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Lecture Comments (6)

0 answers

Post by Tamrat Regasa on September 15, 2015

Very often, the topics in the honky-tonk music include heartbreak and sadness, often more emotional and less sentimental compared to country crooners or other styles. The vocal styles often included vocal cracks, blue notes, and melismas. The use of a fiddle, lead guitar, steel guitar, and piano is present in most of these types of songs. Can you share at least two country songs with these characteristics and discuss your reasons for your selection. I am new for these subject and don't know much about music but i am taking the class

1 answer

Last reply by: devin schumacher
Thu May 1, 2014 12:11 AM

Post by Professor Ryan on August 5, 2013

Hi Beverly,

Thanks for your question.  Let me address the issues you have presented.

1. When I harmonized the G scale melody with a C scale harmony, I was trying to illustrate the unique harmonic language that even beginning composition students may access by stretching their minds and imaginations.  The most famous, unforgettable and gorgeous melodies came from experimentation between different keys.  If you feel confused about harmonizing a G melody with chords from the key of C (these two keys share many of the same notes) , then you should definitely go back and take the Intro to Music Theory course.  There is too much material to cover in this Intro to Composition course to address basic questions such as harmonizing a melody using different keys.

2.  I understand about the manuscript paper being small.  We have been experimenting with various sizes and we will take your input very seriously.  

Again, this course is not for 'review'.  The understanding is that the student should already be familiar with chords and can easily take my verbal instruction along with what is being presented visually.  There is not enough time to exhaustively review very basic concepts of music composition that should already be familiar to a student of this course.  In the introduction to this course, I explain that if the student feels at all bewildered, frustrated or confused, or if the course goes too fast, that they should go back and take the Intro to Music Theory course.

3. MOST IMPORTANT:  Keep writing music and being inspired by music!  Keep studying and don't give up :)
Every composers voice is important.

Sincerely,
Prof. Ryan

0 answers

Post by Beverly Terry on August 5, 2013

I would really love to know how to compose music, but this lesson was very confusing. I know a little theory and would be able to follow if things were a little clearer. In an early example: Create a Major Scale Derived Melody, you said that we were using the G scale, but then chose the chords for the harmony from the C scale. That was very confusing.

The manuscript paper you are using is too small for me to follow the markings. The notes of the chord names were not presented in a clear and easy-to-follow manner. It would have only taken a minute or two for you to review those things you said the student should know.

I have been writing songs most of my life. I love music and have had a difficult time finding someone that I could learn from. I am willing to do whatever is necessary to get a good understanding of what this course has to offer. I know a lot about the major scale and will study the minor scale at length before I return for the next lesson.

1 answer

Last reply by: Professor Ryan
Mon Aug 5, 2013 9:03 PM

Post by suresh Mohanadas on July 28, 2013

Where are the lecture notes?
When you showed to construct a blues scale, do you want me to rewind and pause and take notes, how to construct a blues scale?
Thanks,

Introduction to Composition

  • Overview of:
    • Melody Horizontal Presentation of Pitch
    • Major/ Minor Scale Derived Melody
    • Blues Scale
    • Harmony Verticalization of Pitch
    • Consonance & Dissonance
    • Chord Class

Introduction to Composition

Lecture Slides are screen-captured images of important points in the lecture. Students can download and print out these lecture slide images to do practice problems as well as take notes while watching the lecture.

  • Intro 0:00
  • Lesson Objectives 0:07
  • Melody Horizontal Presentation of Pitch 0:15
    • Melody of Yankee Doodle
    • Direction of Pitch
    • A Fifth
    • Major, Perfect, or Minor
  • Major/Minor Scale Derived Melody 2:54
    • Melody of Müller's
    • Why is it Minor?
  • Blues Scale Derived Melody 4:16
    • Blues Scale
    • Possibility of Blues
  • Harmony Verticalization of Pitch 5:54
    • What a Major Chord Verticalization Looks Like
    • What a Minor Chord Verticalization Looks Like
  • Consonance/Dissonance 7:33
    • Consonant I Chord
    • Consonant IV Chord
    • Dissonant V Chord
    • Dissonant VII Chord
  • Chord Types Tonic Class 9:23
    • Tonic Chords: I and vi
  • Sub Dominant Class Chords 9:54
    • IV Chord in C
    • ii Chord in C
  • Dominant Class Chords 10:50
    • V Chord in C
    • vii Chord in C
    • iii Chord in C
  • Example I: Create a Major Scale Derived Melody 12:54
  • Example II: Harmonize the Melody 13:27
  • Example III: Create a Minor Scale Derived Melody 16:58
  • Example IV: Harmonize the Melody 19:11
  • Example V: Create a Blues Scale Derived Melody 21:27
  • Example VI: Harmonize the Melody 25:07

Related Books

Laura Ryan

Laura Ryan

Introduction to Composition

Slide Duration:

Table of Contents

Section 1: Music Composition
Introduction to Composition

27m 49s

Intro
0:00
Lesson Objectives
0:07
Melody Horizontal Presentation of Pitch
0:15
Melody of Yankee Doodle
0:24
Direction of Pitch
0:48
A Fifth
1:24
Major, Perfect, or Minor
2:00
Major/Minor Scale Derived Melody
2:54
Melody of Müller's
3:15
Why is it Minor?
3:29
Blues Scale Derived Melody
4:16
Blues Scale
4:29
Possibility of Blues
5:04
Harmony Verticalization of Pitch
5:54
What a Major Chord Verticalization Looks Like
6:34
What a Minor Chord Verticalization Looks Like
6:35
Consonance/Dissonance
7:33
Consonant I Chord
7:41
Consonant IV Chord
7:58
Dissonant V Chord
8:07
Dissonant VII Chord
8:34
Chord Types Tonic Class
9:23
Tonic Chords: I and vi
9:32
Sub Dominant Class Chords
9:54
IV Chord in C
10:01
ii Chord in C
10:04
Dominant Class Chords
10:50
V Chord in C
10:54
vii Chord in C
10:58
iii Chord in C
11:04
Example I: Create a Major Scale Derived Melody
12:54
Example II: Harmonize the Melody
13:27
Example III: Create a Minor Scale Derived Melody
16:58
Example IV: Harmonize the Melody
19:11
Example V: Create a Blues Scale Derived Melody
21:27
Example VI: Harmonize the Melody
25:07
Circle of Fifths

20m 26s

Intro
0:00
Lesson Objectives
0:06
C/a: Key of C in A Minor
0:14
No Sharps or Flats
0:44
Circle of Fifths
0:30
Key of C in A Minor
0:40
G/e: Key of G in an E Minor
1:05
1 Sharp in G
1:12
Little Letters
1:14
D/b: Key of D in B Minor
1:23
2 Sharps in D
1:28
Order of Sharps
1:31
Relative Minor is B
1:58
A/f#: Key of A in F# Minor
2:01
3 Sharps in A
2:06
Relative Minor is F#
2:07
E/c# Key of E in C# Minor
2:12
Relative Minor is C#
2:16
4 Sharps in E
2:20
B/g#: Key of B in G# Minor
2:23
Relative Minor is G#
2:30
5 Sharps in B
2:34
F#/d#: Key of F# in D# Minor
2:37
Relative Minor is D#
2:50
6 Sharps in F#
2:55
Db/Bb: Key of Db in Bb Minor
3:02
Circle of Fifths Approaching Flats
3:11
C# is the Same as Db
3:15
Relative Minor is Bb
3:20
5 flats in Db
3:25
Ab/f: Key of Ab in F Minor
3:27
4 flats in Ab
3:38
Relative Minor is F
3:40
Eb/c: Key of Eb in C Minor
3:43
3 flats in Eb
3:58
Relative Minor is C
4:00
Bb/G: Key of Bb in G Minor
4:03
Relative Minor is G
4:15
2 flats in Bb
4:17
F/d: Key of F in D Minor
4:19
1 flat in F
4:27
Relative Minor is D
4:28
Pattern of Fifths
4:45
End Harmonic Notes
5:22
Example I: Write and Play C/a Arpeggio
6:15
Example II: Write and Play G/e Arpeggio
7:44
Example III: Write and Play D/b Arpeggio
8:51
Example IV: Write and Play A/f# Arpeggio
10:13
Example V: Write and Play E/c# Arpeggio
11:15
Example VI: Write and Play B/g# Arpeggio
12:16
Example VII: Write and Play F#/d# Arpeggio
13:49
Example VIII: Write and Play Db/Bb Arpeggio
15:31
Example IX: Write and Play Ab/f Arpeggio
16:47
Example X: Write and Play Eb/c Arpeggio
17:57
Example XI: Write and Play Bb/g Arpeggio
18:45
Example XII: Write and Play F/d Arpeggio
19:23
Exploring Intervals

19m 17s

Intro
0:00
Lesson Objectives
0:07
The Major 2nd
0:28
A Major 2nd is 2 Half Steps
0:31
The Tricky One
0:50
Major 3rd/Minor Third
1:18
A Major Third is 5 Half Steps
1:28
A Minor Third is 4 Half Steps
1:37
Perfect 4th/Perfect 5th
2:28
Writing Perfect 5ths
3:38
Writing Perfect 4ths
3:53
Major 6th
4:04
Writing Major 6ths
4:07
Inversion of a 3rd
4:26
Major 7th/Perfect Octave
4:50
A 7th Pulls You to a Perfect Octave
5:00
Listen to a 7th
5:05
Melody in Eine Kleine Nachtmusik
5:30
Writing Eine Kleine Nachtmusik
5:42
Looking at the Intervals
6:13
Melody in Eine Kleine Nachtmusik-cont-
7:02
Looking at the Intervals
7:35
Minor Thirds
7:38
Perfect Fifth
7:58
Example I: Write Melody Using M2nd and M3rd
8:54
Example II: Write a Melody Using P4th/M3rd
10:08
Example III: Write a Melody Using P5th/M6th
11:49
Example IV: Write a Melody Using P8th/M7th/M6th
13:08
Example V: Transposing Eine Kleine Nachtmusik to C
14:44
Example VI: Analyzing Twinkle Twinkle Little Star
16:29
Example VII: Transposing Twinkle Twinkle to F
17:57
Further Intervallic Exploration

28m 44s

Intro
0:00
Lesson Objectives
0:28
Minor 2nd
0:35
Enharmonically Written
0:42
Leads Your Ear in a Melody
1:04
Minor 3rd
1:46
4 Half Steps
2:00
Never G#
2:12
Consistency with Key
2:36
Is Your Minor 3rd Correct?
2:44
Another Way to Verify Your Minor 3rd
2:59
Practice Your Ear Training
3:09
Minor 6th
4:14
What is a Minor 6th
4:23
Exploring Minor 6ths
5:10
Minor 7th
5:54
What is a Minor 7th
5:56
7th Chords
6:28
Dominant 7th
6:55
Minor Triad
7:12
What is a Minor Triad
7:16
Minor Triads on the Keyboard
7:45
Ear Training for Major and Minor Intervals
8:28
Arpeggiate These Thirds
9:10
Write Arpeggiated Minor Thirds
9:30
Example I: Analyzing Intervals in Bar 1, Fur Elise
11:09
Example II: Bar 2, Fur Elise
12:50
Example III: Transposition of Fur Elise
16:50
Example IV: Left Hand Arpeggiation in Fur Elise
18:08
Example V: Arpeggiation in 'Alberti Bass' Style
19:40
Example VI: Alberti Bass in Mozart Piano Sonata K545
21:11
Example VII: Create a 2 Bar Alberti Bass Arpeggiation
25:10
Consonance & Dissonance

33m 23s

Intro
0:00
Lesson Objectives
0:07
Consonant Interval P1, P8
0:28
P1 - Perfect 1st
0:38
P8 - Perfect Octave
0:42
Example: Write Octaves
1:10
Consonant Interval m3, M3
1:42
m3 - Minor Third
1:51
M3 - Major Third
2:09
Consonant Interval P5, M6
3:14
P5 - Perfect 5th
3:18
Listen to Perfect 5ths
3:48
M6 - Major 6th
4:05
3rd and 6ths are Inversions of Another
4:08
Writing Major 6ths
4:45
Resolving, or Dissonant Intervals M2, P4, m6
5:12
M2 - Major 2nd
5:24
P4 - Perfect 4th
5:29
m6 - Minor 6th
5:43
Writing These Intervals
5:57
Dissonant Intervals
7:39
m7, M7
8:39
M7 - Major 7th
8:54
m7 - Minor 7th
9:00
Resolving These Intervals
9:51
Brief Review of 7th Chords
10:57
Dominant 7th
11:30
Major 7th
12:05
Minor 7th
12:26
Half Diminished 7th
12:44
Fully Diminished 7th
13:18
Listen to These 7th Chords
14:00
Roman Numeral Analysis
15:07
I7
15:21
ii7
15:37
iii7
16:03
IV7
16:15
V7
16:26
vi7
16:36
vii7
16:44
Listen to These Chords
16:50
Example I: Play and Write P1, P8
18:31
Example II: Play and Write m3, M3
19:08
Example III: Play and Write P5, M6
19:59
Example V: Resolve m6, m7
21:11
Example VI: Resolve M7
23:50
Example VII: Bach Prelude I BWV 846
25:05
Example VIII: Bach -cont.-
28:24
Example IX: Bach -cont.-
31:38
Roman Numeral Analysis

28m 27s

Intro
0:00
Lesson Objectives
0:07
I Chord Tonic
0:50
The I Chord in a Major Key is Called a Tonic
0:51
Written in Different Chords
1:07
Minor Tonic Chord
1:15
Tonic Chord In the Key of G
1:20
Tonic Chord in the Key of Bb
1:44
Roman Numerals Analysis Procedure
1:55
ii Chord Supertonic
2:17
The Supertonic
2:25
ii Chord in C is D
2:51
ii Will Move to the V Chord
3:00
Let's Listen to That
3:26
Root of a Chord
3:50
iii Chord Mediant
4:05
iii Resolves to the VI
4:07
Let's Listen to That
4:36
Written Out
5:06
The Mediant
5:38
IV Chord Subdominant
5:55
Subdominant
6:09
IV Resolves to V
6:21
Let's Listen to That
6:30
V Chord Dominant
7:16
How Do We Find It?
7:21
V Resolves to I
7:48
Different Voicings
7:54
Powerful Progressions
9:42
vi Chord Submediant
10:07
vi Resolves to Many Chords
10:18
The vi and The iii
10:55
Substitute vi for I
11:16
Playing These Chord Progressions
11:24
vii Chord
12:55
Leading Tone Chord
12:59
7th Diminished
13:20
Three Minor Thirds Make a Diminished 7th
13:38
Example I: Create I/IV/V/I in C Major
13:48
Example II: Create I/IV/V/I in D Major
15:00
Example III: Create i/v/VII/i
16:20
Example IV: Create I/iii/V/vii/IV/V/I
17:46
Example V: Bach Prelude I BWV 846
20:55
Example VI: Further Analysis of Bach
23:41
Example VII: Bach -cont.-
25:52
Example VIII: Bach -cont.-
27:27
Exploring Famous Melodies

35m 50s

Intro
0:00
Lesson Objectives
0:11
Thus Spake Zarathustra (Strauss)
0:38
Characteristics of This Melody
1:04
Listen Briefly
1:49
Thus Spake Zarathustra (Strauss), cont.
1:58
Listen Briefly
2:15
Let's Write This Out
2:33
Let's Play It
3:42
Ride of the Valkyries (Wagner)
4:14
Characteristics of This Melody
4:38
Repetitive Rhythm vs. Tonal Pitch Change
5:01
Ride of the Valkyries -cont.-
5:38
Listen Briefly
5:45
Let's Write This Out
6:12
Examining The Intervals
6:57
Analyzing Music
7:25
Hallelujah (Handel)
7:58
Listen Briefly
8:13
Characteristics of This Melody
8:32
Watch This Melody Played on the Keyboard
9:53
Little Prelude in C (Bach)
10:21
Listen Briefly
11:00
Characteristics of This Melody
11:25
Little Prelude -cont.-
12:38
Listen Briefly to the Ending
12:53
Characteristics of This Melody
14:11
Watch This Melody Played on the Keyboard
14:36
Example I: Analyzing Thus Spake Zarathustra
15:04
Example II: Analyzing Ride of the Valkyries
18:52
Example III: Analyzing Hallelujah
22:46
Example IV: Analyzing Little Prelude
26:22
Example V: Transpose A Melody One Fifth Lower
30:18
Example VI: Transpose A Melody A Fifth Higher
33:09
Creating Melody

24m 32s

Intro
0:00
Lesson Objectives
0:06
2 Bar Melody Using A Perfect Fifth As The Largest Interval: Melody 1
0:25
Example Melody
0:55
Counting Intervals
1:23
Played on the Keyboard
1:50
The Third is a Qualifier
1:57
2 Bar Melody Using A Major Sixth As The Largest Interval: Melody 2
2:27
Example Melody
2:41
Counting Intervals
3:09
Played on the Keyboard
4:02
Change Rhythm to Melody 1, Use Only Quarter Notes And Half Notes
4:24
Original Melody 1
4:34
Change the Rhythm
4:45
Played on the Keyboard
5:33
Change Rhythm To Melody 2, Speed Up The Rhythm
6:23
Using Quarter Notes or Shorter
6:26
Original Melody 2
6:57
Change the Rhythm
7:08
Played on the Keyboard
8:44
Characteristics of the Changes
9:20
Example I: Create 2 Bar Melody Using Progression I/ii/V/I
9:55
Example II: Create 2 Bar Melody Using Progression i/III/V/i
12:53
Example III: Add Bass Line To Melody 1
16:06
Example IV: Add Bass Line To Melody 2
18:49
Building Phrases & Form

28m 31s

Intro
0:00
Lesson Objectives
0:08
Strophic Form AA
0:35
AA
0:46
Example of AA: Michael Row Your Boat Ashore
0:53
Let's Listen
1:05
Binary Form AB
1:50
AB
1:52
AB: Blowing In The Wind
2:00
Let's Listen
2:55
Analyzing This Melody
3:15
Binary Form
3:42
Ternary Form ABA or AABA
4:18
AABA: The Rock Star Form
4:25
Example of ABA: Yesterday
4:42
Let's Listen
5:28
Analyzing This Melody
5:35
Start Listening
6:33
Theme and Variations A A1 A2 A3
6:53
A A1 A2 A3
6:56
Example: Hot Cross Buns
7:17
Example: Ah! Vous Dirai-Je Maman
7:55
Example I: Create a Melody In Strophic Form
9:16
Example II: Create A Melody In Binary Form
12:33
Example III: Create A Melody In Ternary Form
18:25
Example IV: Create A Theme and Variation
21:02
AABA in 50s/60s Song Form

18m 49s

Intro
0:00
Lesson Objectives
0:12
Binary Form AABA I/vi/IV/V
0:32
AABA using I/vi/IV/V
0:40
Write Out 2 Measures
1:34
Let's Listen to A
3:17
AABA IV/I/IV/I/IV/I/V7 of V/V
4:19
B is Made up of IV/I/IV/I/IV/I/V7 of V/V
4:20
Write Out 2 Measures
4:30
Let's Listen to B
6:00
A = I/vi/IV/V
6:45
AABA
6:55
Communicating Your Chords
7:04
Example I: Transpose AABA Melody to C
8:00
Example II: AABA Melody -cont.-
10:22
Example III: AABA Melody -cont.-
11:09
Example IV: Adding Vocal Line To AABA Melody
12:24
Further Roman Numeral Analysis

46m 28s

Intro
0:00
Lesson Objectives
0:09
Bach Prelude BWV 998 Measure 1
0:18
Write It Out
0:24
Key of D
1:03
Time Key of 12/8
1:08
The Notes
1:33
Tonal Center of D
1:51
Shared Tonal Center of G
2:03
Bach Prelude BWV 998 Measure 2
2:28
Write It Out
2:30
Staggered Entrances
2:38
Studying Contour Melodies
3:04
The Notes
3:24
Tonal Center of D
3:42
Chord Analysis
3:46
Bach Prelude BWV 998 Measure 3
4:28
Rewriting the Key Signature
4:35
Write It Out
4:30
The Notes
5:45
Chord Analysis
6:12
Have a Listen
6:56
Bach Restates Same Rhythm In Different Keys
8:05
Bach Prelude BWV 998 Measure 4
8:19
Rewriting the Key Signature
8:22
Write It Out
8:33
The Notes
9:29
Shifting to Key of A
10:25
Chord Analysis
10:30
Bach Prelude BWV 998 Measure 5
11:44
Write It Out
11:46
New Key: A
11:55
Continue Writing
12:40
The Notes
13:18
Chord Analysis
13:24
V7 of V
13:53
Bach Prelude BWV 998 Measure 6
14:15
Write It Out
14:16
The Notes
15:14
Chord Analysis
15:22
Bach Prelude BWV 998 Measure 7
16:16
Write It Out
16:22
The Notes
17:06
Chord Analysis
17:26
Have a Listen
19:01
Bach Prelude BWV 998 Measure 8
20:08
Write It Out
20:13
Play it Out
20:40
Example I: Chopin--Prelude 20 in C Minor Measure 1
22:56
Example II: Chopin--Prelude 20 in C Minor Measure 2
29:45
Example III: Chopin--Prelude 20 in C Minor Measure 3
35:30
Example IV: Chopin Prelude--Prelude 20 in C Minor Measure 4
40:39
Voiceleading Principles

22m 32s

Intro
0:00
Lesson Objectives
0:06
Principles of Part Writing
0:20
Soprano, Alto, Tenor, Bass
0:28
The Rules of SATB Part Writing
0:47
Rule Number One: Good Melody
1:17
Rule Number Two: Stay Within Range
1:54
Rule Number Three: Part of the Harmony
2:23
Rule Number Four: Keep Common Tones
2:42
An Example on the Keyboard
3:00
Rule Number Five: 7/7
3:50
7/7 Explained
4:55
Rule Number Six: Undesired Parellel Motion
5:48
Rule Six Explained
6:08
Ranges: Soprano
6:52
Range of the Soprano Voice
7:00
Rule Can Still Apply to Instruments Written for Soprano Part
7:18
Ranges: Alto
7:33
Range of the Alto Voice
7:34
Soprano and Alto Use Treble Clef
7:39
Ranges: Tenor
7:56
Range of the Tenor Voice
7:57
Overlapping Into Treble Clef
8:05
Ranges: Bass
8:14
Range of the Bass Voice
8:15
Types of Motion: Parallel
8:22
What is Parallel Motion
8:28
Same Direction, Same Intervals
8:44
Types of Motion: Similar
9:00
What is Similar Motion
9:03
Different Intervals!
9:11
Types of Motion: Contrary
9:22
What is Contrary Motion
9:26
Opposite Directions
9:36
Types of Motion: Oblique
9:39
What is Oblique Motion
9:40
One Voice Must Be Static
9:49
Procedures: Avoid Parallel Motion of P8, P5 and Unisons
9:52
Addressing Rule Number Six
10:00
Not Acceptable
10:07
Example I: Begin With a Good Melody
10:43
Example II: Write the Inner Voices One Chord at a Time
12:22
Example III: Stay Within Range of the Voices
15:09
Example IV: 4 Measure of SATB
17:46
Orchestration: String

20m 5s

Intro
0:00
Lesson Objectives
0:07
Bowed Strings: Violin
0:25
Range of the Violin
0:45
Techniques
1:00
Bowed String: Viola
1:44
Different Clef
1:46
Range of the Viola
2:18
Open Strings
2:38
What Are Open Strings?
3:27
Bowed Strings: Cello
3:40
Range of the Cello
3:45
Open Strings
3:52
Knowing Your Open Strings
4:08
Crossing Strings
4:40
Bowed Strings: Double Bass
5:09
Range
5:10
Open Strings
5:49
How Bowed Strings Instruments Work
6:19
Plucked Strings: Guitar
7:28
Bowed String Techniques Played
7:32
Range of the Guitar
8:25
Let's Have A Listen
8:47
Classical Guitar Is A Lot Of Melodic Plucking
8:59
Spanish Guitar Is A Lot of Chord Strumming
9:14
6-12 Strings
9:47
Plucked Strings: Orchestral Harp
9:58
Versatility of the Harp
10:01
Percussion Instrument
10:18
Range of the Orchestral Harp
10:31
Example I: String Quartet Violin 1
10:58
Example II: String Quartet Violin 2
12:30
Example III: String Quartet Viola
14:15
Example IV: String Quartet Cello
15:37
Example V: Writing for Guitar Tablature
16:58
Example VI: Chord Symbols for Guitar
18:27
Orchestration: Woodwind Family

44m 29s

Intro
0:00
Lesson Objectives
0:06
Woodwinds: Piccolo, Flute, Alto Flute, Bass Flute
0:18
Range of the Piccolo
0:22
Qualities of the Piccolo
0:33
The Flute
1:31
Range of the Flute
1:37
Have a Listen at the Flute
2:14
Qualities of the Flute
2:24
The Alto and Bass Flute
3:29
Range of the Alto Flute
3:33
Sounds P4 Below Written Pitch
3:45
The Bass Flute
4:08
Qualities of the Bass Flute
4:11
Range of the Bass Flute
4:25
Woodwinds: Soprano Clarinet, Clarinet, Alto Clarinet, Bass Clarinet
4:59
The Soprano Clarinet
5:02
Sounds m3 Higher Than Written Pitch
5:12
Writing For Instruments That Sound Different From Written Pitch
5:26
Range of the Soprano Clarinet
5:52
Qualities of the Soprano Clarinet
5:56
The Bb and A Clarinet
6:25
Difference between Bb and A Clarinet
6:43
Qualities of the Clarinet
6:53
Range of the Bb Clarinet
7:19
Sounds m2 Below Written Pitch
7:25
The Alto and Bass Clarinet
8:00
Alto Clarinet is Rare
8:06
Range of the Bass Clarinet
8:25
Qualities of the Bass Clarinet
8:37
Sounds m2 Below Written Pitch
9:10
Woodwinds: Oboe, Cor Anglais, Bassoon, Contrabassoon
9:27
Double Reed Instruments
9:33
Cor Anglais = English Horn
9:35
Range of the Oboe
9:50
Qualities of the Oboe
10:07
The English Horn
10:34
Sounds P5 Below Written Pitch
10:35
Qualities of the English Horn
10:55
Range of the English Horn
11:27
The Bassoon and Contrabassoon
11:35
The Contrabassoon is Rare
11:41
Range of a Bassoon
11:58
Qualities of the Bassoon
12:21
Woodwinds: French Horn
12:50
About the French Horn
12:55
Qualities of the French Horn
13:15
Range of the French Horn
13:33
Sounds P5 Below Written Pitch
13:49
Example I: Mozart Quintet in Eb Copy and Play Flute Part on Keyboard
14:37
Example II: Mozart Quintet in Eb Copy and Play Oboe Part on Keyboard
19:03
Example III: Mozart Quintet in Eb Copy and Play Clarinet Part on Keyboard
22:26
Example IV: Mozart Quintet in Eb Copy and Play Horn Part on Keyboard
23:13
Example V: Mozart Quintet in Eb Copy and Play Bassoon Part on Keyboard
24:07
Example VI: Create 4 Bar Woodwind Quintet Excerpt
32:45
Orchestra Percussion

27m 29s

Intro
0:00
Lesson Objectives
0:06
Tuned Orchestra Percussion: Timpani
0:22
Percussion
0:24
The Timpani
1:01
Range of the 20 Timpani
1:42
Range of the 23 Timpani
1:50
Range of the 26-25 Timpani
2:41
Range of the 29-28 Timpani
2:45
Range of the 32-30 Timpani
2:47
Big Instruments Produce Bigger Sound
2:48
Writing for Timpani
2:57
A Fill
3:11
Tremelo
3:21
A Sonata
3:42
Sonata For Solo Timpani Excerpt
3:52
Finding a Timpani
4:36
Let's Listen to This Sonata (On Keyboard)
5:20
Glockenspiel and Xylophone
5:51
What Are They?
5:58
About the Glockenspiel
6:15
Range of the Glockenspiel
6:23
Qualities of the Glockenspiel
6:53
The Xylophone
7:17
Range of the Xylophone
7:25
Qualities of the Xylophone
8:01
Marimba and Vibraphone
8:37
Instruments That Use Resonator Tubes
8:39
Differences and Similarities
9:03
The Marimba
9:23
The Vibraphone
9:52
Writing for Both
10:09
Bass Drum, Snare, Tom-Tom, Cymbal
10:35
Percussion Instruments
10:38
The Bass Drum
11:00
The Snare Drum
11:23
Writing for Bass Drum
11:45
The Tom-Tom
12:03
Writing for Numerous Percussion Instruments
12:15
Floor Toms and Mounted Toms
12:40
The Cymbal
13:02
Writing for Cymbal
13:19
Piano, Harpsichord, Organ
14:12
About The Harpsichord
14:33
Qualities of the Harpsichord
14:50
The Organ
15:06
Qualities of the Organ
15:14
The Piano with Orchestra
15:48
Example of a Piano Part in an Orchestra Piece
16:13
Writing for Piano with Orchestra
17:40
Example I: Composing for Percussion Ensemble
18:27
Example II: Percussion Ensemble -cont.-
21:09
Example III: Percussion Ensemble -cont.-
23:36
Score Reading

40m 37s

Intro
0:00
Lesson Objectives
0:06
Mozart - Symphony 40 in G Minor
0:15
Written in 1788
0:21
Instruments In This Piece
0:30
Setting Up The String Parts
0:51
Time Signature
2:08
Writing The Score
2:37
Have a Listen
5:48
Examining the Chords
7:10
Mozart -cont.-
7:53
Writing The Wind Parts
8:00
The Clarinet Part
8:53
Writing the Flute Part
9:24
Usually the Flute Part is Above the Clarinet
9:30
The Clarinet Part
9:57
Bach Overture in D Major
10:31
The Winds of This Piece
10:40
Key and Time Signature
11:36
Writing The Score
12:11
Doubling a Part
14:00
Score Reading and Analyzing
15:04
Have a Listen
15:19
Bach -cont.-
16:51
Continuo
16:52
Cello and Bass Part
17:10
Beethoven - Symphony 7, Mvt. II
17:40
Writing The Wind Parts
17:54
Setting Up The Score
18:33
Writing the Score
19:10
Adding Dyanmics
19:42
Score Writing
19:50
Chord Construction Through Parts
21:17
Have a Listen
22:00
Beethoven -cont.-
22:58
Setting Up The Score
23:05
Writing The Score
22:33
Have a Listen
24:10
Example I: Creating an Orchestral Score
24:37
Example II: Creating an Orchestral Score
27:29
Example III: Creating an Orchestral Score
31:25
Example IV: Creating an Orchestral Score
34:58
Example V: Condensing a Score
37:40
Orchestral Brass

24m 28s

Intro
0:00
Lesson Objectives
0:05
Trumpet
0:14
Bb Key
0:51
Range of the Trumpet
1:00
Sounds M2 Below Written Pitch
1:11
Transposing to the Key of C
1:22
Trombone
2:06
About the Trombone
2:10
Range of the Trombone
2:32
Trombone Can Use Alto Clef
2:38
Examples of Brass Solos
2:52
Trumpet Solo
3:09
Let's Listen to the Trumpet Solo
4:12
Trombone Solo
4:50
Have Your Melodies Played
5:32
Let's Listen to the Trombone Solo
6:27
French Horn
7:25
Sounds P5 Below Written Pitch
7:34
Qualities of the French Horn
7:49
About the French Horn
8:05
French Horn Solo
8:32
Resting for Numerous Bars
8:46
Common Time
8:56
Let's Listen to this French Horn Solo
10:00
Tuba
10:44
About the Tuba
10:48
Range of the Tuba
11:23
Tuba Melody
11:56
Let's Listen to this Tuba Melody
13:18
Example I: Composing for Brass Quintet Trumpet I
14:02
Example II: Composing for Brass Quintet Trumpet II
15:51
Example III: Composing for Brass Quintet Horn
17:11
Example IV: Composing for Brass Quintet Trombone
17:52
Example V: Composing for Brass Quintet Tuba
18:37
Rock Song Form

24m 44s

Intro
0:00
Lesson Objectives
0:05
Rock is Derived from Blues
0:18
12 Bar Blues Form
0:32
3 Phrases in the 12 Bar Form
0:39
The 3 Phrases
0:51
Common Blues Chord Progression
1:23
Let's Listen to an Example
1:40
16 Bar Blues Form
2:43
4 Phrases in the 16 Bar Form
2:53
The 4 Phrases
2:57
Common Blues Chord Progression
3:09
The Difference Between 12 and 16 Bar Form
3:22
Another Common Chord Progression
3:40
Let's Listen to an Example
4:16
12 Bar Blues: Elvis Presley Hound Dog
5:27
Write Out the Lyrics
5:45
The First Measure
6:14
The Second Measure
6:40
Played on the Keyboard
7:33
The Last Measure
7:44
All 12 Bars
8:17
16 Bar Blues: Surfin USA
9:00
By the Beach Boys
9:06
The First Measure
9:19
The Second Measure
9:55
The Third Measure
10:40
The Last Measure
11:12
All 16 Bars
11:40
Played on the Keyboard
12:21
Example I: Create a 12 Bar Blues Form
13:28
Example II: 12 Bar Blues -cont.-
15:36
Example III: Create a 16 Bar Blues Form
18:45
Example IV: 16 Bar Blues -cont.-
21:23
Form in Modern Pop

27m 43s

Intro
0:00
Lesson Objectives
0:06
Verse/Chorus/Mid 8 or Bridge/Outro
0:17
Parts of a Pop Song
0:24
Some Similarities with Blues Forms
0:40
The 12 Bar Blues
0:49
Another Possible Pop Song Structure
1:18
Very General Pop Song Structure
1:40
Pre-Chorus
2:07
What is a Pre-Chorus
2:10
What a Pre-Chorus Does
2:23
Finding A Pre-Chorus
2:31
Write a Pre-Chorus
3:34
Use the Circle of Fifths
6:34
Use Common Tones
6:47
Ways to Find Chords for Pre-Chorus
7:35
Pop Instrumentation
8:19
Typical Pop Instruments
8:24
Ballad
9:06
Tempo: BPM = 116
9:19
Beats Per Minute
9:22
Different BPMs
9:33
How to Find 116BPM
9:49
Example I: Analyze Someone Like You, Adele
10:02
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

Intro
0:00
Lesson Objectives
0:06
Exploring I ii vi IV Progression
0:17
Exploring This Progression in Bb
0:27
Played on the Keyboard
0:33
Write it Out
1:24
Try it in a Different Key
2:19
Lyric Pacing
3:09
Katy Perry's Firework
3:14
Analyzing the Pacing
3:43
The Pre-Chorus
4:06
Analyzing the Pacing
4:27
Baby You're a Firework
4:59
Make 'Em Go Oh Oh Oh
5:14
Firework's Lyric Pacing
5:24
Melodic Line
5:41
The Melodic Line
5:58
Write it Out
6:40
The Intervals
7:03
This is the Melodic Line
7:42
The Pre-Chorus
8:50
On the Keyboard
9:00
Pre-Chorus Melody
9:48
Example I: Analyze Verse 1, Firework
10:43
Example II: Analyze Verse II, Firework
14:46
Example III: Analyze Pre-Chorus, Firework
17:56
Example IV: Analyze Chorus, Firework
22:33
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