Name two important visual artists not musicians from the Classical Period. Name two important writers of literature not musicians from the Classical Period. Discuss the political events and sociological factors that made the Classical Period such a time of violent upheaval. Previously it has been noted that composers used the Fibonacci sequence and the Golden Ratio in terms of form, however in my analysis I look into the use of it in terms of notation as well.
I will explore…. Dynamics are the louds and softs in music; that is, the volume. As you know, music can be played loudly or quietly. Why have dynamics? Dynamics are just one Element of Music an…. Composers experimented with more expressive and songlike melodies while pianists developed higher skill levels to match the increased technical demands of the pieces. One man who embodied this particular transitional period was Ludwig van Beethoven. Beethoven was one of the first composers to stray from traditional forms of music and incorporate a broader range….
Violence, sex, money, luxury, and power are overtly key values of rap music culture, seen in the lifestyles of rappers, in their music videos, and in their lyrics. Short term consequences for youth resulting from the adaptation of these values translates into a change in attitude and way of life. Rude behaviour, excessive swearing, lack of respect for women, parents, fighting, participating in criminal activities and taking illegal drugs are examples.
These short term consequences…. I don't care about authenticity. Having selected the vocal sample as the compositional starting point for the song, Moby began working on the distinctive piano chords which are best heard at the start of the track, but continue throughout most of the rest of the song.
The vocals on the song 'Natural Blues', for example, are in B flat minor. In B flat minor you can play a variety of chords around it that will reinforce it — A flat major, F sharp major — and that, for me, is the way the songs gets written. On top of A minor you can also play E minor, G major, D major, and it works on all those. Obviously, if you have a vocal in A minor and you're playing a G major chord on top of it, it's going to have a different emotional quality than with an A minor chord, so I Just started playing around with it.
When I go into my studio it's just me, alone with my equipment, and I work on music. I never really think about it, it's an intuitive, emotional process, not very analytical". For Moby, selecting a piano sound is also an intuitive process, and he is reluctant to offer any reasons why he might have chosen one sound source rather than any other. The main piano on this song I think was the Emu Proformance piano module, but there are two pianos on there and the other one, I think, is off an old Yamaha synth.
Following the piano chords, Moby introduced the main drum part, programmed on a Roland TR I don't care about changing the pitch.
If I have a drum sample and want it to be a little bit faster, I just speed it up and sacrifice the original pitch. I've never understood why people worry so much about maintaining the original pitch. If you slow it down the pitch gets lower, if you speed it up the pitch gets higher — big deal!
Moby's basic, yet effective approach to his string arrangement is mirrored by his minimal use of effects on the track. A second vocal line used in a 'question and answer' style repeating 'Why does my heart This work was done when Moby made the original sample several years before.
The part was finally treated to some delay and heavy EQ during the mix. This part was also played by Moby, this time using a Roland Juno synth. The unofficial Moby fan site at www. The verses are four chords — A minor, E minor, G major, D major — then the chorus is C major to A minor and then F major to C major, and that's pretty much the whole song. Through the process of working by himself in just one location, Moby could switch back and forth between writing, arranging and mixing without worrying about studio time or the schedules of producers, musicians and engineers.
Moby explains the method. The difference between the finished version of a song and the original version of the song can be really marginal. It may seem strange that songs which have so few basic elements and a minimal production require such a long period of arrangement time, but Moby's reasons for taking his time have developed from 15 years of working almost exclusively by himself.
Sometimes I'll work on a piece and think it's the greatest thing I've ever done then go back to it a week later and think it's terrible — and vice versa. In terms of evaluating my work, I have to build in quite a lot of time, because my objectivity can be compromised quite easily. If I give myself a couple of months after everything's done that's enough to figure out whether things are as good or as bad as I imagined them to be.
Rolling Stone's web site offers a guided video tour of Moby's studio — check out rollingstone. Moby estimates that it took him several months to get the song to the point of being 'compositionally finished' and ready for mixing.
Consequently, it was simply a case of deciding when to begin mixing, rather than having to prepare a multitrack to take to another studio location. All the audio samples remained in the samplers which, along with the synths, were patched into Moby's Spirit desk ready for mixdown. I did all the sequencing in Cubase. The version I use is actually about five years old. It might be the first generation of Cubase with audio, but I never use the audio portion, I just use it as a sequencer.
Curiously, Moby further limits his use of Cubase by avoiding any programming of control change or SysEx to send patch setup information to the synths and modules. And it's easy enough — I only have six or seven synthesizers, so it takes me all of 90 seconds to change the patches.
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