Music Books, Guides, and Tutorials

[Marwen]

Post anything relevant to the thread's title.

I got this yesterday:

"Product Description
Get complete guidance on both traditional orchestration and modern production techniques with this unique book. With effective explanations and clear illustrations, you will learn how to integrate the traditional approach to orchestration with the modern sequencing techniques and tools available. You will discover how to bridge the two approaches in order to enhance your final production."

"Product Description
Guitars of all varieties form the basis for many kinds of music, and a great guitar sound can often make or break a track. This budget-minded book will give you the knowledge you need to start making guitar recordings like a pro! This is a quick yet thorough guide to getting the best guitar recording. Covering all popular methods of mono and stereo guitar miking, veteran MixBooks author Bill Gibson will also guide you through every step of mixing and make sure your track sounds just right! The accompanying CD demonstrates all the concepts described in the text."

They look good to me. I'll be going through them this week.

 

[Kenneth R.]

I had a book similar to the first one you bought but I haven't hardly used it. Wasn't worth it for me?

 

[Marwen]

The first one is pretty good imo. It's got everything you'd need.
Here is the epic table of contents:

Chapter 1 – Basic Concepts for the MIDI Composer, Arranger, and Orchestrator 1

1.1 Introduction to MIDI and audio sequencing 1
1.2 Review of the MIDI standard 2
1.3 MIDI messages and their practical applications 5
1.3.1 Channel voice messages 5
1.3.2 Most commonly used control changes 10
1.3.3 Extended controllers 10
1.3.4 Coarse versus fine 12
1.3.5 Control your sounds 12
1.3.6 Registered and non-registered parameters 14
1.3.7 Channel mode messages 15
1.3.8 System real-time messages 16
1.3.9 System common messages 18
1.3.10 System exclusive messages (SysEx) 19
1.4 Principles of orchestration 19
1.4.1 Composition 19
1.4.2 Range 20
1.4.3 Register and the overtone series 21
1.4.4 Transposition 23
1.4.5 Concert instruments 23
1.4.6 Transposing instruments 23
1.4.7 Weight, balance, and intensity 24
1.4.8 Hazards of writing at the piano 24
1.5 Final considerations 26
1.6 Summary 27
1.7 Exercises 28

Chapter 2 – Writing and Sequencing for the Rhythm Section 32
2.1 Introduction: general characteristics 32
2.2 The components of the rhythm section 32
2.3 The role of the essential instruments 33
2.3.1 The bass 34
2.3.2 The drumset (and auxiliary percussion) 34
2.3.3 Keyboards and guitars 35
2.4 Color and style 36
2.4.1 Basses 36
2.4.2 Guitars 36
2.4.3 Keyboards 36
2.4.4 Mallet percussion 37
2.4.5 Drumset 38
2.4.6 Auxiliary percussion 39
2.5 Writing parts for the rhythm section 40
2.5.1 Bass parts 40
2.5.2 Drumset parts 40
2.5.3 Guitar parts 41
2.5.4 Keyboard parts 43
2.5.5 Mallet parts 43
2.6 Sample scores for the rhythm section 43
2.7 Sequencing the rhythm section: an introduction 45
2.7.1 The keyboard 45
2.7.2 The acoustic piano 46
2.7.3 Sequencing and mixing techniques for the
acoustic piano 49
2.7.4 The alternate keyboards: electric pianos and organs 50
2.8 The synthesizer 53
2.8.1 Hardware and software synthesizers 53
2.8.2 Synthesis techniques 55
2.8.3 Analog subtractive synthesis 55
2.8.4 Additive synthesis 57
2.8.5 Frequency modulation synthesis 58
2.8.6 Wavetable synthesis 58
2.8.7 Sampling 59
2.8.8 Physical modeling synthesis 60
2.8.9 Granular synthesis 62
2.9 Sequencing for the guitar: overview 63
2.9.1 Sequencing techniques for the guitar 64
2.9.2 Mixing the virtual guitar 68
2.10 Sequencing for the bass: overview 70
2.10.1 Sequencing techniques for the bass 70
2.10.2 Mixing the virtual bass 73
2.11 Sequencing for drums and percussion: overview 75
2.11.1 Sequencing techniques for drums and percussion 77
2.11.2 Quantization for drums and percussion 79
2.11.3 Groove quantization 84
2.11.4 Performance controllers for drums and percussion 85
2.11.5 Final touches 86
2.12 Mixing the virtual drums and percussion 87
2.13 Final considerations on sequencing for the rhythm section:
tempo changes 91
2.14 Summary 93
2.15 Exercises 96
vi Contents

Chapter 3 – Writing and Sequencing for the String Orchestra 98
3.1 Introduction: general characteristics 98
3.2 Creating sound 99
3.2.1 “Open” string versus “stopped” string 100
3.2.2 Bowings 100
3.3 Performance techniques for greater expression 102
3.3.1 Portamento 104
3.3.2 Pizzicato 104
3.3.3 Harmonics 105
3.3.4 Mutes 106
3.4 The specific instruments 106
3.4.1 The violin 106
3.4.2 Functions of the violins in an orchestration 108
3.4.3 The viola 108
3.4.4 Functions of the violas in an orchestration 110
3.4.5 The violoncello 110
3.4.6 Functions of the cellos in an orchestration 112
3.4.7 The double bass 112
3.4.8 Functions of the basses in an orchestration 114
3.5 Orchestration examples 114
3.6 The harp 115
3.6.1 Spelling matters 116
3.6.2 Mass edit 117
3.6.3 Pedal charts 117
3.6.4 Pedal changes 118
3.6.5 The harp glissando 118
3.6.6 Ensemble context 118
3.7 Sequencing for the string orchestra 119
3.7.1 Synthesis techniques and library options 119
3.7.2 Multi-layer patches 121
3.7.3 Key-switching libraries 123
3.7.4 Advanced layering techniques for strings 125
3.8 MIDI sequencing techniques for strings 126
3.8.1 Attack and release control 127
3.8.2 Performance controllers 131
3.8.3 Extended performance controllers 132
3.9 Hardware MIDI controllers for string sequencing 135
3.9.1 Special sequencing techniques for strings 139
3.9.2 Legato, staccato, and détaché 139
3.9.3 Sul tasto, sul ponticello, and mute 139
3.9.4 Trills and tremolos 140
3.9.5 Detuning techniques 142
3.10 Sequencing for the harp 144
3.11 Mixing the string section 146
3.11.1 Panning the string orchestra 146
3.11.2 Equalization for the string orchestra 147
3.11.3 Reverberation 148
Contents vii
3.12 The final touches 150
3.13 Summary and final considerations on writing and sequencing for
the string orchestra 151
3.14 Exercises 154

Chapter 4 – Writing and Sequencing for the Woodwind Section 156
4.1 General characteristics 156
4.2 The woodwind section 156
4.2.1 “Doubling” 157
4.3 Creating sound 158
4.3.1 Tonguing (articulation) 159
4.3.2 The slur 159
4.3.3 The trill 160
4.3.4 Grace notes 160
4.4 The specific instruments 161
4.4.1 The flute (in C) 161
4.4.2 The piccolo flute (in C) 162
4.4.3 The alto flute (in G) 162
4.4.4 The oboe (in C) 164
4.4.5 The English horn (in F) 164
4.4.6 The clarinet (in B) 165
4.4.7 The clarinet (in A) 166
4.4.8 The bass clarinet (in B) 167
4.4.9 The bassoon (in C) 168
4.5 The saxophones 169
4.5.1 Saxophone tone quality 169
4.5.2 Saxophone range 169
4.5.3 Saxophone transposition 170
4.6 Concerns regarding orchestration 171
4.7 Sequencing for the woodwind section: an introduction 174
4.8 Synthesis techniques and library options 174
4.9 Sequencing techniques for the woodwind section:
input controllers 178
4.10 Use of MIDI control changes and editing techniques 180
4.10.1 Attack and release control 180
4.10.2 Filter and timbre control 185
4.11 Performance controllers 186
4.12 Performance extended controllers 187
4.13 Special sequencing techniques for woodwind:
the saxophone section 189
4.13.1 Blending acoustic and MIDI 191
4.14 Final touches 191
4.14.1 Performance noises 193
4.15 Mixing the woodwind section 194
4.15.1 Panning the woodwind instruments 194
4.15.2 Equalization for the woodwind instruments 195
4.15.3 Reverberation 198
viii Contents
4.16 Summary 199
4.17 Exercises 201

Chapter 5 – Writing and Sequencing for the Brass Section 203
5.1 General characteristics 203
5.2 The brass section in the orchestra 203
5.3 The brass section in the jazz band 204
5.4 Creating sound 204
5.4.1 Tonguing 205
5.4.2 Slurs 205
5.4.3 The glissando 205
5.4.4 Articulation markings and effects 206
5.5 The specific instruments 206
5.5.1 The French horn 206
5.5.2 The trumpets 208
5.5.3 The piccolo trumpet 209
5.5.4 The flugelhorn 210
5.5.5 The tenor trombone 211
5.5.6 The bass trombone 212
5.5.7 The tuba 213
5.5.8 The euphonium 214
5.6 Mutes 215
5.6.1 Mute preparation 216
5.7 Orchestrating the brass 216
5.7.1 Orchestrating brass and woodwinds 218
5.8 Sequencing for the brass section: an introduction 218
5.8.1 Synthesis techniques and library options 218
5.8.2 What to look for 220
5.9 MIDI controllers for sequencing the brass section 223
5.10 Sequencing techniques for the brass instruments 225
5.10.1 Micro-level automation 228
5.10.2 Quantization 229
5.11 Performance controllers for the brass 232
5.11.1 Breath controller 232
5.11.2 Portamento 232
5.11.3 Aftertouch and soft pedal 234
5.12 Extended performance controllers: attack and brightness 235
5.12.1 Attack control 236
5.12.2 Brightness control 236
5.13 Advanced sequencing techniques for the brass: detuning 237
5.13.1 Solo instrument detuning 237
5.13.2 Section detuning 238
5.13.3 Velocity-to-pitch 238
5.14 Addition of real instruments 240
5.15 The final touch: performance noises 240
5.16 Mixing the brass section 241
5.16.1 Panning the brass instruments 241
Contents ix
5.16.2 Equalization for the brass instruments 244
5.16.3 Reverberation for the brass instruments 244
5.17 Summary 247
5.18 Exercises 249

Appendix A: Music Scores 251

DVD Audio Examples List 277

 

[Meedleyx10]

Some of my favorites-

Guthrie Govan- Creative Guitar book 2

This is THE book for technique and has plenty of cool ideas to draw from. Unlike most "technique" books, this one actually is a technique instructional as opposed to a "here's a bunch of scale sequences and licks...try to play them fast" type of thing. Every idea is presented with detailed explanations, proposed uses, references to players/recordings where similar ideas can be heard, detailed technique advice, etc. Great book all around

Scott Tennant- Pumping Nylon

THE book for classical guitar technique. This is the best instructional material out there for classical guitar IMO...second only to getting a good teacher. Great explanations of things, great practice advice, etc.

Ted Greene- Chord Chemistry

Killer book and I would think that it's reputation would precede it as it's so widely reknowned. There is a HUGE amount of information in here and while it can be hard to get into (and requires some theory knowledge going into it), it's well worth it

Hal Crook- How to Improvise

Most Improv books only talk about chord/scale relationships and the like or just give some example licks with little to no explanation (my problem with Gambale's books). They ignore the more important things (phrasing, motific development, time feel, etc.) and , because of that, aren't all that useful. Don't get me wrong, it's not that the information in those books isn't important, but on it's own it's all but useless. This book nails it. It's pricier...but it's insanely worth it.

Troy Stetina- Speed Mechanics for Lead Guitar

I'm going to lump Rock Discipline (Petrucci) in with this one too. They are both good materials for chop building, but not much else. They are both basically just collections of exercises devoid of musical context, but good for developing chops (note that I'm keeping the terms chops/speed and technique separate). Personally, I don't think that is the best way to go about improving as a player...but if that's what you are looking then these are the materials to go to IMO.

Chet Atkins- In Three Dimensions, Vol. 1&2

I doubt many people here are into Chet...but he's one of the most important guitar players of all time, played some great music, and inspired a LOT of people. These books have a lot of transcriptions and a lot of really cool interviews/biographical stuff. Great books from front to back.

 

[progmetaldan]

^ +1 on the Guthrie Govan, Scott Tennant and John Petrucci recommendations, excellent stuff.

 

[Marwen]

Nice post Meeds.

Mind you, I don't know most of these books (for some reason, I tried to stay rather away from books and formal instructions when it comes to playing the guitar).

I'm most interested in Ted Greene's and Hal Crook's. Will try to get them asap.

 

[Meedleyx10]

I promise you wont regret it!

BTW, everybody...One disclaimer about the Hal Crook book (I meant to say this originally)....it's not a guitar book, it's just a general book on improv so no tablature, which I understand might be an issue for some people here. If so...learn to read standard notation!

One more thing I'd like to add to my original list is Guitar Techniques magazine. It's a killer publication with top-notch contributers (Guthrie, Dave Kilminster, etc.. Not to mention a wide range of guest contributors such as Mattis Ia Eklundh, Steve Morse, Mike Stern, Frank Gambale, Greg Howe, etc. The list goes on). I've never gotten an issue that didn't make me feel like I got my money's worth...and keep in mind I usually have to pay 14-16 dollars for it here in the states.

 

[Kenneth R.]

Marwen:

Yeah, that's better than the one I had. Still a lot of no-brainer stuff for anyone who's played in a concert band, but some useful tidbits it seems too.

 

[ABQShredHead]

One disclaimer about the Hal Crook book

Dr. Seuss RULES!!!

All joking aside, though, I am impressed with the Guitar Techniques magazine. I think I will look into that on a more regular basis.

And, thanks, Drew, for the great recommendations. I'm looking for a shake up in my 24 years of blathering and you may have sent me down a good path. I'll look for those books. Then I'll worry about making the time to read them...

 

[schenkadere]

I had one of the very early editions of Chord Chemistry...good stuff. I need to get a hold of Guthrie's book...sounds great.