Music Arranging and Mixing with Reason by E. J. Garba
Normally, in the initial stage of music composition and sequencing, few numbers of bars (between 2 and 4) are required to form the nucleus of the musical piece. It is from this nucleus that a bigger and longer rhythm and melody track is created. This means that there could be variations (in the number of the instruments, sound levels, etc.) from one part of the song to the other. Thus, this implies that, to have a good complete song, arrangement of the various instruments both in time and space must be put into consideration. This book, Music Arranging and Mixing with Reason by E. J. Garba, throws more light on this.
The essence of arrangement is to lay out different parts of a song, such as the intro(duction), the verses, the choruses and the bridges in a definite structure or form. This involves assigning a particular number of instruments to a given part of the song in both time and space. In this book, Music Arranging and Mixing with Reason by E. J. Garba, Arrangement in time addresses questions like:
- Which instrument(s) starts/ends the song and how?
- Which instrument(s) would remain constant throughout the song?
- Which instrument(s) would come in momentarily and later drop out?
- Would there be any modulation? After how many bars?
- How long is the entire song (in bars and in minutes)?
Arrangement in space is very necessary if we want to achieve a very balanced soundstage. Basically, in the book, Music Arranging and Mixing with Reason by E. J. Garba, the soundstage is perceived as a three-dimensional space; and could be conceptualized to consists of the height (y-axis), length (x-axis) and width (z-axis).
The y-axis covers the TOP and the BOTTOM end of the entire human hearing frequency range (20Hz – 20kHz). This is where the spectral arrangement of instruments and equalization come in.
Figure 1: 3-Dimensional Soundstage.
The x-axis makes up the LEFT and the RIGHT channels of the track. This takes care of the panning and the stereo image enhancement of the track – measuring from 0 – 100% left/right.
The z-axis constitutes the BACK and FRONT space of the soundstage. This is where effects are applied.
This book, Music Arranging and Mixing with Reason by E. J. Garba, will shed some light on arrangement of musical sections in both time and space. It will also show how to make reusable device connections for natural sound production by using the available technical capabilities of Propellerhead Reason.
Download the excerpt of the book: Music Arranging and Mixing with Reason by E. J. Garba.