Explore
For Enterprise
Join for Free
Log In

Artes e Humanas
Negócios
Ciência da Computação
Ciência de Dados
Tecnologia da informação
da saúdesaúde
Matemática e Lógica
Desenvolvimento Pessoal
Ciência e Engenharia Física
Ciências Sociais
Línguas
Notas
Certificados

Explore todo o Coursera

Navegar
Pesquisar
For Enterprise
Entrar
Inscreva-se gratuitamente

Cajas y hojas de trabajo

Loading...

Composición de canciones

Faculdade Berklee de Música

4.7 (118 classificações) | 10K alunos inscritos

Curso 3 de 4 no O músico moderno Programa de cursos integrados

Aprende un proceso eficiente y efectivo para escribir canciones que expresen tus ideas y emociones, incluyendo una gama de herramientas que giren alrededor del concepto de prosodia; la adecuación de letra y música para apoyar tu mensaje subyacente. Esta obra fue financiada con una donación del Banco Inter-Americano de Desarrollo con recursos del Fondo Coreano para la Reducción de la Pobreza. Las opiniones expresadas en esta obra son exclusivamente de los autores y no necesariamente reflejan el punto de vista del Banco Interamericano de Desarrollo, de su Directorio Ejecutivo ni de los países que representa. El Banco Interamericano de Desarrollo no garantiza la veracidad de la data incorporada en esta obra. Puedes cambiar el idioma en Coursera de inglés al español utilizando la página de ajustes de tu cuenta. Para cambiar los ajustes en tu cuenta de Coursera sigue los siguientes pasos: 1. Ve a coursera.org 2. En la esquina derecha superior haz click en el pequeño triángulo invertido que está a lado de tu nombre y foto. 3. Haz click en ‘Settings’. 4. Selecciona el recuadro debajo de ‘Language’ (idioma), selecciona español y salva los cambios realizados. Coursera ofrece ayuda financiera a los estudiantes que no pueden pagar los cursos y necesiten de una beca. Los estudiantes con ayuda financiera podrán tener acceso a todo el contenido del curso y completar todo el trabajo requerido para adquirir el Certificado de Coursera. La ayuda financiera solo aplica al curso en el que se aprobó la solicitud de ayuda financiera. Para aplicar haz click en la opción “Learn More and Apply” (aprende mas y aplica) debajo del menú a la izquierda.

Visualizar o programa do curso

Avaliações

4.7 (118 classificações)

5 stars
99 ratings
4 stars
9 ratings
3 stars
6 ratings
2 stars
2 ratings
1 star
2 ratings

JR

Jun 17, 2017

Muy buen curso, muy bien explicado, realmente lo recomiendo. Solo le hace falta moderadores, pues brillan por su ausencia.

MR

Apr 01, 2016

Elelente curso!!\n\nLo único es que aveces en los quices y las preguntas que se hacen la traduccion tiene algunos errores

Na lição

Escribir la canción ("Hobo Wind")

En esta lección, seleccionarás un nuevo título de canción y crearás una hoja de trabajo para ayudar al desarrollo de tus ideas. Escribirás tu letra y le pondrás música, haciendo coincidir los ritmos de letra y ritmos melódicos. Crearás una melodía, usando tonos estables e inestables para apoyar tus ideas.

Encuentra y ajusta el título11:56

Cajas y hojas de trabajo12:43

Desarrollando la hoja de trabajo, parte 117:42

Desarrollando la hoja de trabajo, parte 217:41

Escribiendo las líneas, parte 115:23

Escribiendo las líneas, parte 216:05

Escribiendo las líneas, parte 37:57

Ritmo melódico16:34

Tonos estables e inestables, parte 17:59

Tonos estables e inestables, parte 26:35

Opciones de rima6:01

Haciendo ajustes9:16

Ministrado por

Pat Pattison
Professor

Transcrição

In this segment, we're going to start looking at some applications of the

various things that we've been working on.

And looking at over the past several weeks.

I introduced in the, in, in the last segment the little metaphor that I had

been dealing with. The Hobo Wind.

And so, let's just explore what the next steps are to taking a look at a title

like that. Whatever title it is, whatever idea it is

that you have, take a look at this one looking at the wind as a hobo and see how

the various aspects that we've been dealing with can come into play as we

start brainstorming that idea. Now, of course, it would be possible and

often this is how it works. It would be possible just to go to your

guitar and start playing some chords, and singing hobo.

and do that sort of thing to come up with a, come up with a chord pattern.

A perfectly legitimate way to work. and, or just to start writing and see

where it goes. Again, a perfectly legitimate way to

work. But for me at least, not a very effective

one. Remember, early on, we talked about the

boxes. The movement of the ideas with an ever

enlarging or weightier concept evolving as we move through the ideas.

So, in terms of this whole concept of hobo wind, the wind as a traveler, the

wind as somebody who hops box cars, the wind as somebody who's constantly in

motion. [COUGH] how would that move through the

boxes? Well, as I said, I I got this idea as I

was simply listening to the wind from my room, and so that might be a place to

start. you know the first box might be

summarized as, oh, hello wind. wow.

What a traveler you are. And perhaps, the next box might be a

little bit more, I don't know, maybe philosophical, or a little bit more

wondering. You know gosh where, where, where do you,

where do you come from? where have you been?

where are you going? and so this sense of widening from my

bedroom, out to the places that the wind has been and what the wind might have

seen. and then finally the last box seems to me

maybe something like man, I wish I were going with you, or take me with you, or I

want to get out of here, or something like that.

And that seems to move through those ideas and as a sort of tentative place to

start which is, you know, nothing in stone of course, but as a tentative place

to start. Box number one, hello wind.

Box number two where you been, where you're going.

And box number three sort of take me with you.

[COUGH] why do I want to go with you? Well, maybe where I am, I feel kind of

stuck. maybe you, O wind, I guess I'm talking to

the wind. Hmm, maybe, maybe you, O wind are a

metaphor or a symbol for this thing inside of me that wants to get unstuck,

that wants to keep moving, that wants to have new experiences.

And for some reason, I'm not having those.

So, that it seems to me like a fairly practical and believable sort of

progression of ideas. And so, we can just start there.

And now that we sort of have what the boxes are doing, perhaps we can just go

right inside the boxes and start developing those ideas.

Now, [COUGH] one of the first questions that I want to ask is in this song, how

in general would I be feeling? Would I be feeling stable, or would I be

feeling unstable? It feels like if I have this sense of,

oh, I wish that I could travel. This sense of longing, this sense of in

the second box wondering, and this sort of awe that I feel in the first box,

feels to me like it's on the unstable side of things.

So that in working through the various tools, the various areas that we've

covered, probably we're going to want to look at the less stable rather than the

more stable tools that we have. Or more accurately, to look at the tools

that we have with them in constructing something that's a little on the less

stable side. So, that's going to bring a lot of things

into play that might be fairly interesting.

Now that we have our boxes, what's the next step?

Well again, we could just start writing and see where it goes.

But, I've found that there's a probably better way, although it takes a little

bit more time and you don't get to rush right in and start writing.

it takes a little bit more time but is is a pretty efficient way to start thinking

about the ideas. And I call this a Worksheet.

Now, the concept of worksheet, that is doing something in advance of doing your

writing is something that that many writers have used and continue to use.

two primary examples of people who use this worksheet concept, Stephen Sondheim.

A great Broadway writer who, when he gets an idea for a song immediately starts

exploring the key elements that might be relevant idea.

And by the way, in doing that, he relies on his thesaurus.

He just takes whatever the concept is, goes to the thesaurus to find the various

neighbors that idea has, and then takes those ideas and goes to his rhyming

dictionary. And uses the rhyming dictionary, not to

find rhymes, although he's finding rhymes.

But not to use rhyme, find rhymes, but rather to find what ideas might be there.

That is he's using the rhyming dictionary in order to ex, in order to explore what

the idea might have in common. He's sort of playing tennis with his

rhyming dictionary. He'll look up a word and and then

there'll be several rhymes for it. And each one of those will be an

audition, will be a suggestion saying, hey, if I were in this song, here's what

I'd do. I could bring in this kind of idea or

this kind of idea and Stephen Sondheim will say wow, okay, I never would have

thought of that other than I found it in the rhyming dictionary.

And if by the way he finds a really good idea in the rhyming dictionary, then not

only does he have a good idea, but he has an idea that also works sonically with

other ideas that he's already approved of.

So that you're working by using a rhyming dictionary is a brainstorming tool, as a

search engine for ideas. You're using your rhyming dictionary to

compose or to brainstorm on two levels simultaneously, the level of ideas.

And by the way, the level of sound. So that if you find something in your

rhyming dictionary, you're getting two things rather than one.

As opposed to if you simply start, let's see, what could this mean, what could

this mean. and find ideas, then you're probably

going to end up writing your line and then saying, okay, now I need something

that rhymes with this. But if you already have a series of

sonically related ideas, then you're in a position to choose from among his ideas.

Then, you'll have something that already rhymes so it's a much more efficient way

to look. So, Stephen Sondheim, there he is,

writing Broadway. I don't know how many of you want to

write Broadway stuff. But there it is.

So, should all Broadway writers do it? I don't know.

Should all writers do it even if you don't want to write Broadway?

Well, look at one other writer who does that sort of thing.

Eminem. If you take a look at Eminem's movie 8

Mile, there is a scene in the movie where he's writing Lose Yourself.

And he's on the bus, headphones on. And the track for Lose Yourself is, is is

playing. And he's got this legal pad, a yellow

legal pad. And the camera at one point comes around

and you get to see the legal pad just for a second.

Pause the DVD right there. And take a look at that very, very messy

yellow legal pad. Because what it is, is a series of rhyme

columns. And in fact, that is the piece of paper

that he actually used in the composition of Lose Yourself as he was working

through the movie. So that using sound, using a series of

rhymes as a search engine for ideas is not new news.

So, why don't we take a look at this idea, hobo wind.

And let's see what we can find that might fill out, flush out, this whole idea of

hobo wind that might work through the boxes.

And give us ideas that perhaps we normally wouldn't have gotten, simply by

thinking, simply by going inside, but using the various suggestions that the

rhyming dictionary makes to go from the inside out.

Say, what does that word give to me? And in the process of doing this, we're

going to put into play, all of the work that we've already done on rhyme times.

And so, get prepared for the next segment where we are going to be looking at rhyme

types as they evolve from the keywords that we'll be using to explore this

concept of hobo wind. And I, by the way, mean keywords, almost

musically. In the key of, in the key of wind.

In the key of hobo. So, it's going to be some technical work.

But as you will see, all of these various exercises that you've been doing on rhyme

types are going to come into play and be very fruitful as we move forward.

Explore nosso catálogo

Registre-se gratuitamente e obtenha recomendações, atualizações e ofertas personalizadas.

O Coursera proporciona acesso universal à melhor educação do mundo fazendo parcerias com as melhores universidades e organizações para oferecer cursos on-line.

© 2019 Coursera Inc. Todos os direitos reservados.

Baixar na App Store

Baixar no Google Play

Coursera
Sobre
Liderança
Carreiras
Lista de cursos
Certificados
Certificados MasterTrack™
Notas
For Enterprise
For Government

Comunidade
Learners
Partners
Developers
Beta Testers
Translators

Conectar
Blog
Facebook
LinkedIn
Twitter
Instagram
YouTube
Tech Blog

Mais
Termos
Privacidade
Ajuda
Acessibilidade
Imprensa
Contato
Diretório
Afiliados