creating 74 way

目次

  1. THREE WAYS TO START

  2. CATALOG OF ATTRIBUTES

  3. AVOIDANCE LIST

  4. Active Listening

  5. LISTENING TO MUSIC YOU HATE

  6. MISE EN PLACE

  7. ARBITRARY CONSTRAINTS

  8. “WRITE DRUNK; EDIT SOBER”

  9. Choosing a Tempo

  10. One Part at a Time

  11. Different Tools

  12. Presets as Starting Points

  13. The Tyranny of the Default

  14. Simple Sounds

  15. Extended Techniques

  16. Goal-less Exploration

  17. Procrastination and Timeboxing

  18. Collaboration

  19. Thinking Like an Amateur

  20. Scraps and Sketches

  21. Problem-Solving as Distraction

  22. Personal Workflow

  23. Originality vs. Quality

  24. Process vs. Product

  25. On Work

  26. Breadth Before Depth

  27. Foreground, Middle Ground, and Background

  28. Fuzzy Boundaries

  29. Creating Variation 1: Mutation of Clones

  30. Creating Variation 2: Mutation Over Generations

  31. Creating Variation 3: Note Transformations

  32. Implied Rhythm in Short Loops

  33. Asynchronous or Polyrhythmic Loops

  34. Misusing Rhythmic Tools

  35. 3+3+2 Rhythm

  36. Programming Beats 1: On Looseness

  37. Programming Beat 2:Linear Drumming

  38. Programming Beats 3: Ghost Notes

  39. Programming Beats 4: Top, Bottom, Left, Right

  40. Bass Lines and Kick Drums as a Single Composite

  41. Drums to Pitches and Vice Versa

  42. Tuning Everything

  43. Silence and Noise

  44. Sampling the Old-Fashioned Way

  45. Creating Melodies 1: Contour

  46. Creating Melodies 2: Using Motives

  47. Multiple Simultaneous Melodies

  48. Linear Rhythm in Melodies

  49. Sound-Color Melody

  50. The Rhythm of Lyrics

  51. Creating Harmony 1: The Basics

  52. Creating Harmony 2: Beyond Triads

  53. Voice Leading and Inversions

  54. Parallel Harmony

  55. Harmonic Rhythm

  56. Repetition and Insistence

  57. The Rhythm of Automation

  58. Humanizing With Automation Envelopes

  59. Maximal Density

  60. Deliberately Bad Listening

  61. Randomness and Responsibility

  62. Dramatic Arc 299

  63. Arranging as a Subtractive Process

  64. The Power of Erasing

  65. Formal Skeletons

  66. Common Forms 1: Elements of Song Form

  67. Common Forms 2: Layering as Form

  68. Short Loops as Endings

  69. Unique Events

  70. Three Ways to End

  71. Rendering as Commitment

  72. Getting Feedback

  73. Diminishing Returns

  74. Fail Better

results matching ""

    No results matching ""