Author: Keith Kothman
-
(compMus1) Time Compression/Expansion – Fourier Transform and Phase Vocoding
Somehow this didn’t make it to the blog after the lecture… Classic “concrete” techniques With classic tape techniques, the only way to change the duration of a recorded sound is to change the speed of the tape. (Which also changes pitch.) Same is true if all you want is a pitch change. (Duration changes) Computer…
-
(musicTheory2) Midterm Review
Things to study (and know!) for the midterm exam on Friday (3/9): Figured bass. Know the standard stuff, what the accidentals mean, slashes, etc., relating figured bass symbols to Roman numeral harmony, etc. The figured bass part writing will NOT include secondary dominant/leading-tone chords. Alterations will be restricted to raising the leading tone in minor.…
-
(compMus1) Bouncing to Disk/Finishing Your Mix in DP
The final step in completing a project with Digital Performer is to create a stereo mix that you can burn to an audio CD. Follow this process: In the Sequence Editor window, either “Edit | Select All” or drag-select across all tracks for the time area that you want to mix to stereo. (Note: to…
-
(musicTheory2) Lecture Notes: Secondary Dominants 2a
A few odds and ends from today’s (3/2) lecture: Secondary dominants can resolve deceptively, just like a V7 – vi progression in a key. A deceptive resolution of a secondary dominant will resolve to a harmony with a root a third lower than the target temporary tonic. The most common secondary dominant deceptive progression is…
-
(musicTheory2) Assignment: Tonicization 2 updated
(Due 3/5) Workbook: p. 179, 4C (given figured bass, add alto and tenor, Roman numerals. Unless the secondary dominant seventh or LEADING TONE SEVENTH substitutes for a predominant, enclose the Roman numeral in parentheses. Note: there is an error with the figured bass on the second beat of the first measure. The slash-4 over natural…
-
(musicTheory2) Lecture Notes: Secondary Dominants 2
Addition to Previous Post on Secondary Dominants I left out an important step in the process for identifying and resolving secondary dominants when given the secondary dominant (without a resolution). Here’s the list of steps. Number 3 is new. If you’re given a secondary dominant without a Roman numeral (like #2), use the following process:…
-
(compMus1) Listening List 2
The second set of listening is available now at <my.bsu.edu>. The listening quiz will be 3/22.
-
(compMus1) Project 2 Individual Meeting Times
Here’s the schedule for meeting times this week to talk about your second creative project. I only heard from 5 people about preferred times, or if anyone can meet after class. With the lack of response, I just filled in names. If anyone has a conflict, please let me know right away. Please show up…
-
(compMus1) Granular Synthesis
Overview Any sound can be thought of as containing discrete particles. (Mosaic or Pointillism) A grain of sound typically lasts from 1 to 100 ms. Each grain shaped by an amplitude envelope. Sound parameters (pitch, panning, duration, envelope, location in sound file, wave type, etc) change on a grain-by-grain basis. Parameters are static within each…