Writing for Big Band
An orchestration/arranging course that focuses on the techniques and concepts of writing for big band. Content also includes the arranging process and how to adapt and modify the musical elements of a composition into an effective arrangement. The course deals with notation, voicings, and combinations of the various sections comprising the large ensemble: trumpets, trombones, saxophones, selected woodwinds, and rhythm section. Extensive use of recorded examples and extracts from scores.
Studio Writing and Production for the Recording Studio
Emphasis on arranging techniques that apply specifically to recording situations in various contemporary music settings and idioms. Arranger's function, current market trends, and contemporary recording techniques are discussed.
Contemporary Arranging for Strings
Arranging for strings behind a vocalist or lead instrument. Emphasis is on contemporary string writing approaches in the styles of rock, Latin, funk, ballads, and jazz, and the feels of even and shuffled eighths and sixteenths for string sections (with rhythm section accompaniment) using specific arranging techniques of closed and open voicings, clusters, three- to six-part writing, use of primary melody and countermelody, and guide tone lines. Production approaches from the writer's perspective are also covered. Projects may include arrangements for live performances, recordings, or commercials.
Mixing Concepts and Applications for Writers
The course focuses on mixing techniques through the use of sound processing as it pertains to the writer who engineers and produces his or her own pieces. Through the use of plug-ins, the understanding and artistic application of ambient effects (e.g. reverbs, delays, flangers, harmonizers, and choruses) and dynamic processing units (e.g. compressors, noise gates, equalizers, and limiters) the course explores how writing can be enhanced at the recording and mixing stage through the effective use of sound processing equipment. The student will have the opportunity to understand how to enhance their recordings with these effects through in-class demonstration, listening analysis, and assigned projects using specified equipment.
Video Game Scoring Fundamentals
This course provides students a one-semester overview of approaches to scoring for video games. Beginning with a short history of interactive music, the content includes typical game music workflow and approaches to scoring video games. Assignments include scoring projects using different interactive music techniques. Students will be able to describe the history, theory, mechanisms, and basic approaches to writing music for video games. They will be able to write simple to moderate interactive scores using the most comm used methods in the industry. In addition students will discuss and learn about specific industry issues related to working in this field.
Writing for Orchestra – Studio Orchestra
An advanced study of the techniques and concepts of writing and arranging for the orchestra in a studio setting. A continuation of CW-311 with the addition of the string section, French horn, percussion, additional woodwinds, and harp. Emphasis is placed on orchestral combinations, stylistic factors, techniques of scoring melody and accompaniment, sophisticated voicings techniques, writing effective introductions and endings, and routining an arrangement. Extensive use of recorded examples and score extracts.
Advanced Production for Writers
A project-driven course that focuses on production from the writer's perspective. The content includes more advanced creative and production projects, incorporating MIDI sequences using sampled sounds and synth modules with live overdubbing of acoustic instruments, more refined utilization of sound-processing equipment, and conceptualizing with sound-processing ideas in mind. In addition to class meetings, each student will be assigned recording studio time to be used for overdubs, sweetening, and/or mixing. Students will use their own laptop in the Professional Writing technology lab and are expected to have the CWP major bundle.
Contemporary Orchestration for Digital Audio Workstations
This course covers advanced sequencing and orchestration techniques in the electronic and hybrid realms of production for acoustic ensembles. Its main purpose is to expose and guide students to writing and production of polished and high-quality original compositions for small to large acoustic ensembles through the use of advanced sequencing techniques and electronic tools. Through a detailed survey and hands-on practice of the major software orchestral libraries, the course integrates all the techniques involved in creating electronic and hybrid polished productions for rhythm section, small ensemble, big band, and studio orchestra. Content includes advanced sequencing techniques such as groove quantization, layering, tempo variations, advanced use of MIDI control changes, and alternate MIDI controllers. The students will learn multilayering of acoustic and electronic instruments; translation into the electronic realm of phrasing, articulations, and performance-related markings; controlled detuning; and horizontal/vertical timbre variation. In addition, through a series of original writing assignments for large ensembles and rhythm section, the course will focus on merging the gap between the composition stage and the final electronic production by covering the mixing stage of the hybrid production process focusing in particular on multireverb placement and variable equalization.
Exploration of techniques of writing for each orchestral instrument and for various combinations of instruments, unusual orchestral instruments, and special effects many instruments can create. Principles of combining and balancing instruments; comparison between the live orchestral situation and the recording studio environment. Incorporation of ethnic instruments into orchestration; application of orchestral instruments to contemporary settings and styles. Overview of the development of the modern symphonic orchestra and the full orchestra as used in film scores. Live demonstrations of instruments; score listening and analysis.
Scoring for Advertising
A study of the creative, technical, production, and business aspects of writing music for visual media, primarily television commercials. Content includes the creative process: reacting to emotion and mood of visuals, supporting the picture with appropriate music, stylistic considerations, compressing/expanding musical ideas, and hitting visual cues. Production aspects include various approaches to shaping the musical product to support the creative direction that has been chosen or provided. Exploration of sound design (incorporation of sound effects into music tracks) and technical aspects of timings, film editing influences, frame-counting, and synchronization. Business aspects: working with producers and directors, taking direction, selling ideas, and general and contractual obligations that modify the creative process. Various projects and assignments in writing music in different moods, styles, and lengths, that support and enhance visuals. Most creative work will be realized at MIDI workstations using a MIDI sequencing program and video software; students must have a strong working knowledge of MIDI systems and sequencing programs.
Electronic Writing and Production
This course has two purposes: first, to provide the student with the necessary synthesis, sound design, and electronic creative tools to be competitive in the contemporary writing industry; and second, to enhance and further develop the student?s compositional skills in a variety of contemporary music styles with a particular emphasis on electronic genres. Through a detailed and thorough hands-on experience the students will begin studying the basic concepts of analog synthesis, moving on to advanced synthesis techniques such as FM, sampling and physical modeling, all the way up to the most advanced sound design and sound shaping techniques. The course will cover processing methods and effects (such as loop creation/editing/slicing, creative use of EQ, delay, compression and convolution reverbs, etc.) targeted specifically to enhance and improve the production of contemporary electronic music. Topics will be contextualized with references to specific contemporary music styles and trends and practically applied by the student to originally composed projects that feature different electronic styles and techniques. Using these concepts and techniques the students will create original compositions based mainly on sounds they have programmed and designed themselves, and by the end of the course they will have an original sound library at their disposal.
Writing and Producing for Music/Media Libraries
This course covers advanced creative, technical, production, and business aspects of writing for music and media libraries. Its main purpose is to expose and train students to be proficient in writing and producing for a variety of media-related music libraries through style-specific assignments and scenarios. The course focuses on writing genre-specific music cues for reality shows, soap operas, talk/variety shows, documentaries, title sequences, infomercials, and web media such as miniseries, web advertising, and web-based tutorials. Students are guided through a thorough analysis and critique of each style and individual original writing assignments based on real case examples. For each style students master the creative process, library-specific production techniques, how to support different moods with appropriate music, how to communicate with media producers, and how to develop original material inside the boundaries set by the style and by the production team. This course focuses on how to compose and produce mood-based music libraries and cues that are not written to a specific picture. Each assignment is critiqued, assessed, and revised according to creative directions and style specific production guidelines. Discussions of business aspects include working with music libraries producers and companies, demo preparation, positive and quick response to feedback and comments from the music library producer and licensing scenarios. Through various projects students will have frequent opportunities to write music in different moods, styles, and lengths. Students must have a strong working knowledge and experience with hybrid production techniques and with MIDI systems and sequencing programs.