Groovebasert musikkproduksjon III

Transcription

Groovebasert musikkproduksjon III
Groovebasert musikkproduksjon III
Groove, rytmisk grunnmønster
og forslagstoner
Foreleser:
Hans T. Zeiner-Henriksen
e-mail: h.t.zeiner-henriksen@imv.uio.no
Tlf.: Mob.: 48059723 Kontor: 22854857
Shazz: “Fallin’ In Love” (PT. G Remix) (2001)
Bpm: 127
Underworld: “Dark & Long” (1993)
Bpm: 135
Frankie Knuckles
Frankie Knuckles feat.
Satoshi Tomiie: “Tears” (1989)
Satoshi Tomiie
Medway: “Resurrection” (1993)
Bpm: 135
Boogie Drama: “Hypnofunk” (2002)
Bpm: 125
Daft Punk: “Revolution 909” (1996)
Bpm: 126
Groovebasert musikkproduksjon III
Chicago house og
demokratiseringsprosesser
innen musikkproduksjon
Foreleser:
Hans T. Zeiner-Henriksen
e-mail: h.t.zeiner-henriksen@imv.uio.no
Tlf.: Mob.: 48059723 Kontor: 22854857
Paradise Garage, New York
Paradise Garage, Larry Levan
Studio 54, New York
Frankie Knuckles - The Warehouse (77-83)
Frankie Knuckles
Select Discography (Warehouse 1977-79)
Ashford & Simpson, “It Seems to Hang On”
Roy Ayers, “Running Away”
Peter Brown, “Do You Wanna Get Funky with Me”
Bumble Bee Unlimited, “Love Bug”
Candido, “Thousand Finger Man”
George Duke, “I Want You for Myself”
Ecstasy, Passion & Pain featuring Barbara Roy, “Touch and Go”
First Choice, “Let No Man Put Asunder”
Taana Gardner, “Work That Body”
Jimmy “Bo” Horne, “Spank”
Inner Life featuring Jocelyn Brown, “I’m Caught Up (In a One Night Love Affair)”
Kat Mandu, “The Break”
Chaka Kahn, “I’m Every Woman”
Patti LaBelle, “Music Is My Way of Life”
Machine, “There but for the Grace of God Go I”
Sergio Mendes, “I’ll Tell You
MFSB, “Love is the Message”
Moroder, “E=MC ”2
The Originals, “Down to Love Town”
Positive Force, “We Got the Funk”
Diana Ross, “The Boss”
Skatt Bross., “Walk the Night”
Gino Soccio, “Dancer”
Two Man Sound, “Que Tal America”
T. Lawrence: Love Saves the Day. A History of American Dance Music Culture, 1970-1979. 2003. P. 406f.
Klein & MBO: “Dirty Talk” (1982)
Capricorn: “I Need Love” (1982)
Chicago house
Ronnie Hardy
Frankie Knuckles
“(...) the production of house music is about what is at
that moment the most effective on the dance floor
(...)” (H. Rietveld: This is Our House. House Music, Cultural Spaces and
Technologies. 1998. P. 22.)
Jesse Saunders/Vince Lawrence: “On and On” (1983)
Phuture: “Acid Tracks” (Produced 85/86 - released 87)
J. M. Silk (Steve “Silk” Hurley): “Jack Your Body” (1985).
Jesse Saunders/Vince Lawrence: “On and On” (1983)
Marshall Jefferson:
“That was the single most important record to me of the twentieth
century, because it let the non-musician know that he could make
music. It was the revolution.”
(S. Bidder: Pump Up the Volume. 2001, p. 30)
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Phuture: “Acid Tracks” (Produced 85/86 - released 87)
J. M. Silk (Steve “Silk” Hurley): “Jack Your Body” (1985).
Phuture: Acid Tracks
Produced 85/86 - released 87
Acid house - Roland TB-303
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Jesse Saunders/Vince Lawrence: “On and On” (1983)
Phuture: “Acid Tracks” (Produced 85/86 - released 87)
J. M. Silk (Steve “Silk” Hurley): “Jack Your Body” (1985).
J. M. Silk (Steve “Silk” Hurley): “Jack Your Body” (1985).
Steve “Silk” Hurley:
"I was using drum machines, being limited by my playing
abilities, since I was not really a musician. Basically, I tried
to emulate other records, concentrating on basslines and
programming." (Interview by Ryan Watson for Eye Weekly 25/5-2000.
http://www.eye.net/eye/issue/issue_05.25.00/thebeat/hurley.html)
SynthBass
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MIDI
DIN-sync
Roland MSQ 700 (84) + MSQ-100 (85)
Roland TR-808 (81-84)
Roland TB-303 (82-84)
Ensoniq Mirage (84/85-88)
Roland-106 (84)
“Its sampled snippets of sung or spoken vocal do not
add up to coherent verses, rather instead becoming
part of the rhythmic syntax of the track itself. Its
ability – by means of the sampler and the sequencer –
to turn any sound into a rhythmic element, remains the
basic template for most contemporary dance
music.” (J. Gilbert & E. Pearson: Discographies. Dance Music, Culture and the
Politics of Sound. 1999. P. 74.)
First Choice:
“Let No Man Put Asunder”
Shep Pettibone mix - 1983
0.00->0.42: Intro
0.42->1.22: Verse, Bridge, Chorus.
1.22->1.30: Interlude.
1.30->2.11: Verse, Bridge, Chorus.
2.11->2.27: Interlude.
2.27->7.59: Groove-oriented improvisation on the
material of the chorus.
Ex.: From 4.11
“The drum machine (...) bears no resemblance to traditional
drums and drumming practice. The instrument has no direct,
physical sound-producing mechanism; (…). It can be played,
or programmed, with a series of buttons on its front panel, a
keyboard, or a computer, and requires none of the physical
coordination and discipline of a drummer.”
(P. Théberge: Any Sound You Can Imagine. Making Music/Consuming
Technology. 1997. p. 3f.)
Wurlitzer Side Man, 1959
Roland TR 33 and TR55, 1972
CR-78, 1978.
LinnDrum, 1982-85
Akai MPC-60, 1988!
Akai MPC-3000, 1994
Akai S612, 1985! !
Akai S900, 1986
Akai S1000, 1988! !
Akai S3200, 1996
TR808, 1981-84!
TR606, 1982
!
!
!
TR909, 1984-85
TR707, 1985
Roland TR-909
vs.
Acoustic
drums:
Bass Drum
TR-808:
Hi Hat
Snare Drum
Tone:
Decay:
Love to Love You Baby
Jack Your Body
Samba Magic
Love to Love You Baby
Jack Your Body
Samba Magic
Love to Love You Baby
Jack Your Body
Samba Magic
Basstrommelyd fra Donna Summers
“Love to Love You Baby” (1975)
Tune: 0
Attack: 0, Decay 0
3
7
10
Tone: 0
Decay: 3
3
7
10
Roland TR-808
Roland TR-909
Trance:
Astral Projection: “Dancing Galaxy” (1997)
Hip-hop:
Mos Def: “Umi Says” (1999)
Astral Projection:
“Dancing Galaxy” (1997)
Mos Def:
“Umi Says” (1999)
Basstromme fra Daft Punk: “Phœnix”
Basstrommelyder fra Basement Jaxx:
“Samba Magic” (1995)
“Red Alert (Jaxx Club Mix)” (1999) “Where’s Your Head At” (2001)
Missy “Misdemeanor” Elliott: “4 my People”
Timbalands originalmix - 2001
Basement Jaxx remix - 2002