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Harmony for Computer Musicians, by Michael Hewitt
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Home music producers now have access to a wide variety of software synthesizers, samplers, and FX devices on their computers -- devices that had previously been available only in expensive hardware forms. Although computer musicians often show a high degree of skill and expertise with the technology they use to produce their music, many mistakenly assume that this is all they need to produce quality tracks. Yet there is often a vital ingredient missing: a useful knowledge of the way the language of music actually works -- an understanding of the ingredients of music and how they are put together; what scales, chords, modes, and keys are; and the principles of arrangement, melody, and harmony. In other words, computer musicians may have learned how to use their instruments, but this does not necessarily mean that they know how to create professional-sounding music using those instruments. This book was written to help computer musicians grow in their knowledge of musical harmony, knowledge that is essential for the skilled creation of complex musical works. Topics include intervals, tonality and the key system, part writing, triads, tonic and dominant harmony, modulation, and modal interchange and harmony. Techniques are taught using the tools computer musicians are most familiar with. Rather than using a conventional score format, most of the materials are presented in the familiar piano roll format of computer music sequencing programs. For practice, the companion CD contains numerous short exercises that will considerably improve the musician's skill in the art of musical harmony.
- Sales Rank: #359876 in Books
- Brand: Course Technology
- Published on: 2010-06-07
- Original language: English
- Number of items: 1
- Dimensions: .80" h x 8.40" w x 10.80" l, 1.90 pounds
- Binding: Paperback
- 304 pages
- Course Technology
Review
Introduction. 1. What is harmony? 2. The Interval. 3. The Triad and its Inversions. 4. Tonic and Dominant Harmony. 5. The Three Primary Triads. 6. Secondary Triads. 7. The Dominant Seventh Chord. 8. Secondary Seventh Chords. 9. Modulation. 10. Chromatic Harmony. 11. Chords of the Ninth. 12. Chords of the Eleventh. 13. Chords of the Thirteenth. 14. Static Harmony. 15. Modal Harmony. 16. Advanced Chromatic Harmony. 17. Conclusion.
About the Author
Dr. Michael Hewitt was born in South Wales in the United Kingdom. He earned his bachelor of music degree at London University and a master's degree and doctorate at the University of Bangor, where he specialized in musical composition. He is a classically trained musician, a composer, a lecturer, and an author on musical subjects. Working to commission, he writes classical scores as well as soundtracks for various television productions, both at home and abroad. He is currently working as a music technology tutor at Coleg Harlech, North Wales.
Most helpful customer reviews
26 of 27 people found the following review helpful.
This second book in Hewitt's trilogy is by far the best
By Saltillo
This book is probably meant for one target audience. Fortunately, I fit that target profile when I read this book. This book is not a book about using your computer to make music. This book is a crash course in music theory for the aspiring computer music producer (CMP) who has the bad fortune of coming to computer music production without a solid grounding in music theory. If prior to aspiring to be a CMP you spent years of your childhood in piano lessons grinding through your major and minor scales, while periodically performing Fur Elise at piano recitals to the nodding approval of your proud parents, then this book is not for you. If you aspire to be able to read music by sight while playing a musical instrument live, this book is not the best place to learn. On the other hand, if you have a sharp, mathematically inclined mind, a good ear for sound, and have made the decision to learn to use your computer to program and produce electronic music, but have never learned to play an instrument or read music, then this book is a good starting point. You will not learn how to use your computer to make music with this book. The assumption Hewitt makes is that you will figure out on your own the hardware and software set up needed for your chosen "instrument." But this book is a crash course in music theory. If you use the book the way I used it, it will really set you on your way. It will teach you all the fundamentals. When I read this book I spent hours calculating for myself with pencil and paper and training myself in front of a keyboard to know all of the major and minor scales, the chords, and the logical chord progressions. I did not become a piano virtuoso. But that is not what I aspired to learn from this book. Instead, I got to the point where I could tinker with a MIDI controller to create and combine into an aesthetically satisfying whole all of the parts of my compositions by "instinct" (more like internalized memorization of fundamental principles learned from this book). It also got me up to speed to the point that I could make edits to MIDI files on my computer without having to hear the changes first by trial-and-error. Just by understanding what was taught in this book, I often know what my composition options might be if I am particular dissatisfied with the way the note on the 3rd beat of a bar sits in relation to the rest of the sounds in the composition - I can just try out a few of the "logical" options and pick the one that best works for me. The book is an invitation to think, memorize and internalize everything Hewitt is trying to teach you. And if you take the time to really "get" it, you will be rewarded by much greater confidence and competence in planning, designing, programming your musical compositions.
One final caveat: if by chance you find the material gets very tough very quickly, follow Hewitt's advice and go back and read the first book in his trilogy: Music Theory for Computer Musicians. This second book assumes prior knowledge of - and therefore only provides a very quick overview of - the material covered by the first book. In my case I skipped the first book and allowed myself more time to fully digest the contents of the first few chapters. In hindsight, my own education could have gone more quickly if I had just taken the time to work through the first book first.
8 of 8 people found the following review helpful.
BUY THIS BOOK
By Vince
Honestly it was way more informative than I thought it would be. This book is full of information and is potentially one of the best things I've read in terms of learning music theory. This book is NOT for anyone who is not taking learning harmony seriously. I highly recommend this book to anyone learning music theory and getting better at harmony, especially those who are interested in making EDM. Most of us music producers never quite grasp music theory and just put some notes together hoping it will sound good, but once you understand the information in this book you could write an entire song not even listening to it, and know exactly how it would flow, where the chorus is, and have a nice dramatic endings. I think Mozart read this book, or wrote it. 5 stars all the way!
0 of 0 people found the following review helpful.
Study and Learn
By Man in the Street
With good, clear prose and practical explanations, Dr. Hewitt makes an unambiguous case for study, study, study. Well, I have learned, learned, learned and I am very happy with my purchase. Be warned, this is not some lightweight little book. It is nearly 300 pages long and there's not a wasted word in it. As its description states, it facilitates "an understanding of the ingredients of music and how they are put together." It is for people who enjoy learning and its author's love of music is evident throughout.
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