-Reharmonize hymns into a modern gospel style. 2-3 ye olde hymns reharmonized into a gospel style with jazz-based chord voicings and changes.
-Study 2-3 artist's style of jazz playing and try to emulate as close as physically possible.
-Study artists who have already made a living reharmonizing music (Dirty Loops for example) and find out what they did to their reharmonizations - how do their chord charts differ from existing chord charts? Look at before and after - what do they do that makes it effective?
-Study the styles of various artists and combine their styles to make a single style - Question could be something like "To what extent is it possible to merge the distinctive styles of well known jazz artist's together?"
I keep having thoughts about a synthesis based project - starting a sound from scratch (ie. a raw waveform) and trying to emulate a separate instrument as closely as possible in order to create a replication of an existing orchestral piece that sounds very similar if not indistinguishable from the original. It seems a tad difficult though and a little unrealistic, though we'll see.
I have a meeting with Kenny on Friday and will present what little i have to him there. I have a feeling I'll need to cram as much information as possible into a file to make it look like I have something worth presenting! Though from what I've gathered, many people in the course (or at least the musicians) are in the same boat as I. We'll see...
J
-Study artists who have already made a living reharmonizing music (Dirty Loops for example) and find out what they did to their reharmonizations - how do their chord charts differ from existing chord charts? Look at before and after - what do they do that makes it effective?
-Study the styles of various artists and combine their styles to make a single style - Question could be something like "To what extent is it possible to merge the distinctive styles of well known jazz artist's together?"
I keep having thoughts about a synthesis based project - starting a sound from scratch (ie. a raw waveform) and trying to emulate a separate instrument as closely as possible in order to create a replication of an existing orchestral piece that sounds very similar if not indistinguishable from the original. It seems a tad difficult though and a little unrealistic, though we'll see.
I have a meeting with Kenny on Friday and will present what little i have to him there. I have a feeling I'll need to cram as much information as possible into a file to make it look like I have something worth presenting! Though from what I've gathered, many people in the course (or at least the musicians) are in the same boat as I. We'll see...
J
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