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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) r 3 r 3 3 r r r r r r r R CSLSD / r r r r x x ≈ x x x ‰ x x ≈ x ‰ ≈ x R S / ã ∑ ‘ ‘ x x ≈ x x x ‰ x x ≈ x ‰ ≈ x . x ≈ x x ≈ x ≈ X ≈ x ≈ x Œ 5 ‰ ¿ ‰ ¿ ≈ Œ ≈ ¿ ‰ ‰ ¿ Œ ≈ ¿ ‰ ≈ ¿ ¿ ≈ ¿ C H . CL H IHAT ã ∑ ‘ ‘ ≈ x ≈ x ≈ x ‰ ‰ x ≈ x ‰ 5 ã ‰ ¿ ≈ ‰ ¿ ≈ ≈ ¿ ‰ ≈ ¿ ‰ ¿ ≈ Œ ≈ ¿ ¿ ≈ ≈ ¿ ¿ ≈ ¿ CHAND H c x ≈ x x x ≈ x ≈ x x ≈ x ≈ x x ≈ 5 C LA COLSD PEN HPIHAT CL ãã ã 3 3 ≈ x x x ≈ x x x x x x x ≈ x x x r r r r B r r r r ∑ ã ‘ ‘ ≈ x x x ≈ x x x x x x x ≈ x x x CC BHAND ∑ ã ‘ ‘ 5 C HAND LA C HPPICC ãLAPxP ≈‰ããxx ≈x≈ ŒŒx ≈ ‰ x x‰x ≈≈ x ‰∑‰‰ xx ≈≈ œ‰‰‰ . x ≈x≈ ‰‰ x ≈≈ x 5 ‰‰ . 3x ŒŒ x ‰‰c xxxx≈≈xx≈≈xœx≈≈≈xxxrxœ≈≈xxxxœœxx œ‘‘ xx‰≈‰ œx xxœœx≈≈xœxx x≈ ≈x x≈ ≈x3x≈3≈x x≈5≈x x ‘‘ CONGA CC M PPIDãã xã HI I œ œ œ œ œ œ œ œ œ œ œ œ œ H L OW H H C ONGA ≈ œ ≈ œ ≈ œ ≈ œ ≈ 5 MIDID ã≈ œ ≈ œ ≈ ≈œ CONGA ‰ œ ≈ œ ‰ 5 œ œ œ œ≈ œ œ œ ≈ œ œ œ œ ≈ œ œ M C œ œ M H ã M ã C œ œ œ ≈ œ œ œ œ H LLOW œ œ œ œ œ œ œ œ œ œ œ œ œ œ OW œ œ ≈ œ ≈ œ œ ≈ œ œ ≈ L C 3 M L œ ≈ œ œ œ ≈ œ œ œ ≈ C ã ‘ ‘ ∑ j M ã ‘ ‘ ∑ L 3 L 3 c Œ œ ≈ œ Œ œ ‰ 5 j SNAREDRUM ã j j j j j Œ œ ‰ Œ œ œ 5 S NARE D RUM Œ œ ≈ œ Œ œ œ œ 5 Œ œ ≈ œ Œ œ ‰ Œ œ ≈ œ Œ œ ‰ NARE D RUM ã SS SD Œ œ ‰ Œ œ ‰ Œ œ ‰ ≈ œ ‰ œ ≈ œ ã ã D Œ œ ‰ Œ œ ‰ Œ œ ‰ ≈ œ ‰ œ ≈ œ ‘ S D J ãã ‘‘ ‘ J R 33 3 J R j j . B ASS RUM œ ‰ ‰ œ œ ‰ Œ 5 5 ASS DDRUM BASSB D RUM œ ≈ œ ‰ œ œ ‰ Œ 5 D c œ œ ‰ œ ‰ œ ‰ ≈ œ ≈ œ ≈ œ œ ≈ œ œ ‰ Œ œ ‰ Œ œ B D ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ‰ Œ œ ‰ Œ œ ã B ‰ JœJ ‰ œ J‰ J œ ‰ œ ‘‰‘ ããã œã ã ‰ J œ ‰ œ ‰ R œJ ‘‘ B D D IM IM LSD LSD HOT HOT IHAT AVES IHAT AVES OW OW HAND HAND ELL ELL LA LA HAND LA HAND LA II ONGA I ID ONGA IID ONGA OW ID OW ONGA ID OW OW NARE NARE RUM NARE RUM RUM NARE RUM ASS RUM RUM ASS ASS RUM ASS RUM CLSDHIHAT HANDCLAP HI CONGA MID LOW SNAREDRUM BASSDRUM CLSDHIHAT HANDCLAP HI CONGA MID LOW SNAREDRUM BASSDRUM r ¿ ‰ ã ‰. ãx ≈ x ≈ Œ r ¿ ≈Œ r ≈¿‰ ¿‰ ¿Œ r r xx≈x‰ x≈ ‰ x≈‰ 㜠œ œ œ ≈œ œ œ œ œ œ ㌠㜠œ ‰ œ r ㉠¿ ≈‰ ãx ‰ x Œ ≈œŒ ‰ œ ‰ r r ¿≈≈¿‰ x‰ 㜠œ œ œ ≈œ œ œ œ œ œ ㌠㜠œ ‰ œ ≈œŒ ‰ œ œ ‰ r ≈¿‰ r x≈x‰ ≈œœœ œ œ≈œ œ œœ œ œœœ j œ ‰ Œ œ ≈œŒ œ ‰ œ ‰ œ ‰ œ ≈¿¿ ≈ xŒ œ ≈œœœ j œ ‰ ‰ œ ‰ r ≈¿ ‰ ¿ ≈¿ ≈Œ ≈¿¿ ≈≈¿ ¿≈ r r r r x ‰ x ≈ ‰. x ‰ x ≈ x ‰. Œ œ ≈œœœ œ œ≈œ œ œœ œ œœœ j œ ‰ Œ œ ≈œŒ œ ‰ œ ‰ œ ‰ œ ‰ œ ≈œœœ j œ ‰ œ ‰ CLSDHIHAT HANDCLAP HI CONGA MID LOW SNAREDRUM BASSDRUM CLSDHIHAT HANDCLAP HI CONGA MID LOW SNAREDRUM BASSDRUM r ¿ ‰ ã ‰. ãx ≈ x ≈ Œ r ¿ ≈Œ r ≈¿‰ ¿‰ ¿Œ r r xx≈x‰ x≈ ‰ x≈‰ 㜠œ œ œ ≈œ œ œ œ œ œ ㌠㜠œ ‰ œ r ㉠¿ ≈‰ ãx ‰ x Œ ≈œŒ ‰ œ ‰ r r ¿≈≈¿‰ x‰ 㜠œ œ œ ≈œ œ œ œ œ œ ㌠㜠œ ‰ œ ≈œŒ ‰ œ œ ‰ r ≈¿‰ r x≈x‰ ≈œœœ œ œ≈œ œ œœ œ œœœ j œ ‰ Œ œ ≈œŒ œ ‰ œ ‰ œ ‰ œ ≈¿¿ ≈ xŒ œ ≈œœœ j œ ‰ ‰ œ ‰ r ≈¿ ‰ ¿ ≈¿ ≈Œ ≈¿¿ ≈≈¿ ¿≈ r r r r x ‰ x ≈ ‰. x ‰ x ≈ x ‰. Œ œ ≈œœœ œ œ≈œ œ œœ œ œœœ j œ ‰ Œ œ ≈œŒ œ ‰ œ ‰ œ ‰ œ ‰ œ ≈œœœ j œ ‰ œ ‰ 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). Phuture: Acid Tracks Produced 85/86 - released 87 Acid house - Roland TB-303 TB303 HiHat Cowbell Bass Dr. &c œ œ œ œ œ œ œ œ œ œ œ r X ≈ ≈ x X x ‰ ã c≈ x X x ‰ ≈ x ã c Ó. j j j j ‰ œ ‰ œ ‰ œ ã cœ œ œ r X ≈ x ≈ ‰ ! # " # ! # # " " # ! # " # ! # " ! # " # *(+,# ! # *(+, '()# *(+,# '()# *(+, '()# $%& '()# " # ! # ! # " # !"## '()# $%& '()# TB303 !"## HiHat Cowbell Bass Dr. &c œ œ œ œ œ œ œ œ œ œ œ r X ≈ ≈ x X x ‰ ã c≈ x X x ‰ . Ó c ≈ x ã j j j j ‰ œ ‰ œ ‰ œ ã cœ œ œ r X ≈ x ≈ ‰ # 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 HiHat Bass Dr. ? #### c ã ã œ œ. œ œ œ œœ œ œ œ. œ œœ œœ œ j j j j j j j j c‰ X ‰ X ‰ X ‰ X ‰ X ‰ X ‰ X ‰ X j j j j j j j j cœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ SynthBass HiHat Bass Dr. ? #### c ã ã œ œ. œ œœ œœ œ œ œ. œ œœ œœ œ j j j j j j j j c‰ X ‰ X ‰ X ‰ X ‰ X ‰ X ‰ X ‰ X j j j j j j j j cœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ 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
