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ART OF COMPOSING
Join over 17,000 composers that have taken the free course. It's time to start making real progress in your ability to compose. Learn how music theory and your own creativity really work together to create music that's logical, and satisfying. If you're having trouble putting the pieces of the puzzle together, this is the place to start. ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST Voice Leading by David Huron. Voice Leading by David Huron is a fascinating book that goes into the psychological aspects of how we hear independent musical lines and the principles behind them. For the first time, he has truly cleared up the plethora of conflicting rules given by different books on the subject of voice leading andcounterpoint.
COMPOSING MUSIC BY HAND VS. SOFTWARE One more thing to add. If you are learning to compose, the absolute best way to do “composing exercises” is by hand. As stated earlier, you will have better memory of what you have done, and in turn, the concepts of composing will become firmly cemented. All of this adds up to more brain power gets recruited when you write byhand.
BUILD YOUR CRAFT: LEARN THE MELODY AND CHORD PROGRESSION Step 3: Memorize in the Original Key. This part is not complicated, but it takes time. You need to be able to play the excerpt in the original key with the melody. It’s really about repetition and analyzing, so let’s dive in. Learn to play the opening as is, because it’s relatively straight forward. ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Today we’re going to be taking a look at technique used by composers and songwriters from Beethoven to The Beatles: common chord modulation. Common chord modulation is, in a word, subtle. This is a glaring contrast to the abrupt- (and sometimes cheesy-) sounding direct modulation that we explored in part 1. (No offense, directmodulation.
MELODY WRITING
Melody Writing – Part 2: The Tools of Melody. November 11, 2013 By Jon Brantingham 10 Comments. When composing a melody, you have to be able to simultaneously comprehend all of the different aspects of a melody, while at the same time, push them out of the active working part of your mind, so your creativity can take over. This wasdiscussed
INVERSIONS IN FUNCTIONAL HARMONY The inversions of the I6 and IV6 chords are specific instances where the chart moves back to the left from the right along arrows. Once you’ve written the progression, go back through and try to create an interesting bass line. The easiest way to do this, is to identify other chord tones that can move by step into the next chord. Forinstance
WHY V65, V43, V42?
Jon Brantingham Staff answered 5 years ago. Hi Gabriel, The V6/5, V4/3, and V4/2 symbols all refer to the inversion of the 7th chord. V6/5. V6/5 is a first inversion, with the 3rd of the chord in the bass. The interval of a 6th would be the root of the chord, and the interval of the 5th would be the 7th. If this were a G7 chord, itwould be
ART OF COMPOSING
Join over 17,000 composers that have taken the free course. It's time to start making real progress in your ability to compose. Learn how music theory and your own creativity really work together to create music that's logical, and satisfying. If you're having trouble putting the pieces of the puzzle together, this is the place to start. ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST Voice Leading by David Huron. Voice Leading by David Huron is a fascinating book that goes into the psychological aspects of how we hear independent musical lines and the principles behind them. For the first time, he has truly cleared up the plethora of conflicting rules given by different books on the subject of voice leading andcounterpoint.
COMPOSING MUSIC BY HAND VS. SOFTWARE One more thing to add. If you are learning to compose, the absolute best way to do “composing exercises” is by hand. As stated earlier, you will have better memory of what you have done, and in turn, the concepts of composing will become firmly cemented. All of this adds up to more brain power gets recruited when you write byhand.
BUILD YOUR CRAFT: LEARN THE MELODY AND CHORD PROGRESSION Step 3: Memorize in the Original Key. This part is not complicated, but it takes time. You need to be able to play the excerpt in the original key with the melody. It’s really about repetition and analyzing, so let’s dive in. Learn to play the opening as is, because it’s relatively straight forward. ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Today we’re going to be taking a look at technique used by composers and songwriters from Beethoven to The Beatles: common chord modulation. Common chord modulation is, in a word, subtle. This is a glaring contrast to the abrupt- (and sometimes cheesy-) sounding direct modulation that we explored in part 1. (No offense, directmodulation.
MELODY WRITING
Melody Writing – Part 2: The Tools of Melody. November 11, 2013 By Jon Brantingham 10 Comments. When composing a melody, you have to be able to simultaneously comprehend all of the different aspects of a melody, while at the same time, push them out of the active working part of your mind, so your creativity can take over. This wasdiscussed
INVERSIONS IN FUNCTIONAL HARMONY The inversions of the I6 and IV6 chords are specific instances where the chart moves back to the left from the right along arrows. Once you’ve written the progression, go back through and try to create an interesting bass line. The easiest way to do this, is to identify other chord tones that can move by step into the next chord. Forinstance
WHY V65, V43, V42?
Jon Brantingham Staff answered 5 years ago. Hi Gabriel, The V6/5, V4/3, and V4/2 symbols all refer to the inversion of the 7th chord. V6/5. V6/5 is a first inversion, with the 3rd of the chord in the bass. The interval of a 6th would be the root of the chord, and the interval of the 5th would be the 7th. If this were a G7 chord, itwould be
HOW TO COMPOSE MUSIC, PART 1: THE The Art of Composing Music This post is going to be the first in a series of post that will cover how to compose music. Having a personal process of composing music can be just as important to composing well, as knowing music theory. If your process is MODEL VARIATION TECHNIQUES Expansion is about growing from within the group. Compression – Shrink. Compression is the opposite of expansion. Removal. Removing a group complete. Shrinking still leaves the group. Interpolation – Hold. The standard march of time gets paused during interpolation,which is
BUILD YOUR CRAFT: LEARN THE MELODY AND CHORD PROGRESSION Step 1: Listen. It all starts with hearing a passage that strikes you as particularly powerful. A great example is the opening from Mozart’s Lacrimosa. To internalize something, you need to know what it sounds like. So let’s listen to the real thing first. It is only an excerpt, so it will go quick. LEARNING COUNTERPOINT ON YOUR OWN The Frustration of Learning Counterpoint This article talks about: My frustrations with learning counterpoint on my own from books Some facts and assumptions about learning counterpoint My first counterpoint lesson (hint: it involves your input to make it work) If you want to skip to the first lesson, just scroll to the bottom of the AOC 007: CREATIVITY AND MUSIC COMPOSITION 6 Step Process of Creativity. Exhibiting the open question. Identifying the semiotic context. Finding the questions critical sign or concept in the semiotic context. Identifying the concepts walls. Opening the walls and displaying its new perspective. Evaluating the extended walls. Creativity requires that you dig deep into your ownmind and
ART OF COMPOSING ACADEMY Get access to both the Fundamentals and Sonata Form courses at a low monthly price. Learn More. MUSICAL PERIODS UNLEASHED! Musical Periods Like me, you have probably been frustrated composing phrases that sound “off”. Maybe they feel like they ended too soon, or don’t sound complete. If this has happened to you, keep reading. This week’s post is all about musical periods. Understanding the period will help you further your knowledge of simple themes and definitely make aCOUNTERPOINT BASICS
For instance, you could have a normal functional progression in C major, say C-F-dm-G7-C, but then throw an Ab or F# below it. It doesn’t change the way you would write the progression, just the context of the progression. Here, the pedal tone doesn’t have a large effect on what Beethoven does with the counterpoint.SENTENCE VS PERIOD
Hi Jon,What are the main differences between a Sentence and a Period? I'm comparing to understand both forms better. I've found this explanation:"Schoenberg applied the term 'sentence' to a very specific structural type distinct from the antecedent-consequentperiod. In a sentence's first part, a statement of a 'basic motive' is followed by a 'complementary repetition' (e.g. the SUBORDINATE THEME KEY ? It depends on the key the piece is in. If the starting key is major, the subordinate theme is almost always V (C major modulating to G major). If the starting key is minor, it is most commonly III (Cm modulating to Eb major) or minor v (C minor modulating to G minor).ART OF COMPOSING
I have been a composer since I was a young kid (I am currently 36 writing this), and so when I got into songwriting over the last year, I felt somewhat out of place.But I’ve also come to learn that ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST These are my top book recommendations for all composers. I have personally read or used as a reference all of these books and can highly recommend them. Collectively, they have made the biggest impact on my composing. Analyzing Classical Form by William Caplin Analyzing Classical Form by William Caplin is will give you a solid THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Effective modulation is one of the skills that sets apart great composers from amateurs. In the 2nd installment of the Art of Modulation series, learn all about common chord modulation, and what it can do for your composing. COMPOSING MUSIC BY HAND VS. SOFTWARE To Compose Music by Hand, or Compose by Computer? That is the Question. Recently I have been writing a lot more music by hand and I have noticed something drastic. The music is better. Now, this is my opinion, others may not think so, but none theMELODY WRITING
When composing a melody, you have to be able to simultaneously comprehend all of the different aspects of a melody, while at the same time, push them out of the active working part of your mind, so your creativity can take over. This was discussed in my previous article, Creativity and The Importance of Melody. ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
BUILD YOUR CRAFT: LEARN THE MELODY AND CHORD PROGRESSION Hi Jeonghoon, Thanks for the close reading of my article. I’ll take into consideration your analysis if I ever need to update this page. I don’t really agree that analysis is the process of logically defining the center of the key and tonality. INVERSIONS IN FUNCTIONAL HARMONY Are we free to use any inversions of the functional harmony chords when creating chord progressions? I noticed that the first tonic chord (I and i) and the first pre-dominant chord (IV and iv) in the chart are specifically marked as first inversion when coming backWHY V65, V43, V42?
Hi Gabriel, The V6/5, V4/3, and V4/2 symbols all refer to the inversion of the 7th chord. V6/5 V6/5 is a first inversion, with the 3rd of the chord in the bass.ART OF COMPOSING
I have been a composer since I was a young kid (I am currently 36 writing this), and so when I got into songwriting over the last year, I felt somewhat out of place.But I’ve also come to learn that ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST These are my top book recommendations for all composers. I have personally read or used as a reference all of these books and can highly recommend them. Collectively, they have made the biggest impact on my composing. Analyzing Classical Form by William Caplin Analyzing Classical Form by William Caplin is will give you a solid THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Effective modulation is one of the skills that sets apart great composers from amateurs. In the 2nd installment of the Art of Modulation series, learn all about common chord modulation, and what it can do for your composing. COMPOSING MUSIC BY HAND VS. SOFTWARE To Compose Music by Hand, or Compose by Computer? That is the Question. Recently I have been writing a lot more music by hand and I have noticed something drastic. The music is better. Now, this is my opinion, others may not think so, but none theMELODY WRITING
When composing a melody, you have to be able to simultaneously comprehend all of the different aspects of a melody, while at the same time, push them out of the active working part of your mind, so your creativity can take over. This was discussed in my previous article, Creativity and The Importance of Melody. ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
BUILD YOUR CRAFT: LEARN THE MELODY AND CHORD PROGRESSION Hi Jeonghoon, Thanks for the close reading of my article. I’ll take into consideration your analysis if I ever need to update this page. I don’t really agree that analysis is the process of logically defining the center of the key and tonality. INVERSIONS IN FUNCTIONAL HARMONY Are we free to use any inversions of the functional harmony chords when creating chord progressions? I noticed that the first tonic chord (I and i) and the first pre-dominant chord (IV and iv) in the chart are specifically marked as first inversion when coming backWHY V65, V43, V42?
Hi Gabriel, The V6/5, V4/3, and V4/2 symbols all refer to the inversion of the 7th chord. V6/5 V6/5 is a first inversion, with the 3rd of the chord in the bass. HOW TO COMPOSE MUSIC, PART 1: THE The Art of Composing Music This post is going to be the first in a series of post that will cover how to compose music. Having a personal process of composing music can be just as important to composing well, as knowing music theory. If your process is MODEL VARIATION TECHNIQUES I am always searching for new ways to think of using techniques, clarifying the practical side of things as well as the theoretical and philosophical side of things. Some of the techniques may be duplicated in different sections, such as harmony or melody. That is okay. LEARNING COUNTERPOINT ON YOUR OWN The Frustration of Learning Counterpoint This article talks about: My frustrations with learning counterpoint on my own from books Some facts and assumptions about learning counterpoint My first counterpoint lesson (hint: it involves your input to make it work) If you want to skip to the first lesson, just scroll to the bottom of the ART OF COMPOSING ACADEMY Monthly Membership Get access to both the Fundamentals and Sonata Form courses at a low monthly price. Learn More MUSICAL PERIODS UNLEASHED! Musical Periods Like me, you have probably been frustrated composing phrases that sound “off”. Maybe they feel like they ended too soon, or don’t sound complete. If this has happened to you, keep reading. This week’s post is all about musical periods. Understanding the period will help you further your knowledge of simple themes and definitely make a BUILD YOUR CRAFT: LEARN THE MELODY AND CHORD PROGRESSION Hi Jeonghoon, Thanks for the close reading of my article. I’ll take into consideration your analysis if I ever need to update this page. I don’t really agree that analysis is the process of logically defining the center of the key and tonality. AOC 007: CREATIVITY AND MUSIC COMPOSITION It most certainly can be used in any genre. I know that Weezer used it to write a progressive rock tune called “Dreamin”. The important thing to remember is that sonata form is less about the actual structure of the piece, and more about a set of techniquesCOUNTERPOINT BASICS
Question on the counterpoint basics presented in module 5 (recapitulation). The intervals suggested were the following: * M3* m3* m6* M6* P8* P5* A4* d5 It almost seems asymmetric: why not a P4 for example? Also, this assumes two voices, which seems mostly the case in Beethoven 's sonata, although there is also a pedalSENTENCE VS PERIOD
Hi Jon,What are the main differences between a Sentence and a Period? I'm comparing to understand both forms better. I've found this explanation:"Schoenberg applied the term 'sentence' to a very specific structural type distinct from the antecedent-consequentperiod. In a sentence's first part, a statement of a 'basic motive' is followed by a 'complementary repetition' (e.g. the SUBORDINATE THEME KEY ? It depends on the key the piece is in. If the starting key is major, the subordinate theme is almost always V (C major modulating to G major). If the starting key is minor, it is most commonly III (Cm modulating to Eb major) or minor v (C minor modulating to G minor).ART OF COMPOSING
Join over 17,000 composers that have taken the free course. It's time to start making real progress in your ability to compose. Learn how music theory and your own creativity really work together to create music that's logical, and satisfying. If you're having trouble putting the pieces of the puzzle together, this is the place to start. ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I HOW TO COMPOSE MUSIC Hey Jon I have just come across this site from checking out your podcast i checked out the first 7 epesodes today, I have been a dj in the electronic world for 27 years and have been very lucky to travel the world, I also had a radio show on the BBC Radio1 for several years, I have wanted to get into composition for a very long time but have been very intimidated as i don’t have any music ART OF COMPOSING ACADEMY Get access to both the Fundamentals and Sonata Form courses at a low monthly price. Learn More. BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST Voice Leading by David Huron. Voice Leading by David Huron is a fascinating book that goes into the psychological aspects of how we hear independent musical lines and the principles behind them. For the first time, he has truly cleared up the plethora of conflicting rules given by different books on the subject of voice leading andcounterpoint.
ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
LEARNING COUNTERPOINT ON YOUR OWNSENTENCE VS PERIOD
Hi Jon,What are the main differences between a Sentence and a Period? I'm comparing to understand both forms better. I've found this explanation:"Schoenberg applied the term 'sentence' to a very specific structural type distinct from the antecedent-consequentperiod. In a sentence's first part, a statement of a 'basic motive' is followed by a 'complementary repetition' (e.g. the THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Today we’re going to be taking a look at technique used by composers and songwriters from Beethoven to The Beatles: common chord modulation. Common chord modulation is, in a word, subtle. This is a glaring contrast to the abrupt- (and sometimes cheesy-) sounding direct modulation that we explored in part 1. (No offense, directmodulation.
WHY V65, V43, V42?
Jon Brantingham Staff answered 5 years ago. Hi Gabriel, The V6/5, V4/3, and V4/2 symbols all refer to the inversion of the 7th chord. V6/5. V6/5 is a first inversion, with the 3rd of the chord in the bass. The interval of a 6th would be the root of the chord, and the interval of the 5th would be the 7th. If this were a G7 chord, itwould be
ART OF COMPOSING
Join over 17,000 composers that have taken the free course. It's time to start making real progress in your ability to compose. Learn how music theory and your own creativity really work together to create music that's logical, and satisfying. If you're having trouble putting the pieces of the puzzle together, this is the place to start. ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I HOW TO COMPOSE MUSIC Hey Jon I have just come across this site from checking out your podcast i checked out the first 7 epesodes today, I have been a dj in the electronic world for 27 years and have been very lucky to travel the world, I also had a radio show on the BBC Radio1 for several years, I have wanted to get into composition for a very long time but have been very intimidated as i don’t have any music ART OF COMPOSING ACADEMY Get access to both the Fundamentals and Sonata Form courses at a low monthly price. Learn More. BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST Voice Leading by David Huron. Voice Leading by David Huron is a fascinating book that goes into the psychological aspects of how we hear independent musical lines and the principles behind them. For the first time, he has truly cleared up the plethora of conflicting rules given by different books on the subject of voice leading andcounterpoint.
ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
LEARNING COUNTERPOINT ON YOUR OWNSENTENCE VS PERIOD
Hi Jon,What are the main differences between a Sentence and a Period? I'm comparing to understand both forms better. I've found this explanation:"Schoenberg applied the term 'sentence' to a very specific structural type distinct from the antecedent-consequentperiod. In a sentence's first part, a statement of a 'basic motive' is followed by a 'complementary repetition' (e.g. the THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Today we’re going to be taking a look at technique used by composers and songwriters from Beethoven to The Beatles: common chord modulation. Common chord modulation is, in a word, subtle. This is a glaring contrast to the abrupt- (and sometimes cheesy-) sounding direct modulation that we explored in part 1. (No offense, directmodulation.
WHY V65, V43, V42?
Jon Brantingham Staff answered 5 years ago. Hi Gabriel, The V6/5, V4/3, and V4/2 symbols all refer to the inversion of the 7th chord. V6/5. V6/5 is a first inversion, with the 3rd of the chord in the bass. The interval of a 6th would be the root of the chord, and the interval of the 5th would be the 7th. If this were a G7 chord, itwould be
MODEL VARIATION TECHNIQUES Expansion is about growing from within the group. Compression – Shrink. Compression is the opposite of expansion. Removal. Removing a group complete. Shrinking still leaves the group. Interpolation – Hold. The standard march of time gets paused during interpolation,which is
KEY SIGNATURES MAKE THE MUSIC The rules: 30 minutes from start to finish, minus a few formalities: I could pick the key signature, tempo and meter before hand. I could prep the manuscript paper before I started. The 30 minutes doesn’t include transcribing on the computer. Inevitably, I would make a few “corrections” when transcribing on the computer, but overall, the UNLOCKING THE MYSTERIES OF DIATONIC HARMONY The harmonic minor scale is used most often for harmony – hence the name. This is because the raised leading tone allows us to have a major dominant 7th chord.. You can also think of harmonic minor as borrowing the dominant chord from the major scale. This makes it a little easier to understand, especially since the triad built on the third degree, the mediant, is not an augmented chord. BUILD YOUR CRAFT: LEARN THE MELODY AND CHORD PROGRESSION Step 3: Memorize in the Original Key. This part is not complicated, but it takes time. You need to be able to play the excerpt in the original key with the melody. It’s really about repetition and analyzing, so let’s dive in. Learn to play the opening as is, because it’s relatively straight forward.COUNTERPOINT BASICS
For instance, you could have a normal functional progression in C major, say C-F-dm-G7-C, but then throw an Ab or F# below it. It doesn’t change the way you would write the progression, just the context of the progression. Here, the pedal tone doesn’t have a large effect on what Beethoven does with the counterpoint. MUSICAL PHRASES UNLEASHED: BASIC IDEAS AND SENTENCES Musical Phrases – The Big Picture “Man that was a great two bar continuation phrase, with awesome fragmentation and melodic liquidation!” Super Music Nerd In the grand scheme, no one is going to listen to your Symphony and say, “Man, that was a great two bar phrase.” Well maybe some music nerds, like me, but HOW TO COMPOSE MUSIC, PART 3: MELODY OR HARMONY FIRST Hi, I was looking at the musical stage where you show the tonic notes and then the dominant note (V). I don’t understand. The dominant note is the 5th degree of a musical scale; and on the first staff written on the top of the page, the dominant is noted as the 4th note.MELODY WRITING
Melody Writing – Part 2: The Tools of Melody. November 11, 2013 By Jon Brantingham 10 Comments. When composing a melody, you have to be able to simultaneously comprehend all of the different aspects of a melody, while at the same time, push them out of the active working part of your mind, so your creativity can take over. This wasdiscussed
WHY V65, V43, V42?
Jon Brantingham Staff answered 5 years ago. Hi Gabriel, The V6/5, V4/3, and V4/2 symbols all refer to the inversion of the 7th chord. V6/5. V6/5 is a first inversion, with the 3rd of the chord in the bass. The interval of a 6th would be the root of the chord, and the interval of the 5th would be the 7th. If this were a G7 chord, itwould be
WRITING FOR STRING QUARTET The guidelines for writing melodies in Composition 101 apply to every part, although sometimes they may not all be very interesting. Don’t over think bowing. If in doubt, leave it to the players. Just don’t put in very long slurs (it’s considered one bow). My favorite string quartet is Ravel’s.ART OF COMPOSING
Join over 17,000 composers that have taken the free course. It's time to start making real progress in your ability to compose. Learn how music theory and your own creativity really work together to create music that's logical, and satisfying. If you're having trouble putting the pieces of the puzzle together, this is the place to start. ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I HOW TO COMPOSE MUSIC Hey Jon I have just come across this site from checking out your podcast i checked out the first 7 epesodes today, I have been a dj in the electronic world for 27 years and have been very lucky to travel the world, I also had a radio show on the BBC Radio1 for several years, I have wanted to get into composition for a very long time but have been very intimidated as i don’t have any music ART OF COMPOSING ACADEMY Get access to both the Fundamentals and Sonata Form courses at a low monthly price. Learn More. BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST Voice Leading by David Huron. Voice Leading by David Huron is a fascinating book that goes into the psychological aspects of how we hear independent musical lines and the principles behind them. For the first time, he has truly cleared up the plethora of conflicting rules given by different books on the subject of voice leading andcounterpoint.
ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
LEARNING COUNTERPOINT ON YOUR OWNSENTENCE VS PERIOD
Hi Jon,What are the main differences between a Sentence and a Period? I'm comparing to understand both forms better. I've found this explanation:"Schoenberg applied the term 'sentence' to a very specific structural type distinct from the antecedent-consequentperiod. In a sentence's first part, a statement of a 'basic motive' is followed by a 'complementary repetition' (e.g. the THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Today we’re going to be taking a look at technique used by composers and songwriters from Beethoven to The Beatles: common chord modulation. Common chord modulation is, in a word, subtle. This is a glaring contrast to the abrupt- (and sometimes cheesy-) sounding direct modulation that we explored in part 1. (No offense, directmodulation.
WHY V65, V43, V42?
Jon Brantingham Staff answered 5 years ago. Hi Gabriel, The V6/5, V4/3, and V4/2 symbols all refer to the inversion of the 7th chord. V6/5. V6/5 is a first inversion, with the 3rd of the chord in the bass. The interval of a 6th would be the root of the chord, and the interval of the 5th would be the 7th. If this were a G7 chord, itwould be
ART OF COMPOSING
Join over 17,000 composers that have taken the free course. It's time to start making real progress in your ability to compose. Learn how music theory and your own creativity really work together to create music that's logical, and satisfying. If you're having trouble putting the pieces of the puzzle together, this is the place to start. ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I HOW TO COMPOSE MUSIC Hey Jon I have just come across this site from checking out your podcast i checked out the first 7 epesodes today, I have been a dj in the electronic world for 27 years and have been very lucky to travel the world, I also had a radio show on the BBC Radio1 for several years, I have wanted to get into composition for a very long time but have been very intimidated as i don’t have any music ART OF COMPOSING ACADEMY Get access to both the Fundamentals and Sonata Form courses at a low monthly price. Learn More. BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST Voice Leading by David Huron. Voice Leading by David Huron is a fascinating book that goes into the psychological aspects of how we hear independent musical lines and the principles behind them. For the first time, he has truly cleared up the plethora of conflicting rules given by different books on the subject of voice leading andcounterpoint.
ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
LEARNING COUNTERPOINT ON YOUR OWNSENTENCE VS PERIOD
Hi Jon,What are the main differences between a Sentence and a Period? I'm comparing to understand both forms better. I've found this explanation:"Schoenberg applied the term 'sentence' to a very specific structural type distinct from the antecedent-consequentperiod. In a sentence's first part, a statement of a 'basic motive' is followed by a 'complementary repetition' (e.g. the THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Today we’re going to be taking a look at technique used by composers and songwriters from Beethoven to The Beatles: common chord modulation. Common chord modulation is, in a word, subtle. This is a glaring contrast to the abrupt- (and sometimes cheesy-) sounding direct modulation that we explored in part 1. (No offense, directmodulation.
WHY V65, V43, V42?
Jon Brantingham Staff answered 5 years ago. Hi Gabriel, The V6/5, V4/3, and V4/2 symbols all refer to the inversion of the 7th chord. V6/5. V6/5 is a first inversion, with the 3rd of the chord in the bass. The interval of a 6th would be the root of the chord, and the interval of the 5th would be the 7th. If this were a G7 chord, itwould be
MODEL VARIATION TECHNIQUES Expansion is about growing from within the group. Compression – Shrink. Compression is the opposite of expansion. Removal. Removing a group complete. Shrinking still leaves the group. Interpolation – Hold. The standard march of time gets paused during interpolation,which is
KEY SIGNATURES MAKE THE MUSIC The rules: 30 minutes from start to finish, minus a few formalities: I could pick the key signature, tempo and meter before hand. I could prep the manuscript paper before I started. The 30 minutes doesn’t include transcribing on the computer. Inevitably, I would make a few “corrections” when transcribing on the computer, but overall, the UNLOCKING THE MYSTERIES OF DIATONIC HARMONY The harmonic minor scale is used most often for harmony – hence the name. This is because the raised leading tone allows us to have a major dominant 7th chord.. You can also think of harmonic minor as borrowing the dominant chord from the major scale. This makes it a little easier to understand, especially since the triad built on the third degree, the mediant, is not an augmented chord. BUILD YOUR CRAFT: LEARN THE MELODY AND CHORD PROGRESSION Step 3: Memorize in the Original Key. This part is not complicated, but it takes time. You need to be able to play the excerpt in the original key with the melody. It’s really about repetition and analyzing, so let’s dive in. Learn to play the opening as is, because it’s relatively straight forward.COUNTERPOINT BASICS
For instance, you could have a normal functional progression in C major, say C-F-dm-G7-C, but then throw an Ab or F# below it. It doesn’t change the way you would write the progression, just the context of the progression. Here, the pedal tone doesn’t have a large effect on what Beethoven does with the counterpoint. MUSICAL PHRASES UNLEASHED: BASIC IDEAS AND SENTENCES Musical Phrases – The Big Picture “Man that was a great two bar continuation phrase, with awesome fragmentation and melodic liquidation!” Super Music Nerd In the grand scheme, no one is going to listen to your Symphony and say, “Man, that was a great two bar phrase.” Well maybe some music nerds, like me, but HOW TO COMPOSE MUSIC, PART 3: MELODY OR HARMONY FIRST Hi, I was looking at the musical stage where you show the tonic notes and then the dominant note (V). I don’t understand. The dominant note is the 5th degree of a musical scale; and on the first staff written on the top of the page, the dominant is noted as the 4th note.MELODY WRITING
Melody Writing – Part 2: The Tools of Melody. November 11, 2013 By Jon Brantingham 10 Comments. When composing a melody, you have to be able to simultaneously comprehend all of the different aspects of a melody, while at the same time, push them out of the active working part of your mind, so your creativity can take over. This wasdiscussed
WHY V65, V43, V42?
Jon Brantingham Staff answered 5 years ago. Hi Gabriel, The V6/5, V4/3, and V4/2 symbols all refer to the inversion of the 7th chord. V6/5. V6/5 is a first inversion, with the 3rd of the chord in the bass. The interval of a 6th would be the root of the chord, and the interval of the 5th would be the 7th. If this were a G7 chord, itwould be
WRITING FOR STRING QUARTET The guidelines for writing melodies in Composition 101 apply to every part, although sometimes they may not all be very interesting. Don’t over think bowing. If in doubt, leave it to the players. Just don’t put in very long slurs (it’s considered one bow). My favorite string quartet is Ravel’s.ART OF COMPOSING
Join over 17,000 composers that have taken the free course. It's time to start making real progress in your ability to compose. Learn how music theory and your own creativity really work together to create music that's logical, and satisfying. If you're having trouble putting the pieces of the puzzle together, this is the place to start. ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I BUILD YOUR CRAFT: LEARN THE MELODY AND CHORD PROGRESSION Step 3: Memorize in the Original Key. This part is not complicated, but it takes time. You need to be able to play the excerpt in the original key with the melody. It’s really about repetition and analyzing, so let’s dive in. Learn to play the opening as is, because it’s relatively straight forward. BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST Voice Leading by David Huron. Voice Leading by David Huron is a fascinating book that goes into the psychological aspects of how we hear independent musical lines and the principles behind them. For the first time, he has truly cleared up the plethora of conflicting rules given by different books on the subject of voice leading andcounterpoint.
ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Today we’re going to be taking a look at technique used by composers and songwriters from Beethoven to The Beatles: common chord modulation. Common chord modulation is, in a word, subtle. This is a glaring contrast to the abrupt- (and sometimes cheesy-) sounding direct modulation that we explored in part 1. (No offense, directmodulation.
LEARNING COUNTERPOINT ON YOUR OWNMELODY WRITING
Melody Writing – Part 2: The Tools of Melody. November 11, 2013 By Jon Brantingham 10 Comments. When composing a melody, you have to be able to simultaneously comprehend all of the different aspects of a melody, while at the same time, push them out of the active working part of your mind, so your creativity can take over. This wasdiscussed
SENTENCE VS PERIOD
Hi Jon,What are the main differences between a Sentence and a Period? I'm comparing to understand both forms better. I've found this explanation:"Schoenberg applied the term 'sentence' to a very specific structural type distinct from the antecedent-consequentperiod. In a sentence's first part, a statement of a 'basic motive' is followed by a 'complementary repetition' (e.g. the INVERSIONS IN FUNCTIONAL HARMONY The inversions of the I6 and IV6 chords are specific instances where the chart moves back to the left from the right along arrows. Once you’ve written the progression, go back through and try to create an interesting bass line. The easiest way to do this, is to identify other chord tones that can move by step into the next chord. Forinstance
ART OF COMPOSING
Join over 17,000 composers that have taken the free course. It's time to start making real progress in your ability to compose. Learn how music theory and your own creativity really work together to create music that's logical, and satisfying. If you're having trouble putting the pieces of the puzzle together, this is the place to start. ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I BUILD YOUR CRAFT: LEARN THE MELODY AND CHORD PROGRESSION Step 3: Memorize in the Original Key. This part is not complicated, but it takes time. You need to be able to play the excerpt in the original key with the melody. It’s really about repetition and analyzing, so let’s dive in. Learn to play the opening as is, because it’s relatively straight forward. BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST Voice Leading by David Huron. Voice Leading by David Huron is a fascinating book that goes into the psychological aspects of how we hear independent musical lines and the principles behind them. For the first time, he has truly cleared up the plethora of conflicting rules given by different books on the subject of voice leading andcounterpoint.
ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Today we’re going to be taking a look at technique used by composers and songwriters from Beethoven to The Beatles: common chord modulation. Common chord modulation is, in a word, subtle. This is a glaring contrast to the abrupt- (and sometimes cheesy-) sounding direct modulation that we explored in part 1. (No offense, directmodulation.
LEARNING COUNTERPOINT ON YOUR OWNMELODY WRITING
Melody Writing – Part 2: The Tools of Melody. November 11, 2013 By Jon Brantingham 10 Comments. When composing a melody, you have to be able to simultaneously comprehend all of the different aspects of a melody, while at the same time, push them out of the active working part of your mind, so your creativity can take over. This wasdiscussed
SENTENCE VS PERIOD
Hi Jon,What are the main differences between a Sentence and a Period? I'm comparing to understand both forms better. I've found this explanation:"Schoenberg applied the term 'sentence' to a very specific structural type distinct from the antecedent-consequentperiod. In a sentence's first part, a statement of a 'basic motive' is followed by a 'complementary repetition' (e.g. the INVERSIONS IN FUNCTIONAL HARMONY The inversions of the I6 and IV6 chords are specific instances where the chart moves back to the left from the right along arrows. Once you’ve written the progression, go back through and try to create an interesting bass line. The easiest way to do this, is to identify other chord tones that can move by step into the next chord. Forinstance
LEARNING COUNTERPOINT ON YOUR OWN The Frustration of Learning Counterpoint This article talks about: My frustrations with learning counterpoint on my own from books Some facts and assumptions about learning counterpoint My first counterpoint lesson (hint: it involves your input to make it work) If you want to skip to the first lesson, just scroll to the bottom of the BECOMING A PROFESSIONAL COMPOSER hi im a music teacher (instrumental).I want to change career paths.I originally ddid a degree in composition but went into teaching cos i have children.I am now eager to pursue this dream.I am clearing my spare room out to bring in a home studio.I play 6 instruments (grade 8 on three and self taught on piano and flute gr8).I also play alto sax and write songs on guitar which i sing to also so ART OF COMPOSING ACADEMY Get access to both the Fundamentals and Sonata Form courses at a low monthly price. Learn More. KEY SIGNATURES MAKE THE MUSIC The rules: 30 minutes from start to finish, minus a few formalities: I could pick the key signature, tempo and meter before hand. I could prep the manuscript paper before I started. The 30 minutes doesn’t include transcribing on the computer. Inevitably, I would make a few “corrections” when transcribing on the computer, but overall, the MUSICAL PERIODS UNLEASHED! Musical Periods Like me, you have probably been frustrated composing phrases that sound “off”. Maybe they feel like they ended too soon, or don’t sound complete. If this has happened to you, keep reading. This week’s post is all about musical periods. Understanding the period will help you further your knowledge of simple themes and definitely make aCOUNTERPOINT BASICS
For instance, you could have a normal functional progression in C major, say C-F-dm-G7-C, but then throw an Ab or F# below it. It doesn’t change the way you would write the progression, just the context of the progression. Here, the pedal tone doesn’t have a large effect on what Beethoven does with the counterpoint.SENTENCE VS PERIOD
Hi Jon,What are the main differences between a Sentence and a Period? I'm comparing to understand both forms better. I've found this explanation:"Schoenberg applied the term 'sentence' to a very specific structural type distinct from the antecedent-consequentperiod. In a sentence's first part, a statement of a 'basic motive' is followed by a 'complementary repetition' (e.g. the WRITING FOR STRING QUARTET The guidelines for writing melodies in Composition 101 apply to every part, although sometimes they may not all be very interesting. Don’t over think bowing. If in doubt, leave it to the players. Just don’t put in very long slurs (it’s considered one bow). My favorite string quartet is Ravel’s. SUBORDINATE THEME KEY ? It depends on the key the piece is in. If the starting key is major, the subordinate theme is almost always V (C major modulating to G major). If the starting key is minor, it is most commonly III (Cm modulating to Eb major) or minor v (C minor modulating to G minor).WHY V65, V43, V42?
Jon Brantingham Staff answered 5 years ago. Hi Gabriel, The V6/5, V4/3, and V4/2 symbols all refer to the inversion of the 7th chord. V6/5. V6/5 is a first inversion, with the 3rd of the chord in the bass. The interval of a 6th would be the root of the chord, and the interval of the 5th would be the 7th. If this were a G7 chord, itwould be
ART OF COMPOSING
Join over 17,000 composers that have taken the free course. It's time to start making real progress in your ability to compose. Learn how music theory and your own creativity really work together to create music that's logical, and satisfying. If you're having trouble putting the pieces of the puzzle together, this is the place to start. ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I BUILD YOUR CRAFT: LEARN THE MELODY AND CHORD PROGRESSION Step 3: Memorize in the Original Key. This part is not complicated, but it takes time. You need to be able to play the excerpt in the original key with the melody. It’s really about repetition and analyzing, so let’s dive in. Learn to play the opening as is, because it’s relatively straight forward. BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST Voice Leading by David Huron. Voice Leading by David Huron is a fascinating book that goes into the psychological aspects of how we hear independent musical lines and the principles behind them. For the first time, he has truly cleared up the plethora of conflicting rules given by different books on the subject of voice leading andcounterpoint.
ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Today we’re going to be taking a look at technique used by composers and songwriters from Beethoven to The Beatles: common chord modulation. Common chord modulation is, in a word, subtle. This is a glaring contrast to the abrupt- (and sometimes cheesy-) sounding direct modulation that we explored in part 1. (No offense, directmodulation.
LEARNING COUNTERPOINT ON YOUR OWNMELODY WRITING
Melody Writing – Part 2: The Tools of Melody. November 11, 2013 By Jon Brantingham 10 Comments. When composing a melody, you have to be able to simultaneously comprehend all of the different aspects of a melody, while at the same time, push them out of the active working part of your mind, so your creativity can take over. This wasdiscussed
SENTENCE VS PERIOD
Hi Jon,What are the main differences between a Sentence and a Period? I'm comparing to understand both forms better. I've found this explanation:"Schoenberg applied the term 'sentence' to a very specific structural type distinct from the antecedent-consequentperiod. In a sentence's first part, a statement of a 'basic motive' is followed by a 'complementary repetition' (e.g. the INVERSIONS IN FUNCTIONAL HARMONY The inversions of the I6 and IV6 chords are specific instances where the chart moves back to the left from the right along arrows. Once you’ve written the progression, go back through and try to create an interesting bass line. The easiest way to do this, is to identify other chord tones that can move by step into the next chord. Forinstance
ART OF COMPOSING
Join over 17,000 composers that have taken the free course. It's time to start making real progress in your ability to compose. Learn how music theory and your own creativity really work together to create music that's logical, and satisfying. If you're having trouble putting the pieces of the puzzle together, this is the place to start. ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I BUILD YOUR CRAFT: LEARN THE MELODY AND CHORD PROGRESSION Step 3: Memorize in the Original Key. This part is not complicated, but it takes time. You need to be able to play the excerpt in the original key with the melody. It’s really about repetition and analyzing, so let’s dive in. Learn to play the opening as is, because it’s relatively straight forward. BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST Voice Leading by David Huron. Voice Leading by David Huron is a fascinating book that goes into the psychological aspects of how we hear independent musical lines and the principles behind them. For the first time, he has truly cleared up the plethora of conflicting rules given by different books on the subject of voice leading andcounterpoint.
ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Today we’re going to be taking a look at technique used by composers and songwriters from Beethoven to The Beatles: common chord modulation. Common chord modulation is, in a word, subtle. This is a glaring contrast to the abrupt- (and sometimes cheesy-) sounding direct modulation that we explored in part 1. (No offense, directmodulation.
LEARNING COUNTERPOINT ON YOUR OWNMELODY WRITING
Melody Writing – Part 2: The Tools of Melody. November 11, 2013 By Jon Brantingham 10 Comments. When composing a melody, you have to be able to simultaneously comprehend all of the different aspects of a melody, while at the same time, push them out of the active working part of your mind, so your creativity can take over. This wasdiscussed
SENTENCE VS PERIOD
Hi Jon,What are the main differences between a Sentence and a Period? I'm comparing to understand both forms better. I've found this explanation:"Schoenberg applied the term 'sentence' to a very specific structural type distinct from the antecedent-consequentperiod. In a sentence's first part, a statement of a 'basic motive' is followed by a 'complementary repetition' (e.g. the INVERSIONS IN FUNCTIONAL HARMONY The inversions of the I6 and IV6 chords are specific instances where the chart moves back to the left from the right along arrows. Once you’ve written the progression, go back through and try to create an interesting bass line. The easiest way to do this, is to identify other chord tones that can move by step into the next chord. Forinstance
LEARNING COUNTERPOINT ON YOUR OWN The Frustration of Learning Counterpoint This article talks about: My frustrations with learning counterpoint on my own from books Some facts and assumptions about learning counterpoint My first counterpoint lesson (hint: it involves your input to make it work) If you want to skip to the first lesson, just scroll to the bottom of the BECOMING A PROFESSIONAL COMPOSER hi im a music teacher (instrumental).I want to change career paths.I originally ddid a degree in composition but went into teaching cos i have children.I am now eager to pursue this dream.I am clearing my spare room out to bring in a home studio.I play 6 instruments (grade 8 on three and self taught on piano and flute gr8).I also play alto sax and write songs on guitar which i sing to also so ART OF COMPOSING ACADEMY Get access to both the Fundamentals and Sonata Form courses at a low monthly price. Learn More. KEY SIGNATURES MAKE THE MUSIC The rules: 30 minutes from start to finish, minus a few formalities: I could pick the key signature, tempo and meter before hand. I could prep the manuscript paper before I started. The 30 minutes doesn’t include transcribing on the computer. Inevitably, I would make a few “corrections” when transcribing on the computer, but overall, the MUSICAL PERIODS UNLEASHED! Musical Periods Like me, you have probably been frustrated composing phrases that sound “off”. Maybe they feel like they ended too soon, or don’t sound complete. If this has happened to you, keep reading. This week’s post is all about musical periods. Understanding the period will help you further your knowledge of simple themes and definitely make aCOUNTERPOINT BASICS
For instance, you could have a normal functional progression in C major, say C-F-dm-G7-C, but then throw an Ab or F# below it. It doesn’t change the way you would write the progression, just the context of the progression. Here, the pedal tone doesn’t have a large effect on what Beethoven does with the counterpoint.SENTENCE VS PERIOD
Hi Jon,What are the main differences between a Sentence and a Period? I'm comparing to understand both forms better. I've found this explanation:"Schoenberg applied the term 'sentence' to a very specific structural type distinct from the antecedent-consequentperiod. In a sentence's first part, a statement of a 'basic motive' is followed by a 'complementary repetition' (e.g. the WRITING FOR STRING QUARTET The guidelines for writing melodies in Composition 101 apply to every part, although sometimes they may not all be very interesting. Don’t over think bowing. If in doubt, leave it to the players. Just don’t put in very long slurs (it’s considered one bow). My favorite string quartet is Ravel’s. SUBORDINATE THEME KEY ? It depends on the key the piece is in. If the starting key is major, the subordinate theme is almost always V (C major modulating to G major). If the starting key is minor, it is most commonly III (Cm modulating to Eb major) or minor v (C minor modulating to G minor).WHY V65, V43, V42?
Jon Brantingham Staff answered 5 years ago. Hi Gabriel, The V6/5, V4/3, and V4/2 symbols all refer to the inversion of the 7th chord. V6/5. V6/5 is a first inversion, with the 3rd of the chord in the bass. The interval of a 6th would be the root of the chord, and the interval of the 5th would be the 7th. If this were a G7 chord, itwould be
ART OF COMPOSING
Join over 17,000 composers that have taken the free course. It's time to start making real progress in your ability to compose. Learn how music theory and your own creativity really work together to create music that's logical, and satisfying. If you're having trouble putting the pieces of the puzzle together, this is the place to start. ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I THE PROCESS OF COMPOSING A SYMPHONY The Emotional Process of Composing Music Do you have that desire to compose something great for the world? Did you experience something that you cannot explain in words? Music is an incredible thing, that can express the “inexpressible,” but how does that happen? How do you get from emotion to music? What is your process BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST Voice Leading by David Huron. Voice Leading by David Huron is a fascinating book that goes into the psychological aspects of how we hear independent musical lines and the principles behind them. For the first time, he has truly cleared up the plethora of conflicting rules given by different books on the subject of voice leading andcounterpoint.
ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Today we’re going to be taking a look at technique used by composers and songwriters from Beethoven to The Beatles: common chord modulation. Common chord modulation is, in a word, subtle. This is a glaring contrast to the abrupt- (and sometimes cheesy-) sounding direct modulation that we explored in part 1. (No offense, directmodulation.
KEY SIGNATURES MAKE THE MUSIC The rules: 30 minutes from start to finish, minus a few formalities: I could pick the key signature, tempo and meter before hand. I could prep the manuscript paper before I started. The 30 minutes doesn’t include transcribing on the computer. Inevitably, I would make a few “corrections” when transcribing on the computer, but overall, the LEARNING COUNTERPOINT ON YOUR OWN UNLOCKING THE MYSTERIES OF DIATONIC HARMONY The harmonic minor scale is used most often for harmony – hence the name. This is because the raised leading tone allows us to have a major dominant 7th chord.. You can also think of harmonic minor as borrowing the dominant chord from the major scale. This makes it a little easier to understand, especially since the triad built on the third degree, the mediant, is not an augmented chord.MELODY WRITING
Melody Writing – Part 2: The Tools of Melody. November 11, 2013 By Jon Brantingham 10 Comments. When composing a melody, you have to be able to simultaneously comprehend all of the different aspects of a melody, while at the same time, push them out of the active working part of your mind, so your creativity can take over. This wasdiscussed
ART OF COMPOSING
Join over 17,000 composers that have taken the free course. It's time to start making real progress in your ability to compose. Learn how music theory and your own creativity really work together to create music that's logical, and satisfying. If you're having trouble putting the pieces of the puzzle together, this is the place to start. ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I THE PROCESS OF COMPOSING A SYMPHONY The Emotional Process of Composing Music Do you have that desire to compose something great for the world? Did you experience something that you cannot explain in words? Music is an incredible thing, that can express the “inexpressible,” but how does that happen? How do you get from emotion to music? What is your process BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST Voice Leading by David Huron. Voice Leading by David Huron is a fascinating book that goes into the psychological aspects of how we hear independent musical lines and the principles behind them. For the first time, he has truly cleared up the plethora of conflicting rules given by different books on the subject of voice leading andcounterpoint.
ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Today we’re going to be taking a look at technique used by composers and songwriters from Beethoven to The Beatles: common chord modulation. Common chord modulation is, in a word, subtle. This is a glaring contrast to the abrupt- (and sometimes cheesy-) sounding direct modulation that we explored in part 1. (No offense, directmodulation.
KEY SIGNATURES MAKE THE MUSIC The rules: 30 minutes from start to finish, minus a few formalities: I could pick the key signature, tempo and meter before hand. I could prep the manuscript paper before I started. The 30 minutes doesn’t include transcribing on the computer. Inevitably, I would make a few “corrections” when transcribing on the computer, but overall, the LEARNING COUNTERPOINT ON YOUR OWN UNLOCKING THE MYSTERIES OF DIATONIC HARMONY The harmonic minor scale is used most often for harmony – hence the name. This is because the raised leading tone allows us to have a major dominant 7th chord.. You can also think of harmonic minor as borrowing the dominant chord from the major scale. This makes it a little easier to understand, especially since the triad built on the third degree, the mediant, is not an augmented chord.MELODY WRITING
Melody Writing – Part 2: The Tools of Melody. November 11, 2013 By Jon Brantingham 10 Comments. When composing a melody, you have to be able to simultaneously comprehend all of the different aspects of a melody, while at the same time, push them out of the active working part of your mind, so your creativity can take over. This wasdiscussed
HOW TO COMPOSE MUSIC Hey Jon I have just come across this site from checking out your podcast i checked out the first 7 epesodes today, I have been a dj in the electronic world for 27 years and have been very lucky to travel the world, I also had a radio show on the BBC Radio1 for several years, I have wanted to get into composition for a very long time but have been very intimidated as i don’t have any music LEARNING COUNTERPOINT ON YOUR OWN The Frustration of Learning Counterpoint This article talks about: My frustrations with learning counterpoint on my own from books Some facts and assumptions about learning counterpoint My first counterpoint lesson (hint: it involves your input to make it work) If you want to skip to the first lesson, just scroll to the bottom of the BECOMING A PROFESSIONAL COMPOSER Recently I have been having a change of mindset towards the way I approach life in general. This is really stemming from two books that I am reading. The first book, The War of Art by Steven Pressfield, is making me relook what it means to be truly dedicated to MUSICAL PERIODS UNLEASHED! Musical Periods Like me, you have probably been frustrated composing phrases that sound “off”. Maybe they feel like they ended too soon, or don’t sound complete. If this has happened to you, keep reading. This week’s post is all about musical periods. Understanding the period will help you further your knowledge of simple themes and definitely make a BUILD YOUR CRAFT: LEARN THE MELODY AND CHORD PROGRESSION Step 3: Memorize in the Original Key. This part is not complicated, but it takes time. You need to be able to play the excerpt in the original key with the melody. It’s really about repetition and analyzing, so let’s dive in. Learn to play the opening as is, because it’s relatively straight forward. ART OF COMPOSING ACADEMY Get access to both the Fundamentals and Sonata Form courses at a low monthly price. Learn More.COUNTERPOINT BASICS
For instance, you could have a normal functional progression in C major, say C-F-dm-G7-C, but then throw an Ab or F# below it. It doesn’t change the way you would write the progression, just the context of the progression. Here, the pedal tone doesn’t have a large effect on what Beethoven does with the counterpoint. MODES AND FUNCTIONAL PROGRESSIONS I also found that establishing the REPEATED return to C in the Lydian mode calibrates the ear to expect it. Normally when I move from C (I) – D (II#)- G (V, effectively tonicizing G) – C (I), it sounds like I’ve stopped on the 4th degree. But as long as I do that repeatedly; using, texture and rhythm strategies you’ve described to tell HOW TO COMPOSE MUSIC, PART 3: MELODY OR HARMONY FIRST Hi, I was looking at the musical stage where you show the tonic notes and then the dominant note (V). I don’t understand. The dominant note is the 5th degree of a musical scale; and on the first staff written on the top of the page, the dominant is noted as the 4th note.SENTENCE VS PERIOD
Hi Jon,What are the main differences between a Sentence and a Period? I'm comparing to understand both forms better. I've found this explanation:"Schoenberg applied the term 'sentence' to a very specific structural type distinct from the antecedent-consequentperiod. In a sentence's first part, a statement of a 'basic motive' is followed by a 'complementary repetition' (e.g. theART OF COMPOSING
Join over 17,000 composers that have taken the free course. It's time to start making real progress in your ability to compose. Learn how music theory and your own creativity really work together to create music that's logical, and satisfying. If you're having trouble putting the pieces of the puzzle together, this is the place to start. ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I THE PROCESS OF COMPOSING A SYMPHONY The Emotional Process of Composing Music Do you have that desire to compose something great for the world? Did you experience something that you cannot explain in words? Music is an incredible thing, that can express the “inexpressible,” but how does that happen? How do you get from emotion to music? What is your process BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST Voice Leading by David Huron. Voice Leading by David Huron is a fascinating book that goes into the psychological aspects of how we hear independent musical lines and the principles behind them. For the first time, he has truly cleared up the plethora of conflicting rules given by different books on the subject of voice leading andcounterpoint.
ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Today we’re going to be taking a look at technique used by composers and songwriters from Beethoven to The Beatles: common chord modulation. Common chord modulation is, in a word, subtle. This is a glaring contrast to the abrupt- (and sometimes cheesy-) sounding direct modulation that we explored in part 1. (No offense, directmodulation.
KEY SIGNATURES MAKE THE MUSIC The rules: 30 minutes from start to finish, minus a few formalities: I could pick the key signature, tempo and meter before hand. I could prep the manuscript paper before I started. The 30 minutes doesn’t include transcribing on the computer. Inevitably, I would make a few “corrections” when transcribing on the computer, but overall, the LEARNING COUNTERPOINT ON YOUR OWN UNLOCKING THE MYSTERIES OF DIATONIC HARMONY The harmonic minor scale is used most often for harmony – hence the name. This is because the raised leading tone allows us to have a major dominant 7th chord.. You can also think of harmonic minor as borrowing the dominant chord from the major scale. This makes it a little easier to understand, especially since the triad built on the third degree, the mediant, is not an augmented chord.MELODY WRITING
Melody Writing – Part 2: The Tools of Melody. November 11, 2013 By Jon Brantingham 10 Comments. When composing a melody, you have to be able to simultaneously comprehend all of the different aspects of a melody, while at the same time, push them out of the active working part of your mind, so your creativity can take over. This wasdiscussed
ART OF COMPOSING
Join over 17,000 composers that have taken the free course. It's time to start making real progress in your ability to compose. Learn how music theory and your own creativity really work together to create music that's logical, and satisfying. If you're having trouble putting the pieces of the puzzle together, this is the place to start. ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I THE PROCESS OF COMPOSING A SYMPHONY The Emotional Process of Composing Music Do you have that desire to compose something great for the world? Did you experience something that you cannot explain in words? Music is an incredible thing, that can express the “inexpressible,” but how does that happen? How do you get from emotion to music? What is your process BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST Voice Leading by David Huron. Voice Leading by David Huron is a fascinating book that goes into the psychological aspects of how we hear independent musical lines and the principles behind them. For the first time, he has truly cleared up the plethora of conflicting rules given by different books on the subject of voice leading andcounterpoint.
ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Today we’re going to be taking a look at technique used by composers and songwriters from Beethoven to The Beatles: common chord modulation. Common chord modulation is, in a word, subtle. This is a glaring contrast to the abrupt- (and sometimes cheesy-) sounding direct modulation that we explored in part 1. (No offense, directmodulation.
KEY SIGNATURES MAKE THE MUSIC The rules: 30 minutes from start to finish, minus a few formalities: I could pick the key signature, tempo and meter before hand. I could prep the manuscript paper before I started. The 30 minutes doesn’t include transcribing on the computer. Inevitably, I would make a few “corrections” when transcribing on the computer, but overall, the LEARNING COUNTERPOINT ON YOUR OWN UNLOCKING THE MYSTERIES OF DIATONIC HARMONY The harmonic minor scale is used most often for harmony – hence the name. This is because the raised leading tone allows us to have a major dominant 7th chord.. You can also think of harmonic minor as borrowing the dominant chord from the major scale. This makes it a little easier to understand, especially since the triad built on the third degree, the mediant, is not an augmented chord.MELODY WRITING
Melody Writing – Part 2: The Tools of Melody. November 11, 2013 By Jon Brantingham 10 Comments. When composing a melody, you have to be able to simultaneously comprehend all of the different aspects of a melody, while at the same time, push them out of the active working part of your mind, so your creativity can take over. This wasdiscussed
HOW TO COMPOSE MUSIC Hey Jon I have just come across this site from checking out your podcast i checked out the first 7 epesodes today, I have been a dj in the electronic world for 27 years and have been very lucky to travel the world, I also had a radio show on the BBC Radio1 for several years, I have wanted to get into composition for a very long time but have been very intimidated as i don’t have any music LEARNING COUNTERPOINT ON YOUR OWN The Frustration of Learning Counterpoint This article talks about: My frustrations with learning counterpoint on my own from books Some facts and assumptions about learning counterpoint My first counterpoint lesson (hint: it involves your input to make it work) If you want to skip to the first lesson, just scroll to the bottom of the BECOMING A PROFESSIONAL COMPOSER Recently I have been having a change of mindset towards the way I approach life in general. This is really stemming from two books that I am reading. The first book, The War of Art by Steven Pressfield, is making me relook what it means to be truly dedicated to MUSICAL PERIODS UNLEASHED! Musical Periods Like me, you have probably been frustrated composing phrases that sound “off”. Maybe they feel like they ended too soon, or don’t sound complete. If this has happened to you, keep reading. This week’s post is all about musical periods. Understanding the period will help you further your knowledge of simple themes and definitely make a BUILD YOUR CRAFT: LEARN THE MELODY AND CHORD PROGRESSION Step 3: Memorize in the Original Key. This part is not complicated, but it takes time. You need to be able to play the excerpt in the original key with the melody. It’s really about repetition and analyzing, so let’s dive in. Learn to play the opening as is, because it’s relatively straight forward. ART OF COMPOSING ACADEMY Get access to both the Fundamentals and Sonata Form courses at a low monthly price. Learn More.COUNTERPOINT BASICS
For instance, you could have a normal functional progression in C major, say C-F-dm-G7-C, but then throw an Ab or F# below it. It doesn’t change the way you would write the progression, just the context of the progression. Here, the pedal tone doesn’t have a large effect on what Beethoven does with the counterpoint. MODES AND FUNCTIONAL PROGRESSIONS I also found that establishing the REPEATED return to C in the Lydian mode calibrates the ear to expect it. Normally when I move from C (I) – D (II#)- G (V, effectively tonicizing G) – C (I), it sounds like I’ve stopped on the 4th degree. But as long as I do that repeatedly; using, texture and rhythm strategies you’ve described to tell HOW TO COMPOSE MUSIC, PART 3: MELODY OR HARMONY FIRST Hi, I was looking at the musical stage where you show the tonic notes and then the dominant note (V). I don’t understand. The dominant note is the 5th degree of a musical scale; and on the first staff written on the top of the page, the dominant is noted as the 4th note.SENTENCE VS PERIOD
Hi Jon,What are the main differences between a Sentence and a Period? I'm comparing to understand both forms better. I've found this explanation:"Schoenberg applied the term 'sentence' to a very specific structural type distinct from the antecedent-consequentperiod. In a sentence's first part, a statement of a 'basic motive' is followed by a 'complementary repetition' (e.g. theART OF COMPOSING
Join over 17,000 composers that have taken the free course. It's time to start making real progress in your ability to compose. Learn how music theory and your own creativity really work together to create music that's logical, and satisfying. If you're having trouble putting the pieces of the puzzle together, this is the place to start. ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I THE PROCESS OF COMPOSING A SYMPHONY The Emotional Process of Composing Music Do you have that desire to compose something great for the world? Did you experience something that you cannot explain in words? Music is an incredible thing, that can express the “inexpressible,” but how does that happen? How do you get from emotion to music? What is your process BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST Voice Leading by David Huron. Voice Leading by David Huron is a fascinating book that goes into the psychological aspects of how we hear independent musical lines and the principles behind them. For the first time, he has truly cleared up the plethora of conflicting rules given by different books on the subject of voice leading andcounterpoint.
ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Today we’re going to be taking a look at technique used by composers and songwriters from Beethoven to The Beatles: common chord modulation. Common chord modulation is, in a word, subtle. This is a glaring contrast to the abrupt- (and sometimes cheesy-) sounding direct modulation that we explored in part 1. (No offense, directmodulation.
KEY SIGNATURES MAKE THE MUSIC The rules: 30 minutes from start to finish, minus a few formalities: I could pick the key signature, tempo and meter before hand. I could prep the manuscript paper before I started. The 30 minutes doesn’t include transcribing on the computer. Inevitably, I would make a few “corrections” when transcribing on the computer, but overall, the LEARNING COUNTERPOINT ON YOUR OWN UNLOCKING THE MYSTERIES OF DIATONIC HARMONY The harmonic minor scale is used most often for harmony – hence the name. This is because the raised leading tone allows us to have a major dominant 7th chord.. You can also think of harmonic minor as borrowing the dominant chord from the major scale. This makes it a little easier to understand, especially since the triad built on the third degree, the mediant, is not an augmented chord.MELODY WRITING
Melody Writing – Part 2: The Tools of Melody. November 11, 2013 By Jon Brantingham 10 Comments. When composing a melody, you have to be able to simultaneously comprehend all of the different aspects of a melody, while at the same time, push them out of the active working part of your mind, so your creativity can take over. This wasdiscussed
ART OF COMPOSING
Join over 17,000 composers that have taken the free course. It's time to start making real progress in your ability to compose. Learn how music theory and your own creativity really work together to create music that's logical, and satisfying. If you're having trouble putting the pieces of the puzzle together, this is the place to start. ART OF COMPOSING ACADEMY With a 'minor' exception of piano shots too fast or not optimized for visual comm this stuff is a mind opener to say the LEAST. I discovered two or three words the meanings of which I THE PROCESS OF COMPOSING A SYMPHONY The Emotional Process of Composing Music Do you have that desire to compose something great for the world? Did you experience something that you cannot explain in words? Music is an incredible thing, that can express the “inexpressible,” but how does that happen? How do you get from emotion to music? What is your process BOOKS ON MUSIC COMPOSITION: A COMPOSER'S READING LIST Voice Leading by David Huron. Voice Leading by David Huron is a fascinating book that goes into the psychological aspects of how we hear independent musical lines and the principles behind them. For the first time, he has truly cleared up the plethora of conflicting rules given by different books on the subject of voice leading andcounterpoint.
ART OF COMPOSING ACADEMY We suggest moving this party over to a full size window. You'll enjoyit way more.
THE ART OF MODULATION, PART 2: COMMON CHORD MODULATION Today we’re going to be taking a look at technique used by composers and songwriters from Beethoven to The Beatles: common chord modulation. Common chord modulation is, in a word, subtle. This is a glaring contrast to the abrupt- (and sometimes cheesy-) sounding direct modulation that we explored in part 1. (No offense, directmodulation.
KEY SIGNATURES MAKE THE MUSIC The rules: 30 minutes from start to finish, minus a few formalities: I could pick the key signature, tempo and meter before hand. I could prep the manuscript paper before I started. The 30 minutes doesn’t include transcribing on the computer. Inevitably, I would make a few “corrections” when transcribing on the computer, but overall, the LEARNING COUNTERPOINT ON YOUR OWN UNLOCKING THE MYSTERIES OF DIATONIC HARMONY The harmonic minor scale is used most often for harmony – hence the name. This is because the raised leading tone allows us to have a major dominant 7th chord.. You can also think of harmonic minor as borrowing the dominant chord from the major scale. This makes it a little easier to understand, especially since the triad built on the third degree, the mediant, is not an augmented chord.MELODY WRITING
Melody Writing – Part 2: The Tools of Melody. November 11, 2013 By Jon Brantingham 10 Comments. When composing a melody, you have to be able to simultaneously comprehend all of the different aspects of a melody, while at the same time, push them out of the active working part of your mind, so your creativity can take over. This wasdiscussed
HOW TO COMPOSE MUSIC Hey Jon I have just come across this site from checking out your podcast i checked out the first 7 epesodes today, I have been a dj in the electronic world for 27 years and have been very lucky to travel the world, I also had a radio show on the BBC Radio1 for several years, I have wanted to get into composition for a very long time but have been very intimidated as i don’t have any music LEARNING COUNTERPOINT ON YOUR OWN The Frustration of Learning Counterpoint This article talks about: My frustrations with learning counterpoint on my own from books Some facts and assumptions about learning counterpoint My first counterpoint lesson (hint: it involves your input to make it work) If you want to skip to the first lesson, just scroll to the bottom of the MUSICAL PERIODS UNLEASHED! Musical Periods Like me, you have probably been frustrated composing phrases that sound “off”. Maybe they feel like they ended too soon, or don’t sound complete. If this has happened to you, keep reading. This week’s post is all about musical periods. Understanding the period will help you further your knowledge of simple themes and definitely make a BECOMING A PROFESSIONAL COMPOSER Recently I have been having a change of mindset towards the way I approach life in general. This is really stemming from two books that I am reading. The first book, The War of Art by Steven Pressfield, is making me relook what it means to be truly dedicated to BUILD YOUR CRAFT: LEARN THE MELODY AND CHORD PROGRESSION Step 3: Memorize in the Original Key. This part is not complicated, but it takes time. You need to be able to play the excerpt in the original key with the melody. It’s really about repetition and analyzing, so let’s dive in. Learn to play the opening as is, because it’s relatively straight forward. ART OF COMPOSING ACADEMY Get access to both the Fundamentals and Sonata Form courses at a low monthly price. Learn More.COUNTERPOINT BASICS
For instance, you could have a normal functional progression in C major, say C-F-dm-G7-C, but then throw an Ab or F# below it. It doesn’t change the way you would write the progression, just the context of the progression. Here, the pedal tone doesn’t have a large effect on what Beethoven does with the counterpoint. MODES AND FUNCTIONAL PROGRESSIONS I also found that establishing the REPEATED return to C in the Lydian mode calibrates the ear to expect it. Normally when I move from C (I) – D (II#)- G (V, effectively tonicizing G) – C (I), it sounds like I’ve stopped on the 4th degree. But as long as I do that repeatedly; using, texture and rhythm strategies you’ve described to tellSENTENCE VS PERIOD
Hi Jon,What are the main differences between a Sentence and a Period? I'm comparing to understand both forms better. I've found this explanation:"Schoenberg applied the term 'sentence' to a very specific structural type distinct from the antecedent-consequentperiod. In a sentence's first part, a statement of a 'basic motive' is followed by a 'complementary repetition' (e.g. the HOW TO COMPOSE MUSIC, PART 3: MELODY OR HARMONY FIRST Hi, I was looking at the musical stage where you show the tonic notes and then the dominant note (V). I don’t understand. The dominant note is the 5th degree of a musical scale; and on the first staff written on the top of the page, the dominant is noted as the 4th note.Details
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