many of these are by established composers of computer music and by the authors of the various chapters. Others, however, are by students from around the world. I highly recommend this book to anyone interested in computer music in general and Csound specifically.
The Definitive csound Book.......2005-06-08
If you want to learn csound this is THE book to buy in conjunction with csounds.com you will need nothing else. Beware though, it takes lots of time and effort to learn this language and it is not easy. Buy this book only if you are very serious about trying your and at csound. As to Michael S Rempel review, if you are going to drop names to try to sound knowledgeable
" Most of the sound designers in Hollywood use CSound. I know more than a few of them. The guy who invented Trance music, BH is a CSounder. Everyone in his studio owns a copy of this book! I could keep name dropping for a long while, but you get it. CSound is one of the best kept open secrets in the world."
at least drop them correctly. It's BT not BH and he most definitely did not "invent Trance music." He is however an avid csound user. Sorry I just could not let that slide.
Nobody Does it Better.......2005-02-19
Beginners be warned. This is not a book that is designed to hold your hand. For that go to www.csounds.com and check out the beginners secton. Also join the online forums.
This is the site that the author, Dr. Richard Boulanger maintains for people looking to get started with Csound. It is also the place most of the really good CSound software developers and users hang out.
If you have explored synthesis on another platform, then this is the book for you. If you have explored CSound a bit, and want depth then this is the book for you.
Dr. B has compiled resources and brings together the best of the CSound community in a compilation that is really a collection of CSound essays. Many of the articles are regretably brief. A few sections are missing all together. (Most notably the midi section is not included, and is still not written)
But what is written in this book is the best information you can get anywhere on the subject of computer synthesis in ANY LANGUAGE. I need to clarify that a bit though, two new projects are on the way which will change that. Csound 5 is in developement, and MPEG 4 also has a world class sound engine. But in both cases these new technologies are based on the stuff in this book. Yes, that is right, MPEG 4 has a csound like engine in it.
Csound is first rate. Nothing beats it. I have done the plugin thing, and downloaded or bought just about everything in synthesis available from anywhere. Some tools can offer you nice canned sounds, or pretty patch chords and knobs. But for pure raw power, flexability and creative oomph nothing can equal CSound. This book will take you from the world of patch chords and knobs into the world of programming. That is where the power is baby, in programming. Where anything can plug into anything. All you need are some programming chops and any music or noise you can dream up is at your finger tips.
If it happens in any synth anywhere in the world, then eventually it will happen in CSound. And mostly it already does. And what is more, in CSound you can combine ANY methods of synthesis you want AT THE SAME TIME. No other synth can do that. Period.
BTW the CSound software is free. That is right, free on the PC, free in Linux, and free on the mac. So buy the book, download the software, and meet everyone who wrote the book, and most everyone who writes anything to do with the CSound software on the CSounds web site.
If that is not enough to convince you, consider this: Most of the sound designers in Hollywood use CSound. I know more than a few of them. The guy who invented Trance music, BH is a CSounder. Everyone in his studio owns a copy of this book! I could keep name dropping for a long while, but you get it. CSound is one of the best kept open secrets in the world.
The definitive Csound compendium.......2003-01-19
A word of warning to electronic music newbies: Be sure to learn the fundamentals of synthesis and MIDI before venturing into the realm of Csound. This book assumes a level of knowledge regarding these subjects and will present an insurmountable challenge to someone with no programming experience. However, for those that do, it will present a whole new universe of possibilities.
As a composition tool, there is nothing quite as extensive or powerful as Csound, which is why there is an equally extensive learning curve for its students. I feel that this book is probably better suited as a text for a college course rather than a stand-alone guide for DIYers. But in its defense, I belong to the latter category and have fared pretty well in learning the language.
While I must criticize Mr. Boulanger for not giving thorough enough explanation to some critical topics in his book, overall--this is by and far the best resource for anyone attempting Csound. You will find the contents of the included CD-Roms to be an immense supplement to the book's chapters.
Not for beginners.......2002-12-22
Csound is probably the most powerful digital synthesizer software available. And it is essentially free. But writing code to produce music can feel like creating your own custom draw program from scratch to create a painting. There is no noodling with a keyboard or twisting knobs and listening to instant results. No, you create an .orc and a .sco file, one for the instruments and the other for the "notes"(though the language can be used to create filters and process sound). This gives you unlimited control, but you pay the price of programming headaches e.g. debugging, crashes, etc. There is also a very steep learning curve. Csound is a work in progress, though. Matt Ingalls's (and others) tireless work has made Csound easier to use, and has even updated it to Mac OS 10. He has also created an extension that allows Csound to interface with Max/MSP, perhaps simplifying the composers task. Nevertheless, Csound has a long legacy as a musicN language, and it has its roots in computer science.
If you are getting started in electronic or computer music and have little background in the field, this book may ultimately prove frustrating. Chapter one provides a perfect example. It opens with an .orc file and uses terms like control rate and sampling rate, but it isn't until much later that we find out what these things mean. Much of the first section is difficult to work through because of this approach. I think that the book would benefit from a rewrite, and I mean truly rewriting section one from scratch so the foundation is Basics of Synthesis. A section written like a "Dummies" book would be helpful for beginners like me, while the Csound mavens could simply flip to chapter X,Y, or Z and read at their level. Otherwise, the author should dispense with the basics and focus on making this a book for those already familiar with Csound. Obviously, the author/editor put tremendous effort into this book, so it seems a pity that it is kind of poorly organized. Finally, The Csound Book would benefit from careful spell checking (the author refers to GEN21 creating "Poison" distributions).
After having spent a year with the Csound book, I can make some recommendations for someone wanting to start electronic composition. You must read Curtis Roads's Computer Music Tutorial, probably the best electronic music book written. Don't let the dry title fool you, it is great reading. It will teach you the fundamentals and will serve as a reference if you decide to tackle Csound. Or, consider using Max/MSP instead of Csound. It isn't free, but it does have a graphical interface, yet it does not sacrifice flexibility. And you can now use Csound as a sort of "plug in" for Max/MSP. If you want to make popular music, Csound will probably only prove useful if your current software can't make a sound that you want.
As I said, Csound is a work in progress. A new book called "Virtual Sound" by Riccardo Bianchini and Alessandro Cipriani, reviewed in the Spring 2002 Computer Music Journal may be a better resource.
Book Description
Now anyone can write and play their own songs on the guitar - with no prior training! This inspirational handbook teaches readers how to play guitar, while providing a solid foundation in songwriting techniques, using well-known songs as examples, easy-to-follow text, and graphics that explain and demonstrate lyrics, melody, harmony and rhythm. This book's straightforward style will have even those who've never played a guitar or written a song making music with ease.
Customer Reviews:
excellent.......2007-08-15
The book is 90% about writing songs with guitar chords. Sections on lyric writing didn't impress me. The very short chapter on making a demo recording was excellent and almost a great (though very very short) book on its own.
Best real-world, practical explanation of chords and chord progressions I've ever read. (in the rock and pop genre.) Really breaks down song and musical structures of popular songs. Another great point is inclusion of recent as well as 60s and 70s rock songs. For example, one page analyzes a Fat Boy Slim song.
My knowledge and understanding increased greatly from this book.
There are so many great example progressions that you can open the book at random, play around with something on the page and come up with something.
This book does not go into the "front end" of the psychology or craft of creativity.
One of the best books on creating music I've ever read.
Also check out "The War of Art" for a brilliant and inspiring book about creating.
Superb Book.......2007-01-09
I have been playing guitar, and writing songs for 15 years. I learned a good bit from this book that I wish I would have known when I first started 15 years ago. You probably think you know how to write a song, but unless you have been trained in music theory, you probably have just been doing things that sound good without understanding why. This book does not go into extreme detail on any one subject in songwriting, its sort of like an really good overview on information such as melody, lyrics, chords, progressions, song types, etc.. It shows you all the pieces you need and more importantly WHY they sound the way they do or go together. It is for the person with beginner-intermediate music theory skill, or for any skill level guitar player. Information is well organized, easy to understand, and backed with examples from popular songs. Not songs like "Greensleeves" and "mary had a little lamb", but beatles, nirvana, oasis, madonna,etc.. Check out this guy's other books- I was very interested in the chord progression section and got his book on that subject. I think it is even better than this one.
Great Book on Songwriting.......2006-11-02
This is a must have for any guitar player trying to write songs, especially the singer / songwriter type. This book is filled with ideas for songs and how to incorporate the guitar into your songwriting. What I like most about this book was the numerous chord progressions listed and what mood each progression can create. It gives examples of songs that use the progressions and what genre of music they fit best. I loved this book and use it regularly. If you are looking to write music and lyrics this is a must.
Stunningly bad.......2006-10-06
To be honest, I've owned this book forever but after seeing someone ask about it on another forum, I just wanted to log in here and write a quick review of it as a warning to potential customers because I found it so poorly executed. This book basically consists of Rooksby very quickly presenting a topic in overly simple terms and then citing hundreds of examples of existing known songs that are supposed to illustrate his idea. This sounds like a great idea in principle but in execution it all falls apart. The examples read like pure fluff and do not cover any detail whatsoever, he does not even go into high level things like chord progressions, etc, from the examples. I presume this is due to copyright restrictions, etc. It would have made much more sense to license a few decent examples and really show how they illustrate the point. Or heck, the book is about song writing, why not actually WRITE a few over the course of the book??
The CD that came with the book is literally content-free, too. There's almost nothing on it. Again, this is in spite of all of the external music cited (some of it obscure) and due to the lack of specifics in the book. The CD can literally be thrown away without harming use of the book. It appears to be included in the book as reassurance that there is something there... i.e. a marketing move more than a useful resource for the customer.
So, really, in spite of the hundreds of general examples cited in the book, there is not a single specific detailed piece of information I can remember off hand. Ie. almost no tab, chord diagrams, or sheet music style content. Almost nothing specific about the guitar's interaction with the rhythm section and the specifics of writing for the rhythm section or vocal melody are covered either. And of course, the tell-tale item: nothing is composed/written by Rooksby for the book.
Looking at the presentation, its very slick. The book looks nice, the layout is great, the writing style is enthusiastic, its easy to WANT to like it but when it comes down to it it's good looking book that doesn't achieve its objective. I regretted the time I spent reading this book hoping for it to get better... Thankfully it's extremely short too, but I won't even bother going there at this point. ;)
So, basically, this book is just flat out not useful and the time spent looking for a different, more suitable, book on the topic will be rewarded many times over.
Also, avoid Rooksby's "Riffs" book as well, it suffers nearly the exact same set of problems as this one.
Neither fish, nor flesh........2006-09-04
It's not a guitar method neither a complete songwriting book. Perhaps it's both, but I find it quite boring and not focusing.
Book Description
You’ve got the power. You don’t have to spend thousands of dollars on recording-studio time anymore. Now, using Pro Toolsâa digital-audio workstationâyou can record demos at home on your own computer, edit tracks, add effects, and even output songs to a CD. But if you’re new to working with sound digitally, you face a daunting learning curve. Getting your music gear to work with your desktop computer or laptopâand producing results that you likeâinvolves some unfamiliar tools and concepts.
At last, here’s a Pro Tools book written by a musician for other musicians! Author
Gina Fant-Saez knows first-hand how frustrating it can be when you first make the move to using this complex, studio-quality audio application. Rather than overwhelm you with every detail of the program and complicated terminology or functions you’ll never use, Pro Tools for Musicians and Songwriters teaches only the essentials you need to record, enhance, and output your music.
With downloadable audio files from www.protoolsformusicians.com to help you get started, Pro Tools for Musicians and Songwriters will show you how to:
• Use a metronome (click track) or percussion loop to help you keep time when you record
• Record and combine multiple takes to create one seamless composition
• Edit your tracks with crossfades, panning, doubling, automation more[
• Add and manipulate plug-in effects, such as reverb
• Share your Pro Tools files with other musicians around the globe
• Output your finished composition to a CD
Customer Reviews:
Not Surprised This Got 5 Stars.......2007-08-17
After reading half of this book after getting out of the library, I decided I could at least put up a review on Amazon. I've been using Pro Tools HD for almost 4 years and consider myself an advanced user. That being said, there are tips and tricks and techniques in this book that I either never heard of, or never thought of (and aren't in the manual). And believe me, Ive read every pro tools book available.
While this book is geared mainly to newbies, even advanced users, if they patiently wade through familiar material, will find valuable nuggets of information that will either save you time or make things easier in your day-to-day pro tools use. I'm reading it thoroughly as you never know when one of these nuggets will happen upon you!
The book is full color, heavy, and substantial feeling. Quality print job. There are a few typos, so the copy editor should be fired. But Gina is knowledgeable and writes clearly in plain English.
I've renewed it twice from the library, but am buying it as this is a book I want to keep on hand.
Excellent!
You're new to Pro Tools ? Buy it NOW !!!.......2007-07-16
WOW !!! Great book for a beginner, and more advanced. But especially if you're just starting to get use to Protools. Very easy to follow. A++++++++++++++++++.
Thank you Gina !
Hands on help........2007-07-06
Aside from the easy to understand language that Gina Fant-Saez uses, the best part of this book is her Q&A website. If you get stuck or don't understand something, you can email her or ask her on the "blog" portion of the site and she gets back to you fairly quickly. Worth every penny of this book!!
~C
An Excellent Book!.......2007-06-27
Simply a must have for new Pro Tools users. Very easy to follow the directions and get results quickly. Buy this book!!
Now I understand........2007-05-28
I am a songwriter/musician who has had protools for 2 years and have not been able to use it. Very frustrating. Tried Protools 101 and others resulting in great frustration. This product teaches me step by step in a way that my mind learns and understands. Thank you. I am unlocking some great music now that protools is becoming a friend.
Book Description
This collection includes the best of the first ten years of this young Broadway songwriter's career. It includes 24 selections from Songs for a New World, Parade, The Last Five Years, and also from the albums Songs of Jason Robert Brown and Wearing Someone Else's Clothes. In addition to many songs never before in print, this collection also has a note on every song by the composer, as well as a biography.
Customer Reviews:
You can't miss with this collection.......2006-11-05
Jason Robert Brown is one of the leading names in the "new" musical theater. Outstanding collection for students, teachers and GREAT audition material.
Jason Robert Brown is a genius!.......2006-11-04
I'll admit that I was suspicious of a collections of JRB songs. I already had the vocal selections for his shows, "Parade", "Songs for a New World" and "The Last Five Years". I just thought it was another way for the publisher to make a few more dollars. That was until I looked at the contents. This collection had things in it that are not available anywhere else...Particularly songs from JRB's album "Wearing Someone Else's Clothes", among others.
The music is very challenging and is arranged to be very close to what Jason actually plays. This authenticity is something I enjoy about all of the vocal selections from his composition.
Buy this collection and enjoy an emerging Broadway super star composer.
Finally a collection of this oustanding songwriters work!!.......2006-07-07
I saw this book in my local music store and was so shocked to see such an amazing collection of songs by Jason Robert Brown! I barely looked at the songs included because I was so excited.
However, on getting home I realized that all of the songs in the book are amazing! It is a really wide variety of his work, with songs from all of his shows and CDs! It is an extremely nice book as well, and the selections are very good. They are wonderful for the singer and for the accompanist. The piano parts are almost identical to the recordings and are sometimes very challenging but always enjoyable.
This book is especially amazing because of some very rare selections. "Just One Step" is one of the amazing selections included from Songs For A New World that I don't think is published anywhere else. "See I'm Smiling" is one of my favourite songs from Last Five Years and I think is only published in this collection. Also, the AMAZING selections from Lauren Kennedys solo album are not published anywhere and are among the songwriters best work. The songs from his own solo album "Wearing Someone Else's Clothes" are also very, very good.
This book is essential to anyone who wants to fully experience Jason Robert Brown's songs! And everyone should want to!
New Broadway Composer at his best!!!.......2006-05-02
Jason Robert Brown sprung onto the Broadway scene 10 years and this collection is some of the best of his compositions from "The Last Five Years", "Songs For A New World", "Parade", "Urban Cowboy" and various songs that he has written for various projects. It's sophisticated, yet an absolute joy to play, perform or simply listen to.
Everyone song is a special little gem in itself. It also includes many songs that have never been available in print, like "See I'm Smiling", "The Picture Show" and the fun loving "Mr. Hopalong Heartbreak".
What excites me about this anthology is the inclusion of "Letting You Go", "Dreaming Wide Awake" and "If I Told You Now" from Lauren Kennedy's JRB album and also "Coming Together", "Getting Out" and "Someone To Fall Back On" (probably my favourite JRB song of all time - makes my heart skip a beat everytime I hear that song - musically and lyrically stunning).
All in all - a challenge and pleasure for all who play or perform this music.
This Book Should Be a Required Part of Any Performer's Collection.......2006-04-26
I finally received my copy of this book last week and I couldn't be happier with it. If you are new to the music of Jason Robert Brown this folio serves as great introduction to the works of the man who has been hailed as "one of Broadway's smartest and most sophisticated songwriters since Stephen Sondheim". -Philadelphia Inquirer
The 24 selections span his first ten years as a professional songwriter, including his first four musicals and works from two albums. While it is nice having his earlier works published in one folio, what really makes this book a bargain is the 15 previously unpublished songs that make their premiere here. JRB fans will rejoice at the inclusion of "See I'm Smiling" from The Last Five Years, "Just One Step" from Songs For A New World and two selections from Urban Cowboy.
What sold me on the book was the inclusion of songs from his solo album "Wearing Someone Else's Clothes" and Lauren Kennedy's "Songs of Jason Robert Brown" album. If you really want to impress them at your next audition or cabaret try pulling out "If I Told You Now", "Letting You Go", "Dreaming , Wide Awake" or "Someone To Fall Back On". If you haven't heard these albums I strongly suggest adding them to your music collection. (Order them with this book and save on the shipping!) It's a fantastic price for this many wonderful songs. This book should be REQUIRED for any performer to have in their repertoire!
Product Description
Unleash the creative potential of your guitar, and express your imagination through your music! This inspiring, practical and fun approach to composing and improvising will develop your sense of dynamics, articulation, rhythm, melodic direction and musical E.S.P. A truly unique collection of creative resources for the curious guitarist.
Customer Reviews:
A Work of Genius.......2007-09-19
I have been active as a student at Berklee College of Music for over fifteen years. Over that time I have come to know that one of Berklee's most highly regarded teacher's is Jon Damian. His many students never fail to refer to him as a Genius and his gift as a teacher in apparent in their many successes. Finally his unique and progressive teaching approach is available to all through this wonderful book. The Guitarist's Guide to Composing and Improvising with its brilliant fresh approach to the guitar in particular and music in general reinvigorated my love and fascination with the guitar and composition. I recommend this book to all who wish to rise above the laborious trench of continually repeating the same old musical ideas and truly intend to unlock the secrets of the entire instrument and ascend from the world to craft to the universe of true art. This is definitely the most exiting guitar work I have come across since Mickey Baker's Complete Course in Jazz Guitar (from the 1950's).
A reference guide.......2007-09-15
Breakthrough guide, one of the best I read/played so far. I am self studying jazz music and practice different types, read many books and instructional methods over last few years. My creativity have been taken to another level, just think differently experience new ways of practicing, be aware of tools you need to enhance your playing. This book helped me a lot to inter- connect materials I have studied in the past in a musical way. Experienced or beginners can take advantage of this book, I will use it as a reference.
Unique Book.......2006-07-18
I really tried to like this book but in the end I felt mixed. It would be so easy to take potshots at some of the suggestions in this book so I won't. But I will mention the 'Jaws Study', 'The One Note Guitar Solo', 'The Try Playing Guitar W/Your Other Hand','The Alphabet Anthem of Pick Strokes', and 'The Cycle of 4ths Study of Scale Modes'(which is not clearly enough explained I think). Is the intention for you to play Mixolydian scales over all of these secondary, tertiary, 4th,5th, 6th generation removed from the root scale, scales and why ? Wouldn't it be just as instructive to play all the modes of every scale you know from a common root ? Perhaps the answer will become apparant to me at a later time. I think making a recording of random chords for ear training is a good idea and I hope to get the time to do that,(good use for the IPOD too if you can transfer the mp3.) The musical examples are on the accompanying CD and most written in the key of C and notes on or close to the staff. In other words, you don't have to be a sight reading wiz to play them. You just need some basic reading skills. I give this book 3.5 stars but may upgrade that score at a later time. This is a unique book. I've not read one like it. It requires work on your end. Some technical rhetoric could/should have been simplified. It's almost as if it were written in a steady stream of consciousness. It may grow on me yet !
An exhaustive resource for the serious student.......2005-09-02
Densely packed with exercises, concepts and clear examples of the key elements of composition. This book encourages you to reexamine the most basic elements of your playing and carefully rebuild your compositional and improvisational vocabulary from the ground up. There are tons of gimmicky ideas, which may feel stupid or pointless at first, but the goals that underly these gimmicks involve a removing guitarists from the compositional box that naturally encloses our instrument.
Pick any idea in this book, meditate on it for a few days, and watch your musical horizons expand exponentially.
Note to the music illiterate - this is a book that is largely about COMPOSING. (i.e. sharing your ideas with other literate musicians.) If you aren't serious enough about sharing your ideas in the common language of music to learn that language, well you are probably not motivated enough to use a book such as this anyway.
no!.!..the black key next to the volume button....no!! the other black key..no! where theres three!!.......2005-08-25
That was my rendition of Tab for a piano. This book is awesome and I reccomend it to everyone regardless of their principle instrument. Now, for the Tab tard comment, it is true, and i agree because i was once a Tab tard myself. Imagine a poet who claims he is the greatest poet in the world, and then tells you a poem of his. Then you ask this poet to read a poem you wrote, and he says, "I cant read words". Now Jim, would you take this poet seriously? And when you cash your big fat check remind yourself that you are an (instrument) owner, not a musician. Great book!
Average customer rating:
- An in-depth look at MAX and its applications
- A perfect companion for Max users on all levels.
|
Composing Interactive Music: Techniques and Ideas Using Max
Todd Winkler
Manufacturer: The MIT Press
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Binding: Paperback
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ASIN: 0262731398 |
Book Description
Interactive music refers to a composition or improvisation in which software interprets live performances to produce music generated or modified by computers. In Composing Interactive Music, Todd Winkler presents both the technical and aesthetic possibilities of this increasingly popular area of computer music. His own numerous compositions have been the laboratory for the research and development that resulted in this book.
The author's examples use a graphical programming language called Max. Each example in the text is accompanied by a picture of how it appears on the computer screen. The same examples are included as software on the accompanying CD-ROM, playable on a Macintosh computer with a MIDI keyboard.
Although the book is aimed at those interested in writing music and software using Max, the casual reader can learn the basic concepts of interactive composition by just reading the text, without running any software. The book concludes with a discussion of recent multimedia work incorporating projected images and video playback with sound for concert performances and art installations.
Customer Reviews:
An in-depth look at MAX and its applications.......2006-03-25
MAX is an object-oriented graphical programming environment for creating music and multimedia used for over fifteen years by composers, performers, software designers, researchers and artists interested in creating interactive compositions. MAX reuses the patchable modular analog synthesizer metaphor. You build patches by placing modules on a graphic surface and connecting these modules together with patch cords. The connections represent paths on which values or signal streams are send between the modules. These modules are either processing units (arithmetics, timing, ...), data containers (tables, ...), system inputs or outputs (audio, MIDI, ...). MAX modules are called objects in the sense of Object-Oriented Languages. Objects can themselves be patchers, so that a patch has a hierarchical structure. Some objects have graphical interactive behavior and can be used as controllers, to change values in the patch, or as viewers, to display values computed by the patch.
In this book, Winkler mainly deals with the MIDI version of MAX running on the Macintosh platform. What makes this book so interesting is that it brings together much of the research that has been floating around various institutions and e-mail lists. It is also a fantastic introduction to both MAX and how it interfaces with both performers and computer programming. Winkler informs us that there is a growing future for the MAX environment. With the advent of increased QuickTime and Internet support, MAX is becoming one of the tools with which to enter the interactive programming world. Its strength is that one starts with simple commands and a blank sheet of paper, so to speak, not a grid or staff or piano-roll.
Readers of this book, if novices to MAX and MIDI, could find it hard going at first - but if one can work through the exercises, learning is quickly achieved. If you have already used MAX then the book ties many loose ends together and offers advice on structured programming in MAX. Winkler is careful to define his space and the terminology used. His historical introduction is thoughtful and comprehensive, citing many well-known and some less well-known composers and works. Thus, while informing us of quite pertinent details, Winkler manages to keep an informal style that presents these details in exciting ways.
Once into Chapter 3, we are programming with MAX. MAX is a fourth-generation language - its objects on the screen generate run-time code that the programmer may never see (or wish to see). Its structure is intuitive - generally time runs top-to-bottom and precedence runs right-to-left, and this facilitates informative annotation. Although the book contains tutorial information on MAX, some understanding of the fundamentals of MAX is assumed. Also, it is assumed the reader is familiar with simple musical terms and structures.
Winkler categorizes interactive music programming into three sections: computer as listener, computer as composer, and computer as performer and illustrates this with informative examples contained within the accompanying CD-ROM. Winkler explains how the computer can analyze and compare input usually in the form of someone playing a keyboard, filter this information, add to it, store it, and finally play a response. The computer may act as a very intelligent effects box by following the performer in real time and reacting, thus offering the performer something unexpected in order to facilitate a quasi "interactive process", or there may be no performer at all and the computer may generate its own performance data.
The guts of the book are devoted to good programming technique and design, analysis of musical input data, reaction to musical input data, interaction of MIDI with digitized sound, be it a computer file or a track on a CD, and the complicated process of scoring that follows. Finally, Winkler offers a taste of the future with signal processing, audio-visual development, and the possibilities of controlling MAX with non-keyboard devices. He mentions the MIDI flute, designed at IRCAM, and from this we can imagine using MIDI wind controllers, drum pads and the like to enable performers on one instrument to interact more accurately with another. In addition, there are newer controllers such as pressure-sensitive pads, simple potentiometers, light detectors, and movement sensors that can now all interface with the computer and therefore come under the control of MAX. The opportunities for interactive dance have already been explored at institutions around the world but the technology is now readily available, off the shelf, and is being used by installation artists and choreographers alike.
Mr. Winkler is an able musician who circumvents the boring details and makes programming openly accessible to users. He even offers us many programming examples from which we may build our own interactive works. This book is valuable reference material, as it details and illustrates the powerful IRCAM objects Explode and Qlist, and also objects like Borax and AIFFplay, offering a musical approach. Thus, this book is for anybody interested in bringing computers, MIDI gear, an performers into their creative grasp.
A perfect companion for Max users on all levels........1998-05-05
This book gives one a clear and inspiring view into the Max language and the wide scope of work being done with this Macintosh software. My only regret is that I don't own two copies, one for the studio and one to read at home.
Book Description
This definitive guide provides tips for producing music using Reason, one of the most popular virtual-studio programs. This second edition explores new features of the latest version, and projects from the earlier edition incorporate the new devices and samples. Revisions reflect the features added with the MClass Compressor, Maximizer, and Equalizer devices, while a new chapter on audio mastering discusses the use of these devices. A Combinator chapter discusses new synthesis, effect configurations, and methods used in the patches from the updated Factory Soundbank Library. This book delivers advanced production techniques to experienced Reason users.
Customer Reviews:
Not for the faint of heart.......2007-10-04
Very, very deep. This is for synth freaks like Me!
This is not for begginers or intermediate...this is an expert's book.
The combinator chapter is great!
Insightful for Power Users..........2007-05-13
This book is chock full of interesting ideas and strategies for sound-designers and composers using Reason. It's fairly well written, and provides excellent logic-diagrams and tips for building devices using the Combinator that I hadn't thought of. Many examples are multi-device applicable - so even people that don't exclusively use Reason can learn things about general synthesis and sound-design. As other people have noted: THIS IS NOT FOR BEGINNERS. Highly recommended for sound-designers, medium/advanced users and performers.
Great book for learning some practical synthesis techniques.......2007-03-29
This book will teach you some very useful and practical synthesis techniques that are used in popular electronic music. Almost all the examples he walks the reader through ends with "oh! that's how they do that!" I have been doing electronic music off and on for over 10 years and was wanting to learn some new techniques and this book definately did the job. As a double-wammy, if you're familiar with synthesis you can apply everything you learn to other programs and hardware.
Great Tips & Tricks!!.......2007-02-06
I got this book a couple a weeks ago and have to say that it is pretty cool. It is not for beginners. It will show you more advanced concepts of Reason 3.0. Still working my way through the book. Very cool.
Fantastic book.......2007-01-23
This book really covers the program in incredible detail. It's not a book that can be skimmed through. You really need to have your highlighter handy as you read it. There's a lot to absorb even for someone who has used Reason before. The chapters on "Essential Shortcuts" and "Control Voltages" alone are worth the price of admission.
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