BRISTOL INSTITUTE OF TECHNOLOGY

MODULAR PROGRAMME

ASSESSED COURSEWORK SPECIFICATION

UFIEK4-20-2: Computing, Audio and Music 2009-2010

Coursework Component B:1

Aims

You will work in a group of 2 people to create in Cubase a MIDI/VST Instruments only (i.e. no samples or other audio) sequenced arrangement of a song or other piece of music of no more than 3 minutes in duration.

Instructions

1. Choose a partner and then agree upon a choice of song. Check with your tutor that these arrangements are acceptable.

2. Working with your partner, use Cubase to produce a sequence for your chosen song. If you work at home, you may use any version of Cubase or Cubasis you can find. You cannot use any other sequencer package, as the final sequence must be presented using the version of Cubase SX running on one of the Macintosh computers installed in 1N95.

3. Prepare a short document summarising your sequence. This should include
   
   • the names and student numbers of group members
   • the name and composer(s) of the piece you have sequenced
   • tracks used and MIDI voices used on each track (including program changes used) plus VST Instruments (plus effects used)
   • details of any of the plus points detailed below that you have used
   • details of any other operations you have performed on your sequence that you believe will demonstrate your technical competence
4. Submit your summary document (as described above), demonstrate and playback your sequence in tutorial room, 1N95 in the first timetabled tutorial session of the Second Semester (i.e. either Thursday 28th January 2009).
5. Be prepared to answer questions about your sequence at this time.

6. In normal circumstances, each member of the group will get equal marks. If written evidence is presented that contributions to the final sequence are grossly imbalanced, marks may be varied.

Choice of Song

1. Before you start, you and your partner must register your song with your module tutor. You should prove that you know the (notes which make up the) melody line and the names of the chords.
   • For an original composition, a lead sheet (handwritten is acceptable) is essential. It doesn't have to be your own composition and you may create a sequence for a song written by a friend.
   • For a non-original composition, you may show us a copy of the sheet music or a page from a "fake book". Note that you will not be expected to produce a slavish copy of the song as recorded by the original artist - you are free to do your own thing with it.
   • N.B. It is not acceptable to say you will compose a song on the fly; you must know which song you'll be working on before you start.

2. Your song doesn't need any lyrics, it could be a pure instrumental. You should be aware that a MIDI/ VST Instruments arrangement has no capability for lyrical content, so you should choose a piece to sequence that has enough interest without words.

3. It must have a verse and a chorus (or equivalent sections), both of which must be at least 12 bars long. If you want to sequence a piece that does not have this type of structure, your tutor will check the sheet music for the presence of enough complexity to allow a MIDI sequence with dynamic progression.

4. It must have an intro of at least 7 bars.

5. It may also have other parts, such as a bridge, coda, etc.

6. It must be at least 70 bars long, including any repeated sections.

7. The total playing time must not exceed 3 minutes 00 seconds.

About Your Sequence

1. You must use MIDI and VST instruments only; no audio is permitted.

2. You must use only the voices available in SimpleSynth and VST Instruments in Cubase available on the Macintosh comnputers in the lab.

3. You must have at least one MIDI-only track

4. Your final sequence must have (at least) the following tracks:
   • The melody line
   • A rhythmic chord track - for example, similar to the Electric Piano part in "Your Eyes"
   • A Bass track
   • A Strings/Pad track
   • A Drum track

   If you think that your song won't neatly fit into these tracks, then you should ask your tutor for advice. We may allow a variation to the above but only if arranged in advance.

5. You can add as many extra MIDI tracks as you like without having to ask for prior clearance from your module tutor.

6. You should not “tidy up” your sequence so you should not glue sections of track sequences together, nor delete scratch tracks. We are interested in your working methods as well as in your finished sequence, and are likely to ask you questions about the approach to the process you have adopted. If you use another sequencer package, you should supply a screenshot of your MIDI sequence before export for inspection by tutors at your presentation

7. As stated above, for a non-original composition, we would much prefer it if your sequence was not just a slavish copy of the original recording. Feel free to do the song in your own style and give it your own slant.

Plus Points

You can improve your sequence by optionally including some or all of the following plus points.

• Using counterpoint to emphasize the harmonic structure of the song.
• Pan positioning each instrument (except drums) at the start of each track.
• Using controllers, such as expression, portamento, sustain, reverb, chorus and others.
• Using expression to create special effects.
• Active pan positioning - putting a pan before each note in a track.
• Changing the tempo of the song.
• Cross-fading - morphing from one track to another using velocities.

Song Progression

A song consisting of nothing more than repeated verse and chorus quickly becomes boring. You should make some attempt to prevent this from happening by using some of the following techniques as the song progresses:

• Adding more tracks.
• "Layering" tracks.
• Muting some sections or parts of sections.
• Changing rhythms between sections.

Marking

Your sequence will normally be marked during the assessment session but a copy of your sequence may be retained for further analysis.

After listening to your song, you may be asked to answer questions.

It is difficult to give precise marking criteria for such wide ranging assignment; however, the following guide-lines will be used when marking your work:

• Minimum Pass (40%-50%)

  For a minimum pass, the sequence must meet all of the following criteria:

  • At least 70 bars long.
  • At least the minimum number of tracks.
  • At least have the minimum amount of "original" sequencing, whilst covering all the sections of the song (intro, verse, chorus)

  However:

  • The sequence may not flow smoothly and there may be obvious transitions between sections.
  • There may be a number of obvious glitches in the sequence (wrong notes/chords, incorrect rhythms).
  • There may be no attempt at progression during the sequence.

• Lower Second Class (50%-60%)

  As for minimum pass, plus:

  • There will be some attempt at including some of the plus points above.
  • At least one of the progression techniques given above will be used during the sequence.

• Upper Second Class (60%-70%)
  • The sequence will probably have more than the minimum amount of "original" sequencing or use more than the minimum number of tracks.
  • Shared parts will be used where appropriate.
  • There will be some attempt at varying the rhythms in both the instrumental and drum tracks.
  • The sequence will flow smoothly from section to section, but with perhaps one obvious transition between sections.
  • There will be no more than one obvious glitch in the sequence (wrong note/chord, incorrect rhythm).
  • At least one of the plus points above will be implemented correctly.
  • At least two of the progression techniques given above will be used during the sequence.

• First Class (70+%)
  • The sequence will use at least two of the plus points above.
  • The sequence will probably have much more than the minimum amount of "original" sequencing
  • The sequence will probably use more than the minimum number of tracks.
  • There will be an obvious effort to vary the rhythms as the song progresses.
  • The sequence will flow very smoothly from section to section.
  • There will be no obvious glitches in the sequence (wrong notes/chords, incorrect rhythms).
  • There will be a distinct progression as the song plays and it will engage the listener without being boring.

Note that you won't be marked on your musical taste or your choice of song.

Every student who is part of a group undertaking an assignment or other piece of assessed group work is required to take, and will be deemed to have taken, individual as well as joint responsibility for all the work submitted by the group. In particular, this includes individual as well as group responsibility for any assessment offence committed, whether by the student or any other student in the group. Any penalty applied in the event of an assessment offence will normally be applied to all members of the group.

The two exceptions to the application of this penalty to all members of the group are:
(i)     where a member of a group acknowledges, in writing to the Dean of the faculty owning the module, that s/he has
        committed an assessment offence
(ii)    where an offence can be shown to have been committed by (a) specific member(s) of the group responsible
        for those sections of the work that are the subject of the assessment offence.
In the case of these exceptions the penalty will only be applied to the member(s) of the group who have committed the assessment offence.

Advice

It is good practice in academic writing to reference correctly the work of others that you may draw upon for your own. Please help us to clearly distinguish your original efforts by so doing. The usual university strictures about plagiarism apply to this assignment. There is a very good description of plagiarism in the CEMS student handbook if you are uncertain of the regulations.

UFIEK4-20-2: Computing, Audio and Music Presentation, January 2009
Checklist for content

(N.B. This checklist will be used by marking tutors as a guide to assessment)

Group Surnames

Song Title:

Short document summarising your sequence

• the names and student numbers of group members
• the name and composer(s) of the piece you have sequenced
• tracks used and MIDI voices/VST Instruments used on each track (including program changes used)
• details of any of the plus points detailed below that you have used
• details of any other operations performed on sequence demonstrating technical competence

Copy of the Cubase file of your sequence on server

• By date/time required, copy sequence to Rich Brown's Drop Box.
• Sequence performed from Rich Brown's Drop Box copy

Choice of Song

• a verse and a chorus (or equivalent sections), both of which must be at least 12 bars long or enough complexity to allow a MIDI/VST Instruments sequence with dynamic progression.
• It must have an intro of at least 7 bars
• It may also have other parts, such as a bridge, coda, etc
• It must be at least 70 bars long, including any repeated sections.
• The total playing time must not exceed 3minutes 0 seconds.

Your Sequence

• MIDI and VST instruments only; no audio
• use only the voices on available in SimpleSynth/VST Instruments in 1N95
• The melody line
• A rhythmic chord track
• A Bass track
• A Strings/Pad track
• A Drum track
• Original sequencing
• Shared parts
• Vary rhythms in instrumental & drum tracks
• slavish copy of the original recording?
• a number of obvious glitches in the sequence (wrong notes/chords, incorrect rhythms)

• Using counterpoint to emphasize the harmonic structure of the song.
• Pan positioning each instrument (except drums) at the start of each track.
• Using controllers, such as expression, portamento, sustain, reverb, chorus and others
• Using expression to create special effects
• Active pan positioning
• Changing the tempo of the song
• Cross-fading

Song Progression

• Adding more tracks.
• "Layering" tracks.
• Muting some sections or parts of sections.
• Changing rhythms between sections.

Marcus Lynch

Module Leader

Last updated : October 22, 2009