Laura Ryan
Creating Melody
Slide Duration:Table of Contents
Section 1: Music Composition
Introduction to Composition
27m 49s
- Intro0:00
- Lesson Objectives0:07
- Melody Horizontal Presentation of Pitch0:15
- Melody of Yankee Doodle0:24
- Direction of Pitch0:48
- A Fifth1:24
- Major, Perfect, or Minor2:00
- Major/Minor Scale Derived Melody2:54
- Melody of Müller's3:15
- Why is it Minor?3:29
- Blues Scale Derived Melody4:16
- Blues Scale4:29
- Possibility of Blues5:04
- Harmony Verticalization of Pitch5:54
- What a Major Chord Verticalization Looks Like6:34
- What a Minor Chord Verticalization Looks Like6:35
- Consonance/Dissonance7:33
- Consonant I Chord7:41
- Consonant IV Chord7:58
- Dissonant V Chord8:07
- Dissonant VII Chord8:34
- Chord Types Tonic Class9:23
- Tonic Chords: I and vi9:32
- Sub Dominant Class Chords9:54
- IV Chord in C10:01
- ii Chord in C10:04
- Dominant Class Chords10:50
- V Chord in C10:54
- vii Chord in C10:58
- iii Chord in C11:04
- Example I: Create a Major Scale Derived Melody12:54
- Example II: Harmonize the Melody13:27
- Example III: Create a Minor Scale Derived Melody16:58
- Example IV: Harmonize the Melody19:11
- Example V: Create a Blues Scale Derived Melody21:27
- Example VI: Harmonize the Melody25:07
Circle of Fifths
20m 26s
- Intro0:00
- Lesson Objectives0:06
- C/a: Key of C in A Minor0:14
- No Sharps or Flats0:44
- Circle of Fifths0:30
- Key of C in A Minor0:40
- G/e: Key of G in an E Minor1:05
- 1 Sharp in G1:12
- Little Letters1:14
- D/b: Key of D in B Minor1:23
- 2 Sharps in D1:28
- Order of Sharps1:31
- Relative Minor is B1:58
- A/f#: Key of A in F# Minor2:01
- 3 Sharps in A2:06
- Relative Minor is F#2:07
- E/c# Key of E in C# Minor2:12
- Relative Minor is C#2:16
- 4 Sharps in E2:20
- B/g#: Key of B in G# Minor2:23
- Relative Minor is G#2:30
- 5 Sharps in B2:34
- F#/d#: Key of F# in D# Minor2:37
- Relative Minor is D#2:50
- 6 Sharps in F#2:55
- Db/Bb: Key of Db in Bb Minor3:02
- Circle of Fifths Approaching Flats3:11
- C# is the Same as Db3:15
- Relative Minor is Bb3:20
- 5 flats in Db3:25
- Ab/f: Key of Ab in F Minor3:27
- 4 flats in Ab3:38
- Relative Minor is F3:40
- Eb/c: Key of Eb in C Minor3:43
- 3 flats in Eb3:58
- Relative Minor is C4:00
- Bb/G: Key of Bb in G Minor4:03
- Relative Minor is G4:15
- 2 flats in Bb4:17
- F/d: Key of F in D Minor4:19
- 1 flat in F4:27
- Relative Minor is D4:28
- Pattern of Fifths4:45
- End Harmonic Notes5:22
- Example I: Write and Play C/a Arpeggio6:15
- Example II: Write and Play G/e Arpeggio7:44
- Example III: Write and Play D/b Arpeggio8:51
- Example IV: Write and Play A/f# Arpeggio10:13
- Example V: Write and Play E/c# Arpeggio11:15
- Example VI: Write and Play B/g# Arpeggio12:16
- Example VII: Write and Play F#/d# Arpeggio13:49
- Example VIII: Write and Play Db/Bb Arpeggio15:31
- Example IX: Write and Play Ab/f Arpeggio16:47
- Example X: Write and Play Eb/c Arpeggio17:57
- Example XI: Write and Play Bb/g Arpeggio18:45
- Example XII: Write and Play F/d Arpeggio19:23
Exploring Intervals
19m 17s
- Intro0:00
- Lesson Objectives0:07
- The Major 2nd0:28
- A Major 2nd is 2 Half Steps0:31
- The Tricky One0:50
- Major 3rd/Minor Third1:18
- A Major Third is 5 Half Steps1:28
- A Minor Third is 4 Half Steps1:37
- Perfect 4th/Perfect 5th2:28
- Writing Perfect 5ths3:38
- Writing Perfect 4ths3:53
- Major 6th4:04
- Writing Major 6ths4:07
- Inversion of a 3rd4:26
- Major 7th/Perfect Octave4:50
- A 7th Pulls You to a Perfect Octave5:00
- Listen to a 7th5:05
- Melody in Eine Kleine Nachtmusik5:30
- Writing Eine Kleine Nachtmusik5:42
- Looking at the Intervals6:13
- Melody in Eine Kleine Nachtmusik-cont-7:02
- Looking at the Intervals7:35
- Minor Thirds7:38
- Perfect Fifth7:58
- Example I: Write Melody Using M2nd and M3rd8:54
- Example II: Write a Melody Using P4th/M3rd10:08
- Example III: Write a Melody Using P5th/M6th11:49
- Example IV: Write a Melody Using P8th/M7th/M6th13:08
- Example V: Transposing Eine Kleine Nachtmusik to C14:44
- Example VI: Analyzing Twinkle Twinkle Little Star16:29
- Example VII: Transposing Twinkle Twinkle to F17:57
Further Intervallic Exploration
28m 44s
- Intro0:00
- Lesson Objectives0:28
- Minor 2nd0:35
- Enharmonically Written0:42
- Leads Your Ear in a Melody1:04
- Minor 3rd1:46
- 4 Half Steps2:00
- Never G#2:12
- Consistency with Key2:36
- Is Your Minor 3rd Correct?2:44
- Another Way to Verify Your Minor 3rd2:59
- Practice Your Ear Training3:09
- Minor 6th4:14
- What is a Minor 6th4:23
- Exploring Minor 6ths5:10
- Minor 7th5:54
- What is a Minor 7th5:56
- 7th Chords6:28
- Dominant 7th6:55
- Minor Triad7:12
- What is a Minor Triad7:16
- Minor Triads on the Keyboard7:45
- Ear Training for Major and Minor Intervals8:28
- Arpeggiate These Thirds9:10
- Write Arpeggiated Minor Thirds9:30
- Example I: Analyzing Intervals in Bar 1, Fur Elise11:09
- Example II: Bar 2, Fur Elise12:50
- Example III: Transposition of Fur Elise16:50
- Example IV: Left Hand Arpeggiation in Fur Elise18:08
- Example V: Arpeggiation in 'Alberti Bass' Style19:40
- Example VI: Alberti Bass in Mozart Piano Sonata K54521:11
- Example VII: Create a 2 Bar Alberti Bass Arpeggiation25:10
Consonance & Dissonance
33m 23s
- Intro0:00
- Lesson Objectives0:07
- Consonant Interval P1, P80:28
- P1 - Perfect 1st0:38
- P8 - Perfect Octave0:42
- Example: Write Octaves1:10
- Consonant Interval m3, M31:42
- m3 - Minor Third1:51
- M3 - Major Third2:09
- Consonant Interval P5, M63:14
- P5 - Perfect 5th3:18
- Listen to Perfect 5ths3:48
- M6 - Major 6th4:05
- 3rd and 6ths are Inversions of Another4:08
- Writing Major 6ths4:45
- Resolving, or Dissonant Intervals M2, P4, m65:12
- M2 - Major 2nd5:24
- P4 - Perfect 4th5:29
- m6 - Minor 6th5:43
- Writing These Intervals5:57
- Dissonant Intervals7:39
- m7, M78:39
- M7 - Major 7th8:54
- m7 - Minor 7th9:00
- Resolving These Intervals9:51
- Brief Review of 7th Chords10:57
- Dominant 7th11:30
- Major 7th12:05
- Minor 7th12:26
- Half Diminished 7th12:44
- Fully Diminished 7th13:18
- Listen to These 7th Chords14:00
- Roman Numeral Analysis15:07
- I715:21
- ii715:37
- iii716:03
- IV716:15
- V716:26
- vi716:36
- vii716:44
- Listen to These Chords16:50
- Example I: Play and Write P1, P818:31
- Example II: Play and Write m3, M319:08
- Example III: Play and Write P5, M619:59
- Example V: Resolve m6, m721:11
- Example VI: Resolve M723:50
- Example VII: Bach Prelude I BWV 84625:05
- Example VIII: Bach -cont.-28:24
- Example IX: Bach -cont.-31:38
Roman Numeral Analysis
28m 27s
- Intro0:00
- Lesson Objectives0:07
- I Chord Tonic0:50
- The I Chord in a Major Key is Called a Tonic0:51
- Written in Different Chords1:07
- Minor Tonic Chord1:15
- Tonic Chord In the Key of G1:20
- Tonic Chord in the Key of Bb1:44
- Roman Numerals Analysis Procedure1:55
- ii Chord Supertonic2:17
- The Supertonic2:25
- ii Chord in C is D2:51
- ii Will Move to the V Chord3:00
- Let's Listen to That3:26
- Root of a Chord3:50
- iii Chord Mediant4:05
- iii Resolves to the VI4:07
- Let's Listen to That4:36
- Written Out5:06
- The Mediant5:38
- IV Chord Subdominant5:55
- Subdominant6:09
- IV Resolves to V6:21
- Let's Listen to That6:30
- V Chord Dominant7:16
- How Do We Find It?7:21
- V Resolves to I7:48
- Different Voicings7:54
- Powerful Progressions9:42
- vi Chord Submediant10:07
- vi Resolves to Many Chords10:18
- The vi and The iii10:55
- Substitute vi for I11:16
- Playing These Chord Progressions11:24
- vii Chord12:55
- Leading Tone Chord12:59
- 7th Diminished13:20
- Three Minor Thirds Make a Diminished 7th13:38
- Example I: Create I/IV/V/I in C Major13:48
- Example II: Create I/IV/V/I in D Major15:00
- Example III: Create i/v/VII/i16:20
- Example IV: Create I/iii/V/vii/IV/V/I17:46
- Example V: Bach Prelude I BWV 84620:55
- Example VI: Further Analysis of Bach23:41
- Example VII: Bach -cont.-25:52
- Example VIII: Bach -cont.-27:27
Exploring Famous Melodies
35m 50s
- Intro0:00
- Lesson Objectives0:11
- Thus Spake Zarathustra (Strauss)0:38
- Characteristics of This Melody1:04
- Listen Briefly1:49
- Thus Spake Zarathustra (Strauss), cont.1:58
- Listen Briefly2:15
- Let's Write This Out2:33
- Let's Play It3:42
- Ride of the Valkyries (Wagner)4:14
- Characteristics of This Melody4:38
- Repetitive Rhythm vs. Tonal Pitch Change5:01
- Ride of the Valkyries -cont.-5:38
- Listen Briefly5:45
- Let's Write This Out6:12
- Examining The Intervals6:57
- Analyzing Music7:25
- Hallelujah (Handel)7:58
- Listen Briefly8:13
- Characteristics of This Melody8:32
- Watch This Melody Played on the Keyboard9:53
- Little Prelude in C (Bach)10:21
- Listen Briefly11:00
- Characteristics of This Melody11:25
- Little Prelude -cont.-12:38
- Listen Briefly to the Ending12:53
- Characteristics of This Melody14:11
- Watch This Melody Played on the Keyboard14:36
- Example I: Analyzing Thus Spake Zarathustra15:04
- Example II: Analyzing Ride of the Valkyries18:52
- Example III: Analyzing Hallelujah22:46
- Example IV: Analyzing Little Prelude26:22
- Example V: Transpose A Melody One Fifth Lower30:18
- Example VI: Transpose A Melody A Fifth Higher33:09
Creating Melody
24m 32s
- Intro0:00
- Lesson Objectives0:06
- 2 Bar Melody Using A Perfect Fifth As The Largest Interval: Melody 10:25
- Example Melody0:55
- Counting Intervals1:23
- Played on the Keyboard1:50
- The Third is a Qualifier1:57
- 2 Bar Melody Using A Major Sixth As The Largest Interval: Melody 22:27
- Example Melody2:41
- Counting Intervals3:09
- Played on the Keyboard4:02
- Change Rhythm to Melody 1, Use Only Quarter Notes And Half Notes4:24
- Original Melody 14:34
- Change the Rhythm4:45
- Played on the Keyboard5:33
- Change Rhythm To Melody 2, Speed Up The Rhythm6:23
- Using Quarter Notes or Shorter6:26
- Original Melody 26:57
- Change the Rhythm7:08
- Played on the Keyboard8:44
- Characteristics of the Changes9:20
- Example I: Create 2 Bar Melody Using Progression I/ii/V/I9:55
- Example II: Create 2 Bar Melody Using Progression i/III/V/i12:53
- Example III: Add Bass Line To Melody 116:06
- Example IV: Add Bass Line To Melody 218:49
Building Phrases & Form
28m 31s
- Intro0:00
- Lesson Objectives0:08
- Strophic Form AA0:35
- AA0:46
- Example of AA: Michael Row Your Boat Ashore0:53
- Let's Listen1:05
- Binary Form AB1:50
- AB1:52
- AB: Blowing In The Wind2:00
- Let's Listen2:55
- Analyzing This Melody3:15
- Binary Form3:42
- Ternary Form ABA or AABA4:18
- AABA: The Rock Star Form4:25
- Example of ABA: Yesterday4:42
- Let's Listen5:28
- Analyzing This Melody5:35
- Start Listening6:33
- Theme and Variations A A1 A2 A36:53
- A A1 A2 A36:56
- Example: Hot Cross Buns7:17
- Example: Ah! Vous Dirai-Je Maman7:55
- Example I: Create a Melody In Strophic Form9:16
- Example II: Create A Melody In Binary Form12:33
- Example III: Create A Melody In Ternary Form18:25
- Example IV: Create A Theme and Variation21:02
AABA in 50s/60s Song Form
18m 49s
- Intro0:00
- Lesson Objectives0:12
- Binary Form AABA I/vi/IV/V0:32
- AABA using I/vi/IV/V0:40
- Write Out 2 Measures1:34
- Let's Listen to A3:17
- AABA IV/I/IV/I/IV/I/V7 of V/V4:19
- B is Made up of IV/I/IV/I/IV/I/V7 of V/V4:20
- Write Out 2 Measures4:30
- Let's Listen to B6:00
- A = I/vi/IV/V6:45
- AABA6:55
- Communicating Your Chords7:04
- Example I: Transpose AABA Melody to C8:00
- Example II: AABA Melody -cont.-10:22
- Example III: AABA Melody -cont.-11:09
- Example IV: Adding Vocal Line To AABA Melody12:24
Further Roman Numeral Analysis
46m 28s
- Intro0:00
- Lesson Objectives0:09
- Bach Prelude BWV 998 Measure 10:18
- Write It Out0:24
- Key of D1:03
- Time Key of 12/81:08
- The Notes1:33
- Tonal Center of D1:51
- Shared Tonal Center of G2:03
- Bach Prelude BWV 998 Measure 22:28
- Write It Out2:30
- Staggered Entrances2:38
- Studying Contour Melodies3:04
- The Notes3:24
- Tonal Center of D3:42
- Chord Analysis3:46
- Bach Prelude BWV 998 Measure 34:28
- Rewriting the Key Signature4:35
- Write It Out4:30
- The Notes5:45
- Chord Analysis6:12
- Have a Listen6:56
- Bach Restates Same Rhythm In Different Keys8:05
- Bach Prelude BWV 998 Measure 48:19
- Rewriting the Key Signature8:22
- Write It Out8:33
- The Notes9:29
- Shifting to Key of A10:25
- Chord Analysis10:30
- Bach Prelude BWV 998 Measure 511:44
- Write It Out11:46
- New Key: A11:55
- Continue Writing12:40
- The Notes13:18
- Chord Analysis13:24
- V7 of V13:53
- Bach Prelude BWV 998 Measure 614:15
- Write It Out14:16
- The Notes15:14
- Chord Analysis15:22
- Bach Prelude BWV 998 Measure 716:16
- Write It Out16:22
- The Notes17:06
- Chord Analysis17:26
- Have a Listen19:01
- Bach Prelude BWV 998 Measure 820:08
- Write It Out20:13
- Play it Out20:40
- Example I: Chopin--Prelude 20 in C Minor Measure 122:56
- Example II: Chopin--Prelude 20 in C Minor Measure 229:45
- Example III: Chopin--Prelude 20 in C Minor Measure 335:30
- Example IV: Chopin Prelude--Prelude 20 in C Minor Measure 440:39
Voiceleading Principles
22m 32s
- Intro0:00
- Lesson Objectives0:06
- Principles of Part Writing0:20
- Soprano, Alto, Tenor, Bass0:28
- The Rules of SATB Part Writing0:47
- Rule Number One: Good Melody1:17
- Rule Number Two: Stay Within Range1:54
- Rule Number Three: Part of the Harmony2:23
- Rule Number Four: Keep Common Tones2:42
- An Example on the Keyboard3:00
- Rule Number Five: 7/73:50
- 7/7 Explained4:55
- Rule Number Six: Undesired Parellel Motion5:48
- Rule Six Explained6:08
- Ranges: Soprano6:52
- Range of the Soprano Voice7:00
- Rule Can Still Apply to Instruments Written for Soprano Part7:18
- Ranges: Alto7:33
- Range of the Alto Voice7:34
- Soprano and Alto Use Treble Clef7:39
- Ranges: Tenor7:56
- Range of the Tenor Voice7:57
- Overlapping Into Treble Clef8:05
- Ranges: Bass8:14
- Range of the Bass Voice8:15
- Types of Motion: Parallel8:22
- What is Parallel Motion8:28
- Same Direction, Same Intervals8:44
- Types of Motion: Similar9:00
- What is Similar Motion9:03
- Different Intervals!9:11
- Types of Motion: Contrary9:22
- What is Contrary Motion9:26
- Opposite Directions9:36
- Types of Motion: Oblique9:39
- What is Oblique Motion9:40
- One Voice Must Be Static9:49
- Procedures: Avoid Parallel Motion of P8, P5 and Unisons9:52
- Addressing Rule Number Six10:00
- Not Acceptable10:07
- Example I: Begin With a Good Melody10:43
- Example II: Write the Inner Voices One Chord at a Time12:22
- Example III: Stay Within Range of the Voices15:09
- Example IV: 4 Measure of SATB17:46
Orchestration: String
20m 5s
- Intro0:00
- Lesson Objectives0:07
- Bowed Strings: Violin0:25
- Range of the Violin0:45
- Techniques1:00
- Bowed String: Viola1:44
- Different Clef1:46
- Range of the Viola2:18
- Open Strings2:38
- What Are Open Strings?3:27
- Bowed Strings: Cello3:40
- Range of the Cello3:45
- Open Strings3:52
- Knowing Your Open Strings4:08
- Crossing Strings4:40
- Bowed Strings: Double Bass5:09
- Range5:10
- Open Strings5:49
- How Bowed Strings Instruments Work6:19
- Plucked Strings: Guitar7:28
- Bowed String Techniques Played7:32
- Range of the Guitar8:25
- Let's Have A Listen8:47
- Classical Guitar Is A Lot Of Melodic Plucking8:59
- Spanish Guitar Is A Lot of Chord Strumming9:14
- 6-12 Strings9:47
- Plucked Strings: Orchestral Harp9:58
- Versatility of the Harp10:01
- Percussion Instrument10:18
- Range of the Orchestral Harp10:31
- Example I: String Quartet Violin 110:58
- Example II: String Quartet Violin 212:30
- Example III: String Quartet Viola14:15
- Example IV: String Quartet Cello15:37
- Example V: Writing for Guitar Tablature16:58
- Example VI: Chord Symbols for Guitar18:27
Orchestration: Woodwind Family
44m 29s
- Intro0:00
- Lesson Objectives0:06
- Woodwinds: Piccolo, Flute, Alto Flute, Bass Flute0:18
- Range of the Piccolo0:22
- Qualities of the Piccolo0:33
- The Flute1:31
- Range of the Flute1:37
- Have a Listen at the Flute2:14
- Qualities of the Flute2:24
- The Alto and Bass Flute3:29
- Range of the Alto Flute3:33
- Sounds P4 Below Written Pitch3:45
- The Bass Flute4:08
- Qualities of the Bass Flute4:11
- Range of the Bass Flute4:25
- Woodwinds: Soprano Clarinet, Clarinet, Alto Clarinet, Bass Clarinet4:59
- The Soprano Clarinet5:02
- Sounds m3 Higher Than Written Pitch5:12
- Writing For Instruments That Sound Different From Written Pitch5:26
- Range of the Soprano Clarinet5:52
- Qualities of the Soprano Clarinet5:56
- The Bb and A Clarinet6:25
- Difference between Bb and A Clarinet6:43
- Qualities of the Clarinet6:53
- Range of the Bb Clarinet7:19
- Sounds m2 Below Written Pitch7:25
- The Alto and Bass Clarinet8:00
- Alto Clarinet is Rare8:06
- Range of the Bass Clarinet8:25
- Qualities of the Bass Clarinet8:37
- Sounds m2 Below Written Pitch9:10
- Woodwinds: Oboe, Cor Anglais, Bassoon, Contrabassoon9:27
- Double Reed Instruments9:33
- Cor Anglais = English Horn9:35
- Range of the Oboe9:50
- Qualities of the Oboe10:07
- The English Horn10:34
- Sounds P5 Below Written Pitch10:35
- Qualities of the English Horn10:55
- Range of the English Horn11:27
- The Bassoon and Contrabassoon11:35
- The Contrabassoon is Rare11:41
- Range of a Bassoon11:58
- Qualities of the Bassoon12:21
- Woodwinds: French Horn12:50
- About the French Horn12:55
- Qualities of the French Horn13:15
- Range of the French Horn13:33
- Sounds P5 Below Written Pitch13:49
- Example I: Mozart Quintet in Eb Copy and Play Flute Part on Keyboard14:37
- Example II: Mozart Quintet in Eb Copy and Play Oboe Part on Keyboard19:03
- Example III: Mozart Quintet in Eb Copy and Play Clarinet Part on Keyboard22:26
- Example IV: Mozart Quintet in Eb Copy and Play Horn Part on Keyboard23:13
- Example V: Mozart Quintet in Eb Copy and Play Bassoon Part on Keyboard24:07
- Example VI: Create 4 Bar Woodwind Quintet Excerpt32:45
Orchestra Percussion
27m 29s
- Intro0:00
- Lesson Objectives0:06
- Tuned Orchestra Percussion: Timpani0:22
- Percussion0:24
- The Timpani1:01
- Range of the 20 Timpani1:42
- Range of the 23 Timpani1:50
- Range of the 26-25 Timpani2:41
- Range of the 29-28 Timpani2:45
- Range of the 32-30 Timpani2:47
- Big Instruments Produce Bigger Sound2:48
- Writing for Timpani2:57
- A Fill3:11
- Tremelo3:21
- A Sonata3:42
- Sonata For Solo Timpani Excerpt3:52
- Finding a Timpani4:36
- Let's Listen to This Sonata (On Keyboard)5:20
- Glockenspiel and Xylophone5:51
- What Are They?5:58
- About the Glockenspiel6:15
- Range of the Glockenspiel6:23
- Qualities of the Glockenspiel6:53
- The Xylophone7:17
- Range of the Xylophone7:25
- Qualities of the Xylophone8:01
- Marimba and Vibraphone8:37
- Instruments That Use Resonator Tubes8:39
- Differences and Similarities9:03
- The Marimba9:23
- The Vibraphone9:52
- Writing for Both10:09
- Bass Drum, Snare, Tom-Tom, Cymbal10:35
- Percussion Instruments10:38
- The Bass Drum11:00
- The Snare Drum11:23
- Writing for Bass Drum11:45
- The Tom-Tom12:03
- Writing for Numerous Percussion Instruments12:15
- Floor Toms and Mounted Toms12:40
- The Cymbal13:02
- Writing for Cymbal13:19
- Piano, Harpsichord, Organ14:12
- About The Harpsichord14:33
- Qualities of the Harpsichord14:50
- The Organ15:06
- Qualities of the Organ15:14
- The Piano with Orchestra15:48
- Example of a Piano Part in an Orchestra Piece16:13
- Writing for Piano with Orchestra17:40
- Example I: Composing for Percussion Ensemble18:27
- Example II: Percussion Ensemble -cont.-21:09
- Example III: Percussion Ensemble -cont.-23:36
Score Reading
40m 37s
- Intro0:00
- Lesson Objectives0:06
- Mozart - Symphony 40 in G Minor0:15
- Written in 17880:21
- Instruments In This Piece0:30
- Setting Up The String Parts0:51
- Time Signature2:08
- Writing The Score2:37
- Have a Listen5:48
- Examining the Chords7:10
- Mozart -cont.-7:53
- Writing The Wind Parts8:00
- The Clarinet Part8:53
- Writing the Flute Part9:24
- Usually the Flute Part is Above the Clarinet9:30
- The Clarinet Part9:57
- Bach Overture in D Major10:31
- The Winds of This Piece10:40
- Key and Time Signature11:36
- Writing The Score12:11
- Doubling a Part14:00
- Score Reading and Analyzing15:04
- Have a Listen15:19
- Bach -cont.-16:51
- Continuo16:52
- Cello and Bass Part17:10
- Beethoven - Symphony 7, Mvt. II17:40
- Writing The Wind Parts17:54
- Setting Up The Score18:33
- Writing the Score19:10
- Adding Dyanmics19:42
- Score Writing19:50
- Chord Construction Through Parts21:17
- Have a Listen22:00
- Beethoven -cont.-22:58
- Setting Up The Score23:05
- Writing The Score22:33
- Have a Listen24:10
- Example I: Creating an Orchestral Score24:37
- Example II: Creating an Orchestral Score27:29
- Example III: Creating an Orchestral Score31:25
- Example IV: Creating an Orchestral Score34:58
- Example V: Condensing a Score37:40
Orchestral Brass
24m 28s
- Intro0:00
- Lesson Objectives0:05
- Trumpet0:14
- Bb Key0:51
- Range of the Trumpet1:00
- Sounds M2 Below Written Pitch1:11
- Transposing to the Key of C1:22
- Trombone2:06
- About the Trombone2:10
- Range of the Trombone2:32
- Trombone Can Use Alto Clef2:38
- Examples of Brass Solos2:52
- Trumpet Solo3:09
- Let's Listen to the Trumpet Solo4:12
- Trombone Solo4:50
- Have Your Melodies Played5:32
- Let's Listen to the Trombone Solo6:27
- French Horn7:25
- Sounds P5 Below Written Pitch7:34
- Qualities of the French Horn7:49
- About the French Horn8:05
- French Horn Solo8:32
- Resting for Numerous Bars8:46
- Common Time8:56
- Let's Listen to this French Horn Solo10:00
- Tuba10:44
- About the Tuba10:48
- Range of the Tuba11:23
- Tuba Melody11:56
- Let's Listen to this Tuba Melody13:18
- Example I: Composing for Brass Quintet Trumpet I14:02
- Example II: Composing for Brass Quintet Trumpet II15:51
- Example III: Composing for Brass Quintet Horn17:11
- Example IV: Composing for Brass Quintet Trombone17:52
- Example V: Composing for Brass Quintet Tuba18:37
Rock Song Form
24m 44s
- Intro0:00
- Lesson Objectives0:05
- Rock is Derived from Blues0:18
- 12 Bar Blues Form0:32
- 3 Phrases in the 12 Bar Form0:39
- The 3 Phrases0:51
- Common Blues Chord Progression1:23
- Let's Listen to an Example1:40
- 16 Bar Blues Form2:43
- 4 Phrases in the 16 Bar Form2:53
- The 4 Phrases2:57
- Common Blues Chord Progression3:09
- The Difference Between 12 and 16 Bar Form3:22
- Another Common Chord Progression3:40
- Let's Listen to an Example4:16
- 12 Bar Blues: Elvis Presley Hound Dog5:27
- Write Out the Lyrics5:45
- The First Measure6:14
- The Second Measure6:40
- Played on the Keyboard7:33
- The Last Measure7:44
- All 12 Bars8:17
- 16 Bar Blues: Surfin USA9:00
- By the Beach Boys9:06
- The First Measure9:19
- The Second Measure9:55
- The Third Measure10:40
- The Last Measure11:12
- All 16 Bars11:40
- Played on the Keyboard12:21
- Example I: Create a 12 Bar Blues Form13:28
- Example II: 12 Bar Blues -cont.-15:36
- Example III: Create a 16 Bar Blues Form18:45
- Example IV: 16 Bar Blues -cont.-21:23
Form in Modern Pop
27m 43s
- Intro0:00
- Lesson Objectives0:06
- Verse/Chorus/Mid 8 or Bridge/Outro0:17
- Parts of a Pop Song0:24
- Some Similarities with Blues Forms0:40
- The 12 Bar Blues0:49
- Another Possible Pop Song Structure1:18
- Very General Pop Song Structure1:40
- Pre-Chorus2:07
- What is a Pre-Chorus2:10
- What a Pre-Chorus Does2:23
- Finding A Pre-Chorus2:31
- Write a Pre-Chorus3:34
- Use the Circle of Fifths6:34
- Use Common Tones6:47
- Ways to Find Chords for Pre-Chorus7:35
- Pop Instrumentation8:19
- Typical Pop Instruments8:24
- Ballad9:06
- Tempo: BPM = 1169:19
- Beats Per Minute9:22
- Different BPMs9:33
- How to Find 116BPM9:49
- Example I: Analyze Someone Like You, Adele10:02
- Example II: Someone Like You -cont.-14:25
- Example III: Someone Like You -cont.-16:01
- Example IV: Someone Like You -cont.-20:52
Further Form in Modern Pop
27m 16s
- Intro0:00
- Lesson Objectives0:06
- Exploring I ii vi IV Progression0:17
- Exploring This Progression in Bb0:27
- Played on the Keyboard0:33
- Write it Out1:24
- Try it in a Different Key2:19
- Lyric Pacing3:09
- Katy Perry's Firework3:14
- Analyzing the Pacing3:43
- The Pre-Chorus4:06
- Analyzing the Pacing4:27
- Baby You're a Firework4:59
- Make 'Em Go Oh Oh Oh5:14
- Firework's Lyric Pacing5:24
- Melodic Line5:41
- The Melodic Line5:58
- Write it Out6:40
- The Intervals7:03
- This is the Melodic Line7:42
- The Pre-Chorus8:50
- On the Keyboard9:00
- Pre-Chorus Melody9:48
- Example I: Analyze Verse 1, Firework10:43
- Example II: Analyze Verse II, Firework14:46
- Example III: Analyze Pre-Chorus, Firework17:56
- Example IV: Analyze Chorus, Firework22:33
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For more information, please see full course syllabus of Music Composition
For more information, please see full course syllabus of Music Composition
Music Composition Creating Melody
Lecture Description
In this lesson, our instructor Laura Ryan walks us through creating an original melody using different rhymthic patterns, strategic intervals, dynamic chord progressions, and supportive bass lines.
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