MOTUNATION (formerly UnicorNation) is an independent community for discussing Digital Performer and other MOTU audio software and hardware. It is not affiliated with MOTU.
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Discussions about composing, arranging, orchestration, songwriting, theory and the art of creating music in all forms from orchestral film scores to pop/rock.
e-snobben wrote:
Do you know where to find the teacher's manual, with answers to the workbook questions? Otherwise the workbook will probably be of no use.
Maybe in Amazon... but DO NOT worry... you don't NEED the teacher's manual. The answers to the questions are in the main book... and in your head, because you already studied the material thoroughly
Besides, most of it is kind of subjective... especially the Listen-and-Score sections. There's no right and wrong per-se... it's more to test your listening abilities. Work on copies, so you can do them all over again after a while... you'll be amazed at how much your hearing improves compared to the beginning.
Have fun
Mac Mini Server i7 2.66 GHs/16 GB RAM / OSX 10.14 / DP 9.52
Tascam DM-24, MOTU Track 16, all Spectrasonics' stuff,
Vienna Instruments SUPER PACKAGE, Waves Mercury, slaved iMac and Mac Minis running VEP 7, etc.
--------------------------- "In physics the truth is rarely perfectly clear, and that is certainly universally the case in human affairs. Hence, what is not surrounded by uncertainty cannot be the truth." ― Richard Feynman
I don't believe there is a teacher's manual for that workbook. Quite honestly, I'm not a huge fan of the workbook, although I think the textbook and the musical examples are quite good. As FM says, you'll find all the "answers" in the text and in looking and listening to scores and music. Enjoy, that's a great resource!
-Brian
Mac M1 Ultra 20-core, OS 15.5, 128 GB RAM, DP 11.3.4, UA Apollo x6
bkshepard wrote:I don't believe there is a teacher's manual for that workbook. Quite honestly, I'm not a huge fan of the workbook, although I think the textbook and the musical examples are quite good. As FM says, you'll find all the "answers" in the text and in looking and listening to scores and music. Enjoy, that's a great resource!
A quote from the preface
The revised workbook, the set of six enhanced CDs, and a teacher's manual, with answers to the workbook questions, complete the "orchestration package".
Maybe the teacher's manual is only available for institutions. I won't worry about that, I'll just enjoy!
Man, that's strange. I wonder if they meant to create a teacher's version and then didn't take the reference to it out of the preface. W.W. Norton doesn't even have a reference to a teacher's manual on their website.
-Brian
Mac M1 Ultra 20-core, OS 15.5, 128 GB RAM, DP 11.3.4, UA Apollo x6
Im a bassoonist by trade and just stumbled upon this thread poking around the forum, I just bought an 828mk3 for my studio last week and a friend told me of this site. So far, seems like an excellent forum! And this thread is full of a lot of very insightful comments about the bassoon and double reeds... I'm impressed that many of you regard us often forgotten bassoonists so highly!
Anyway, if anyone ever needs any low reed on a project, PM me. I use Logic 8.
Please feel free to comment on your instrument... whatever you want. Techniques, problems, likes-dislikes, effective writing in Solo or Orchestral contexts, etc.
I LOVE the bassoon, and sadly, you're right... it's often one of the most neglected instruments (perhaps along with the Violas). And that's too bad, since in skillful hands, it has a gorgeous tone that can go MUCH deeper than the "clownish" lines it often gets
Nice to meet you too.
BTW, do you have a set-up where you can record Bassoon parts professionally?
Fernando.
Mac Mini Server i7 2.66 GHs/16 GB RAM / OSX 10.14 / DP 9.52
Tascam DM-24, MOTU Track 16, all Spectrasonics' stuff,
Vienna Instruments SUPER PACKAGE, Waves Mercury, slaved iMac and Mac Minis running VEP 7, etc.
--------------------------- "In physics the truth is rarely perfectly clear, and that is certainly universally the case in human affairs. Hence, what is not surrounded by uncertainty cannot be the truth." ― Richard Feynman
Hi Fernando! Thanks for the welcome. We like the clownish stuff, a lot, actually. It's part of what we do best I think what is most frustrating is when a composer just doubles us up with the trombones or the low strings without any attempt to actually exploit the strengths of the instrument.
Yes I do absolutely have a set up to record professional tracks. Its amazing what a real bassoon part can do to a heavily 'midified' orchestral sequence. It is one of the harder instruments to program even with a good sample set. Look forward to reading and posting more in this forum!
-Matt
FMiguelez wrote:.
Hi, Matt.
Welcome to the forum.
Please feel free to comment on your instrument... whatever you want. Techniques, problems, likes-dislikes, effective writing in Solo or Orchestral contexts, etc.
I LOVE the bassoon, and sadly, you're right... it's often one of the most neglected instruments (perhaps along with the Violas). And that's too bad, since in skillful hands, it has a gorgeous tone that can go MUCH deeper than the "clownish" lines it often gets
Nice to meet you too.
BTW, do you have a set-up where you can record Bassoon parts professionally?
