The Secret Language of Melody: Understanding Melodic Contours

You've been diligently building your compositional toolkit, exploring the depths of harmony, the colors of modes, and the drama of modulation. But now, let's talk about the heart and soul of music: melody. It's the part that gets stuck in your head, the tune you hum, the voice that tells the story. While harmony provides the foundation, it's the melody that truly sings, emotes, and connects directly with your listener.

But what makes a melody truly compelling? It's not just a random string of notes. Just like a skilled artist shapes a line on paper, a composer sculpts the melodic contour – the overall shape or direction of a melodic line as it moves through pitch space over time. Understanding and intentionally crafting these contours is a powerful secret to creating memorable, expressive, and structurally sound melodies.

Think of your melody as a journey. Is it climbing a mountain? Drifting down a river? Hovering in the air? Each shape carries its own inherent meaning and emotional weight. Let's explore the primary melodic contours and the expressive qualities they can unlock in your music.

What is Melodic Contour? More Than Just Notes

Melodic contour describes whether your melody is generally rising, falling, waving, jagged, or flat. It's the cumulative effect of individual intervals that defines this overarching shape. This shape is vital because it directly impacts:

• Memorability: Distinctive contours are easier for the human ear to recognize and recall.

• Emotional Impact: Different shapes inherently evoke different feelings – a rising line feels different from a falling one.

• Structural Coherence: Contours help define the boundaries of phrases, sections, and contribute to the overall balance and tension-release arc of your piece.

• Musical Rhetoric: The melodic line "speaks" to the listener, and its contour is a key part of its persuasive and communicative power.

The Primary Melodic Shapes and Their Emotional Palette

Let's dive into the most common melodic contours and the expressive characteristics they often convey. Remember, context (harmony, rhythm, tempo, dynamics) always plays a crucial role in the final effect!

1. Ascending Contour (The Rising Line)

• Description: The melody generally moves upwards in pitch, whether smoothly by step or boldly by leaps.

• Expressive Qualities: This contour is strongly associated with increasing tension, striving, hope, excitement, aspiration, or a sense of questioning. A prolonged ascent often builds towards a climax, creating anticipation and a feeling of reaching for something.

• Think: The iconic opening of the Star Wars main theme, boldly leaping upwards, instantly conveys heroism and adventure. Many operatic arias use ascending lines to build dramatic intensity.

2. Descending Contour (The Falling Line)

• Description: The melody generally moves downwards in pitch, again, by steps or leaps.

• Expressive Qualities: Often suggests release, resolution, calming, sighing, sadness, resignation, comfort, or gravity. It can signify a conclusion, a winding down of energy, or a moment of introspection.

• Think: The simple, satisfying descent of "Twinkle, Twinkle Little Star." The classic "sigh" motive in Baroque music (a descending second) immediately evokes lament or sorrow.

3. Arch Contour (The Balanced Arc)

• Description: The melody rises to a clear peak and then descends. This is one of the most common and universally satisfying contours.

• Expressive Qualities: Conveys a sense of completion, balance, fulfillment, or a natural arc of tension and release within a single phrase. The peak often serves as a mini-climax, drawing attention before the graceful descent.

• Think: Many lyrical folk tunes and classical melodies follow this satisfying arc, providing a sense of ebb and flow within a musical thought.

4. Inverted Arch Contour (The Dip and Rise)

• Description: The melody descends to a low point and then ascends.

• Expressive Qualities: Can suggest introspection, humility, a 'dip' before rising, or a gathering of energy before an upward surge. It's less common as a dominant shape than the regular arch but effective for specific, more nuanced moods.

• Think: A theme that starts in a reflective, lower register before gradually finding its way upwards, perhaps symbolizing overcoming a challenge.

5. Plateau / Static Contour (The Flat Line)

• Description: The melody largely remains on a single pitch or moves within a very narrow pitch range, often repeating notes.

• Expressive Qualities: Can suggest calm, contemplation, insistence, focus, anticipation (if combined with building harmony or rhythm), or a sense of stillness. If used without purpose, it can become monotonous, but skillfully employed, it's incredibly powerful.

• Think: The famous opening melody of Ravel's "Boléro," which stays incredibly limited in range for a long time, building immense intensity purely through rhythmic and orchestral layering. Gregorian chant often uses static contours to emphasize the sacred text.

6. Zigzag / Angular Contour (The Jagged Edge)

• Description: The melody features frequent, wide, and often unpredictable leaps, changing direction abruptly.

• Expressive Qualities: Creates tension, instability, excitement, agitation, nervousness, or a jagged, powerful character. It can feel virtuosic, fragmented, or even aggressive.

• Think: The sharp, unpredictable leaps in some of Stravinsky's works, or many contemporary atonal melodies that deliberately avoid smooth lines to create a sense of unease or raw energy.

7. Undulating / Wavy Contour (The Gentle Flow)

• Description: The melody moves smoothly in a wave-like fashion, with gentle rises and falls, often stepwise or with small leaps.

• Expressive Qualities: Conveys fluidity, calm, gracefulness, lyrical beauty, introspection, or a gentle rocking motion. It's less dramatic than an arch but more dynamic than a plateau, offering a continuous, soft motion.

• Think: Many Romantic era lyrical themes by composers like Chopin or Brahms, evoking a sense of gentle ebb and flow, like a calm sea.

Beyond the Line: Contour's Relationship to Other Melodic Elements

The expressive power of contour isn't isolated; it works in tandem with other melodic characteristics:

• Range: A narrow range (within a fifth or octave) can feel intimate or constrained, often paired with static or undulating contours. A wide range (spanning multiple octaves) feels expansive, dramatic, or virtuosic, typical of bold ascending/descending lines or angular contours.

• Motion: Conjunct motion (stepwise movement) creates smooth, lyrical, and singable lines, common in undulating and arch contours. Disjunct motion (leaps) creates more dramatic, energetic, or angular lines, characteristic of zigzag and bold ascending/descending contours.

• Climax: A well-crafted melody often has a single, clear climax – a high point of pitch, intensity, or emotional impact. The contour typically builds towards this climax (often with an ascent or sequence), reaches it, and then recedes (often with a descent) to a point of rest or a new beginning. Consciously planning this peak and the contour around it is vital for effective melodic phrasing.

Conclusion

Melodic contour is the visible hand of the composer, shaping the invisible journey of sound through time. By consciously crafting the ascents, descents, arches, and angles of your melodies, you imbue them with meaning, emotion, and structural clarity. It’s the difference between a random sequence of notes and a truly memorable, expressive musical statement that resonates deeply with your listener.

As you continue your compositional journey, begin to see your melodies not just as horizontal lines, but as dynamic shapes that breathe life into your music. Start analyzing the contours of your favorite melodies, and then experiment with intentionally sculpting your own. This deliberate approach to melodic contour will unlock a profound new dimension in your compositional artistry.

5 Resources for Budding Composers

For new composers looking to develop their skills and find opportunities, here are five valuable resources:

1. Books on Composition, Orchestration, and Music Theory: Building a strong theoretical foundation is crucial. Look for widely-regarded texts that cover harmony, counterpoint, form, and orchestration.

   • "The Study of Orchestration" by Samuel Adler: This is often cited as an industry standard for learning about instrumentation and how to write effectively for different ensembles.

   • "Fundamentals of Musical Composition" by Arnold Schoenberg: A classic that breaks down compositional processes for beginners.

   • "Behind Bars: The Definitive Guide To Music Notation" by Elaine Gould: Essential for learning proper music notation and score preparation, which is vital for communicating your music clearly.

   • University-level textbooks on harmony and counterpoint: While specific titles vary, any reputable academic text will provide a solid understanding of these core elements.

2. Online Communities and Forums: Connecting with other composers can provide invaluable feedback, support, and networking opportunities.

   • Chris's Composing Community: Offers personalized feedback, monthly scoring competitions, and a supportive environment.

   • Reddit communities like r/musictheory: While not exclusively for composers, these forums often have discussions and resources relevant to composition.

   • Meetup groups for composers: Search for local or online Meetup groups focused on music composition to find like-minded individuals.

   • Society of Composers & Lyricists (SCL): While often geared towards visual media, they foster community and offer events for music creators.

   • American Composers Forum (ACF): A fantastic resource for connecting with other artists, finding opportunities, and learning about the industry.

   • Composer’s Site: This site hosts dozens of opportunities for commissions and calls for scores, performance and collaboration opportunities, recording opportunities and more!

   • Scoring Notes: Scoring Notes is one of the leading websites/blogs for discussing information about a wide range of topics on composing and music theory. This one has inspired me greatly.

3. Composition Workshops and Courses: Structured learning environments can provide guidance from experienced professionals and practical exercises.

   • The ASCAP Foundation Workshops: Offer a variety of workshops across different genres (film scoring, musical theatre, pop, R&B, etc.) and locations, providing direct interaction with industry leaders.

   • Online academies like Composing Academy or Cinematic Composing: These platforms offer structured courses, often with step-by-step guidance and feedback on your work.

   • University extension programs or conservatories: Many institutions offer non-degree or continuing education courses in composition.

4. Grant and Commissioning Opportunities: Funding can be crucial for new composers to create new works and gain recognition.

   • American Composers Forum (ACF) Opportunities page: Curates a list of calls for scores, festival participation, commissions, and grants.

   • Chamber Music America's Classical Commissioning Program: Provides grants to ensembles and presenters for commissioning new works by American composers.

   • The BMI Foundation New Music Grants: Offers annual grants to non-profit organizations supporting contemporary music.

   • The Aaron Copland Fund for Music: Supports organizations that promote contemporary American concert music and jazz through performance and recording programs.

   • The ASCAP Foundation Grants and Programs: Offers various awards, scholarships, and grants to support emerging composers and songwriters.

5. Score Study and Analysis: Actively studying the works of established composers is one of the best ways to learn and grow.

   • IMSLP (International Music Score Library Project): A vast online library of public domain music scores.

   • Dover Editions: Known for affordable physical copies of classical scores.

   • Deep listening and score analysis: Choose pieces you admire, study their scores, and analyze how the composer achieved their effects (harmony, melody, form, orchestration, etc.). This can be done independently or with guidance from a mentor or online resources like those from Rick Beato or JJay Berthume on YouTube.

   • Also stick to this website as I will be updating my composition content and blogs/vlogs regularly!

     Until next time, happy composing!

Introduction to the Concert Band: Understanding Your Palette

Blog 1: Introduction to the Concert Band: Understanding Your Palette

Welcome, aspiring composers, orchestrators, and curious musicians! Have you ever listened to the rich, vibrant sounds of a concert band or symphonic band and wondered how those incredible textures are created? How do all those different instruments come together to form a cohesive, powerful whole?

If so, you've come to the right place! This 10-part series is designed to demystify the art of writing for concert band, offering practical tips, best practices, and hands-on exercises to help you master this unique and rewarding ensemble.

Let's begin at the very beginning: getting to know the instruments that make up your musical palette.

What is a Concert Band?

Often called a "symphonic band," "wind ensemble," or "wind orchestra," the concert band is an ensemble primarily composed of woodwind, brass, and percussion instruments. Unlike an orchestra, it typically does not include a string section (violins, violas, cellos, double basses), though a string bass (double bass) is often present. This unique instrumentation gives the band its characteristic powerful sound, rich harmonies, and incredible versatility.

Think of it as a vast array of colors on an artist's palette, each instrument offering its own unique hue, shade, and texture. Your job as a composer is to blend, contrast, and combine these colors to paint your musical picture.

The Sections of the Band: A Quick Tour

The concert band is generally divided into three main families, each with its own character and role:

1. The Woodwind Family

These instruments produce sound by air vibrating across a reed (single or double) or across an edge. They are often the most agile section of the band, capable of both delicate, lyrical passages and blazing technical runs.

• Flute (and Piccolo): The highest-pitched woodwind, known for its clear, bright tone and remarkable agility. The piccolo is even higher, offering a piercing, brilliant sound, especially effective in loud passages.

• Oboe: A double-reed instrument with a distinctive, somewhat nasal but very expressive and penetrating tone. Excellent for lyrical melodies that need to cut through the texture.

• Bassoon: A double-reed instrument with a rich, resonant, and often humorous sound, particularly in its lower register. It can be surprisingly agile and lyrical.

• Clarinet Family (Bb Clarinet, Bass Clarinet, sometimes Eb Clarinet, Alto Clarinet, Contrabass Clarinet): The backbone of the woodwind section. The Bb Clarinet is incredibly versatile, capable of agility, warmth, and brilliance across its wide range. The Bass Clarinet provides a rich, dark foundation to the woodwind sound.

• Saxophone Family (Alto, Tenor, Baritone, sometimes Soprano, Bass): Single-reed instruments with a warm, projecting, and often very vocal sound. They bridge the gap between woodwinds and brass, offering power and blend.

2. The Brass Family

These instruments produce sound by the player's buzzing lips vibrating into a cup-shaped mouthpiece. They are generally powerful and resonant, providing the core harmonic and rhythmic drive of the band.

• Trumpet: The highest and most brilliant of the brass instruments, capable of fanfares, melodic lines, and powerful chords.

• French Horn: Known for its warm, mellow, and often noble tone. It blends exceptionally well with both woodwinds and other brass, making it a crucial bridge instrument.

• Trombone: A versatile instrument with a powerful, direct sound, capable of both soaring melodies and robust rhythmic figures. Its slide allows for smooth glissandos.

• Euphonium (or Baritone Horn): Often called the "cello of the band," the euphonium has a rich, lyrical, and warm sound, frequently taking melodic roles or supporting the low brass.

• Tuba: The lowest and largest brass instrument, providing the fundamental bass line and harmonic foundation for the entire ensemble.

3. The Percussion Family

The percussion section is the rhythmic and coloristic powerhouse of the band, encompassing a vast array of instruments. They provide rhythmic drive, texture, and special effects.

• Timpani (Kettledrums): Pitched drums that provide rhythmic emphasis, harmonic support, and dramatic effect.

• Unpitched Percussion:

  • Snare Drum: Rhythmic clarity, often used for military-style sounds or driving rhythms.

  • Bass Drum: Provides a deep, resonant pulse and rhythmic weight.

  • Cymbals (Crash, Suspended, Hi-Hat): Offer accents, washes of color, and rhythmic punctuation.

  • Tam-Tam (Gong): Creates sustained, dramatic swells.

  • And countless others: Triangle, Tambourine, Wood Block, Temple Blocks, Cowbell, Maracas, etc.

• Pitched Percussion (Mallet Instruments):

  • Glockenspiel (Bells): Bright, ringing, high-pitched sounds.

  • Xylophone: Dry, crisp, woody sound, often used for quick, articulate passages.

  • Marimba: Warm, resonant, woody sound, great for lyrical melodies or sustained textures.

  • Vibraphone: Metal bars with a motor-driven vibrato, capable of sustained, shimmering sounds.

Understanding Score Order

When you look at a full band score, you'll notice that instruments are arranged in a specific order, generally from highest pitch to lowest within families. While there can be minor variations, the most common order (top to bottom) is:

1. Woodwinds: Piccolo, Flute(s), Oboe(s), Bassoon(s), Eb Clarinet, Bb Clarinet(s), Alto Clarinet, Bass Clarinet, Contrabass Clarinet, Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone.

2. Brass: Trumpet(s), Horn(s), Trombone(s), Euphonium, Tuba.

3. Percussion: Timpani, Mallet Percussion (Glockenspiel, Xylophone, etc.), Unpitched Percussion (Snare Drum, Bass Drum, Cymbals, etc.).

4. (Occasionally) String Bass (Double Bass)

Familiarizing yourself with this order will make reading and writing for band much more intuitive.

Why This Matters: Your Musical Palette

Just as a painter understands the properties of oil versus watercolor, a composer must understand the unique "properties" of each instrument.

• Which instrument is best for a soaring, lyrical melody? (Oboe, Horn, Euphonium, Flute)

• Which provides a solid, rhythmic punch? (Trumpet, Snare Drum)

• Which lays down a deep, resonant foundation? (Tuba, Bass Clarinet, Bassoon, Bass Drum)

• Which offers shimmering, ethereal colors? (Flute in high register, Glockenspiel, Cymbals)

This initial understanding is crucial. It’s not just about what notes an instrument can play, but what it does best, where its natural resonance lies, and how it blends with others.

Mini-Composition Exercises for Blog 1: Get Your Hands Dirty!

The best way to learn is by doing. For these first exercises, don't worry about complex harmonies or melodies. Focus purely on the sound of the instruments and sections. You can use notation software (like MuseScore, Finale, Sibelius) or simply staff paper and a pencil.

Exercise 1.1: Sectional Voices

• Goal: To hear and feel the blend and balance within a single section.

• Task: Write a 4-bar sustained chord progression (e.g., I-IV-V-I in Bb Major) for only one section of the band at a time.

  • Attempt 1: Write it for the full Woodwind Section (Flute, Oboe, Clarinet 1, Clarinet 2, Bass Clarinet, Alto Sax, Tenor Sax, Bari Sax). Try to make it sound blended and full.

  • Attempt 2: Write the same chord progression for the full Brass Section (Trumpet 1, Trumpet 2, Horn, Trombone 1, Trombone 2, Euphonium, Tuba). Focus on richness and power.

  • Attempt 3: Write it just for the Low Brass/Woodwind Core (Bass Clarinet, Bassoon, Tenor Sax, Baritone Sax, Horn, Trombone 1, Trombone 2, Euphonium, Tuba). Aim for a deep, resonant sound.

• Tip: Play back your examples (if using software) or imagine the sound in your head. How do the sections differ? What are their strengths?

Exercise 1.2: Unison Line - Exploring Timbre

• Goal: To understand how different instruments sound when playing the same melody in unison or octaves.

• Task: Write a simple, 4-bar lyrical melody (e.g., the first phrase of a folk song or a simple hymn tune).

  • Attempt 1: Write this melody in unison for Flute and Oboe. What is the combined sound? Is it clear?

  • Attempt 2: Write the same melody in unison/octaves for Trumpet and Alto Saxophone. How does this sound compare to the woodwind pairing?

  • Attempt 3: Write the same melody for Euphonium and Tenor Saxophone in octaves. Notice the warmth and blend.

• Tip: Experiment with different registers (high, middle, low) for these unison lines to hear how the timbre changes.

Looking Ahead...

In our next blog post, we'll dive into the critical concepts of Voicing and Balance – how to arrange chords and melodic lines across the entire ensemble to achieve clarity, richness, and impact.

For now, spend some time listening to concert band music with a new ear, trying to identify the individual instruments and sections. What colors are the composers using?

Happy composing!

Navigating Tonal Landscapes: Common Pivot Chord Modulations

In this blog post, we talk about the amazing harmonic concept of pivot chord modulation – the elegant technique of using a chord common to both an old and a new key to create a seamless transition. This "bilingual" chord acts as a bridge, allowing your music to gracefully shift from one tonal center to another. Now, let's dive into the practical application of this technique by examining the most common and effective pivot chord modulations, focusing on closely related keys.

Modulating to closely related keys is the bread and butter of tonal composition. These are keys that share many common chords and differ by only one accidental in their key signatures (or are the relative major/minor). Because of this shared harmonic territory, pivot chord modulations to these keys feel incredibly smooth and natural, making them ideal for connecting sections within larger forms like sonatas, rondos, and even extended character pieces.

What are Closely Related Keys?

For any given major or minor key, its closely related keys are:

• The relative major/minor: (e.g., C Major and A Minor)

• The dominant: (e.g., C Major and G Major; A Minor and E Minor)

• The subdominant: (e.g., C Major and F Major; A Minor and D Minor)

• The relative major/minor of the dominant: (e.g., C Major and E Minor)

• The relative major/minor of the subdominant: (e.g., C Major and D Minor)

These relationships are easily seen on the Circle of Fifths. Moving one step clockwise or counter-clockwise, or moving to the relative major/minor, will give you a closely related key.

Common Pivot Chord Modulations: A Practical Guide

Let's break down the most frequent and effective pivot chord modulations, using examples to illustrate the shared chords that make these transitions so fluid.

1. From a Major Key (e.g., C Major)

If your piece is in C Major, here are your primary closely related keys and common pivot chord strategies:

a) To its Dominant (G Major)

• Relationship: G Major is the V of C Major. It shares 6 out of 7 diatonic notes (all except F# in G Major).

• Common Pivots:

  • C Major: Functions as I in C Major and IV in G Major. (C: I = G: IV)

    • Example Progression: Cmaj - Fmaj - Cmaj (I=IV) - Gmaj - D7 - Gmaj

    • Why it works: The C major chord feels like home in C, then smoothly reinterpreted as the subdominant in G, leading directly to the new dominant (D7) and tonic (Gmaj).

  • G Major: Functions as V in C Major and I in G Major. (C: V = G: I)

    • Example Progression: Cmaj - Gmaj (V=I) - Cmaj - G7 - Cmaj (This is a common way to return to C from G, or a very quick tonicization of G).

    • Why it works: The G major chord provides the dominant pull in C, then seamlessly becomes the new tonic.

  • A Minor: Functions as vi in C Major and ii in G Major. (C: vi = G: ii)

  • E Minor: Functions as iii in C Major and vi in G Major. (C: iii = G: vi)

b) To its Subdominant (F Major)

• Relationship: F Major is the IV of C Major. It shares 6 out of 7 diatonic notes (all except Bb in F Major).

• Common Pivots:

  • C Major: Functions as I in C Major and V in F Major. (C: I = F: V)

    • Example Progression: Cmaj (I=V) - Fmaj - Bbmaj - Fmaj

    • Why it works: The C major chord acts as the tonic in C, then immediately becomes the dominant of F, pulling strongly to the new tonic.

  • F Major: Functions as IV in C Major and I in F Major. (C: IV = F: I)

  • G Minor: Functions as v in C Major (if using natural minor, or borrowed from Dorian) and ii in F Major. (C: v = F: ii)

  • A Minor: Functions as vi in C Major and iii in F Major. (C: vi = F: iii)

c) To its Relative Minor (A Minor)

• Relationship: A Minor shares all 7 diatonic notes with C Major. This makes it the easiest and most common modulation.

• Common Pivots: Any diatonic chord of C Major can be a pivot, as they are all also diatonic to A Minor.

  • C Major: Functions as I in C Major and bIII in A Minor. (C: I = Am: bIII)

    • Example Progression: Cmaj - Fmaj - Cmaj (I=bIII) - Dm - E7 - Am

    • Why it works: The C major chord feels like home, then becomes the relative major of the new tonic, leading into a strong minor progression.

  • D Minor: Functions as ii in C Major and iv in A Minor. (C: ii = Am: iv)

  • E Minor: Functions as iii in C Major and v in A Minor. (C: iii = Am: v)

  • A Minor: Functions as vi in C Major and i in A Minor. (C: vi = Am: i)

    • Example Progression: Cmaj - Fmaj - Am (vi=i) - Dm - E7 - Am

    • Why it works: The A minor chord, already present in C Major, simply takes on a new, primary role as the tonic.

2. From a Minor Key (e.g., A Minor)

If your piece is in A Minor, here are your primary closely related keys and common pivot chord strategies:

a) To its Relative Major (C Major)

• Relationship: C Major shares all 7 diatonic notes with A Minor.

• Common Pivots: Any diatonic chord of A Minor can be a pivot, as they are all also diatonic to C Major.

  • A Minor: Functions as i in A Minor and vi in C Major. (Am: i = C: vi)

    • Example Progression: Am - Dm - Am (i=vi) - Fmaj - G7 - Cmaj

    • Why it works: The A minor chord, the tonic of the old key, becomes the relative minor of the new tonic, providing a smooth transition.

  • C Major: Functions as bIII in A Minor and I in C Major. (Am: bIII = C: I)

    • Example Progression: Am - Dm - Cmaj (bIII=I) - Fmaj - G7 - Cmaj

    • Why it works: The C major chord, already a stable chord in A minor, simply becomes the new tonic.

b) To its Dominant Minor (E Minor)

• Relationship: E Minor is the v of A Minor. It shares many chords, but remember the dominant of a minor key is usually major (E Major), so this implies a shift to the parallel minor of the dominant.

• Common Pivots:

  • A Minor: Functions as i in A Minor and iv in E Minor. (Am: i = Em: iv)

  • B Minor: Functions as ii° in A Minor (if using harmonic minor) or ii in A Dorian, and v in E Minor. (Am: ii° = Em: v)

  • G Major: Functions as bVII in A Minor and III in E Minor. (Am: bVII = Em: bIII)

c) To its Subdominant Minor (D Minor)

• Relationship: D Minor is the iv of A Minor.

• Common Pivots:

  • A Minor: Functions as i in A Minor and v in D Minor. (Am: i = Dm: v)

  • D Minor: Functions as iv in A Minor and i in D Minor. (Am: iv = Dm: i)

  • G Minor: Functions as v in A Minor (if using natural minor) and iv in D Minor. (Am: v = Dm: iv)

The Expressive Power of Seamlessness

The primary expressive effect of pivot chord modulation is its smoothness and subtlety. It allows for graceful shifts in mood, the introduction of new thematic material in a fresh tonal context, and the expansion of musical forms without jarring the listener. This technique is fundamental to the elegant harmonic journeys found throughout classical and romantic music, and remains a powerful tool in contemporary composition.

By understanding the shared harmonic territory between closely related keys, you gain the ability to navigate your musical landscapes with precision and artistry. Practice identifying these common chords, and experiment with different pivot points to discover the myriad ways you can guide your listener through a truly seamless tonal adventure.

Mini-Exercise: Your Own Pivot Modulations

Objective: Compose short harmonic progressions that demonstrate clear pivot chord modulations to closely related keys.

Instructions: For each scenario, compose a 6-8 measure harmonic progression (for piano or 4-voice choir). Clearly mark the pivot chord and its function in both keys, and ensure the new key is firmly established by a V-I or V7-I cadence.

1. Modulate from E Major to C# Minor (its relative minor).

   • Hint: Consider using the I chord of E Major as your pivot.

2. Modulate from B Minor to F# Minor (its dominant minor).

   • Hint: Remember to think about the dominant of F# Minor (C# Major) and find a common chord. Perhaps the iv of B Minor (Em) is the i of E minor, which is the vi of G, and the ii of F# minor.

3. Modulate from Ab Major to Db Major (its subdominant).

   • Hint: Consider using the I chord of Ab Major as your pivot.

4. Modulate from F# Minor to A Major (its relative major).

   • Hint: Consider using the i chord of F# Minor as your pivot.

By working through these examples, you'll develop an intuitive feel for the harmonic connections that make pivot chord modulation such a cornerstone of tonal composition.

Patriotic Power Anthems: Songs to Celebrate America – And Remember Our Resilience

The Fourth of July is a day for celebration, for fireworks and barbecues, a joyous expression of the freedoms we cherish. But it's also a day for reflection, a moment to remember the profound journey of our nation, including the times when our spirit was tested. In those moments, when shadows have fallen over our collective heart, it's often music that rises to meet us, offering solace, strength, and a renewed sense of unity.

Today, as we gather with loved ones, I want to talk about two anthems that, for me, have always transcended mere celebration. They are songs that speak to the very core of what it means to be American, particularly in times of trouble, reminding us of our shared resolve and enduring hope.

"America the Beautiful": A Timeless Ode to Our Enduring Spirit

First, there's "America the Beautiful." Its sweeping verses, penned by Katharine Lee Bates after being inspired by the majestic views from Pikes Peak, paint a vivid picture of our nation's physical grandeur – 'amber waves of grain,' 'purple mountain majesties.' But beyond the scenic beauty, the song's true power lies in its aspirational prayer for a nobler, more just nation.

In moments of national sorrow or uncertainty, "America the Beautiful" isn't just a description; it becomes a profound affirmation. It reminds us of the inherent goodness and the foundational ideals upon which this country was built. When we hear 'God shed His grace on thee,' it's a plea, a hope, and a reminder that even in despair, there's a higher purpose and a collective strength to draw upon. It's a song that speaks to our ideals, urging us to live up to the promise of America, even when the path seems difficult.

For fellow musicians or anyone who appreciates instrumental interpretations, I'm proud to share my own arrangement of this beautiful anthem for Alto Saxophone and Piano.

"God Bless the U.S.A." by Lee Greenwood: A Beacon of Unity in the Darkest Hours

And then there's Lee Greenwood's iconic "God Bless the U.S.A." If "America the Beautiful" is our poetic prayer, "God Bless the U.S.A." is our rallying cry, a song that wraps us in a comforting blanket of shared patriotism. It’s a tune that resonates deeply with pride for our flag, our soldiers, and our collective journey.

For many of us, this song is inextricably linked to a time when our nation faced one of its most unimaginable tragedies: September 11, 2001. I remember that day with vivid clarity. I picture the Twin Towers, once standing tall, shining symbols of our country and the New York skyline, a testament to American ambition and ingenuity. It's hard to believe that these beautiful monuments have been gone for almost a quarter of a century now. Twenty-four years later, the memory of that morning still evokes a profound sense of loss, yet also an incredible surge of resolve.

On that tragic day, and in the weeks and months that followed, "God Bless the U.S.A." wasn't just played; it was felt. It was on repeat everywhere you went – on the radio, at memorial services, in the background of news reports. Its lyrics, 'And I'm proud to be an American, where at least I know I'm free,' and 'there ain't no doubt I love this land, God bless the U.S.A.,' became an immediate anthem of resilience. They spoke of unity, of standing together in the face of unspeakable horror, of finding strength in our shared identity.

Today, as we look at the One World Trade Center building standing tall and proud in their place, a symbol of rebirth and indomitable spirit, the message of "God Bless the U.S.A." remains as vital as ever. We need the elements of unity and strength, spoken so clearly in its enduring lyrics, now more than ever. These songs remind us that even when tested, the American spirit endures, ready to rebuild, to heal, and to look towards a brighter future.

As we celebrate this Fourth of July, let these anthems not just be background music, but powerful reminders of our nation's journey, its resilience, and the unity that always sees us through. What songs speak to you in moments of national pride or reflection?

One of my Latest Music Compilations

In this blog post, I show you one of my latest music compilations. It features music compositions that I’ve written from 2009 to present. I plan to do more in the near future! Enjoy!

Composing in Aeolian Mode: Embracing Melancholy and Reflection

Just as Ionian mode is our primary gateway to major tonality, Aeolian mode is the foundation of natural minor. While you are undoubtedly familiar with its sound as the "natural minor scale," composing intentionally in Aeolian allows you to tap into a specific quality of melancholy, introspection, and somber reflection, distinct from the dramatic tension of harmonic minor or the bittersweetness of Dorian.

This post will guide you through practical strategies for composing with Aeolian mode, helping you embrace its inherent pathos and create music that is genuinely expressive of sadness, longing, or thoughtful resignation.

The Aeolian Identity: Natural Minor's Quiet Strength

Aeolian mode (W-H-W-W-H-W-W) is characterized by its minor third, minor sixth (b6), and minor seventh (b7). Unlike harmonic minor, it lacks a raised leading tone, meaning there's no strong half-step pull to the tonic from below. This absence of the leading tone contributes to its characteristic feeling of resignation or gentle sadness rather than a dramatic, driving tension. It simply is – a quiet contemplation of sorrow or a gentle reflection.

When composing in Aeolian, your primary goal is to leverage this natural, unforced minor quality to communicate introspection, lament, or a pervasive sense of melancholy.

Melodic Strategies in Aeolian

Aeolian melodies often feel lyrical, sometimes descending, and embody a natural, flowing sadness.

1. Emphasize the b3, b6, and b7: These are the defining scale degrees of Aeolian.

• The b6 (minor sixth) is particularly important for distinguishing Aeolian from Dorian. Melodies that descend to or linger on the b6 (e.g., F in A Aeolian) will clearly establish the Aeolian sound.

• The b7 (minor seventh) reinforces the minor quality and avoids the leading tone's strong pull, contributing to the resigned feel.

• Example: In A Aeolian, a phrase might highlight F and G (b6 and b7) as it descends to A.

1. Stepwise Motion and Descending Lines: Aeolian melodies often favor stepwise motion, creating smooth, vocal-like lines. Descending contours are particularly effective for conveying sadness or a sense of winding down.

2. Avoid the Raised 7th: Unless you are intentionally shifting to harmonic minor for a specific dramatic effect (e.g., at a strong cadence), keep your melodies on the natural 7th degree (G in A Aeolian). This maintains the characteristic Aeolian sound.

3. Use for Vocal Writing: Aeolian mode is particularly well-suited for setting text with a melancholic or reflective tone, as its natural melodic flow and lack of strong leading tone tension feel very organic.

Harmonic Strategies in Aeolian

Aeolian harmony is characterized by the natural minor triads and the absence of a naturally occurring major dominant chord with a leading tone.

1. Prioritize the i, iv, and v Chords: These are your core harmonies. The i (tonic minor), iv (subdominant minor), and v (minor dominant) are all diatonic to Aeolian and form stable relationships.

• Example: In A Aeolian, Am - Dm - Em - Am (i - iv - v - i) is a very characteristic progression.

• Why it works: The Dm (iv) and Em (v) chords both contain the b6 (F) and b7 (G) respectively, clearly defining the Aeolian sound.

1. Utilize the bIII (Major III) and bVI (Major VI) Chords: These are also common and contribute to the Aeolian sound.

• bIII (C major in A Aeolian): Often used as a mediant harmony.

• bVI (F major in A Aeolian): Can provide a gentle shift in color, often followed by bVII or V (minor) leading back to i.

• Example: Am - Fmaj - Gmaj - Am (i - bVI - bVII - i). This progression is very common in folk and pop music.

1. The bVII (Major VII) Chord: This chord (G major in A Aeolian) is very common. It often acts as a weaker dominant substitute or as a subtonic, leading smoothly back to i.

• Contrast: This contrasts with the V (major) of harmonic minor. The Gmaj - Am progression sounds less forceful and more resigned than E7 - Am.

1. Avoid the Harmonic Minor Raised 7th (G# in A minor): Unless you are making a deliberate choice to borrow from harmonic minor for a stronger dominant function, stick to the natural 7th. This means your V chord will typically be a minor v (Em in A Aeolian), not a major V (E major).

2. Modal Cadences:

• i - iv - i

• i - v - i

• i - bVII - i These are characteristic Aeolian cadences. Authentic cadences can still occur (V-i), but often the V will be minor, or the resolution less forceful due to the natural 7th.

Common Pitfalls to Avoid

• Sounding Like Harmonic/Melodic Minor: The key is to consciously avoid the raised 7th (leading tone) unless you deliberately want its specific dramatic effect. If you find yourself consistently adding a raised 7th, you're likely drifting into harmonic minor.

• Lack of Resolution: Because the leading tone is absent, some find Aeolian less conclusive. Use repetition of the tonic, clear melodic phrasing, and rhythmic emphasis on the tonic to ground the mode.

• Overly Somber: While it's a minor mode, ensure there's enough melodic and harmonic movement to maintain interest. Vary textures and dynamics.

Mini-Exercise: "Autumn's Farewell" (Aeolian String Trio Sketch)

Objective: Compose a short (approx. 1.5 - 2.5 minute) piece for string trio (Violin, Viola, Cello) in E Aeolian.

• Mood: Melancholy, reflective, a sense of quiet sadness or nostalgia. Imagine the slow, gentle falling of leaves in autumn.

• Key/Mode: E Aeolian (E-F#-G-A-B-C-D).

• Characteristic Note: C (flat 6th) and D (flat 7th).

• Instructions:

1. Melody: Create a lyrical, flowing melody for the violin, emphasizing the C natural (b6) and D natural (b7), perhaps through descending stepwise motion or gentle suspensions.

2. Harmony/Voice Leading: The viola and cello provide harmonic support. Focus on Em (i), Am (iv), Bm (v), and Cmaj (bVI), Dmaj (bVII) chords. Ensure smooth voice leading between all three instruments, avoiding parallel octaves/fifths.

3. Texture: Start with a sparse texture, perhaps just violin and cello, then gradually add the viola. Explore sustained chords and gentle arpeggios.

4. Dynamics: Keep dynamics generally soft (p to mp), with subtle swells and gradual decrescendos.

5. Form: A simple through-composed form, allowing the mood to unfold naturally.

Play your piece back. Does the absence of a sharp 7th create a specific kind of contemplative sadness? Does it truly evoke the quiet resignation of autumn?

Conclusion

Aeolian mode is more than just "natural minor"; it is a distinct expressive voice capable of conveying deep melancholy, quiet reflection, and profound sadness without resorting to the sharp edges of harmonic minor. By consciously highlighting its characteristic flat 6th and flat 7th, both melodically and harmonically (emphasizing iv, v, bVI, and bVII chords), you can effectively compose pieces that resonate with a raw, authentic sense of lament or thoughtful introspection. Embrace its inherent subtlety and discover the quiet power within this foundational mode.

The Building Blocks of Melodic Embellishment: Revisiting Diatonic Non-Chord Tones

As composers, we often spend a lot of time focusing on chords – their types, progressions, and functions. And rightly so; harmony is the backbone of much of our music. However, melody is the voice, the storytelling element that truly captures the listener's ear. And the secret to crafting compelling, fluid, and emotionally resonant melodies often lies not just in the chord tones (notes belonging to the underlying harmony), but in the strategic use of non-chord tones (NCTs), also known as non-harmonic tones or embellishments.

Before we dive into the exciting world of chromaticism, it's essential to have a crystal-clear understanding of the fundamental diatonic non-chord tones. These are the melodic "spice" that adds flavor, nuance, and forward motion to your lines, even when strictly confined to a single key. Mastering them diatonicallly is the prerequisite for truly impactful chromatic embellishment.

Think of it like sketching. You first learn to draw basic shapes and lines (chord tones). Then, you learn to add subtle shading and contour to make those shapes more lifelike (non-chord tones). Only then are you ready to introduce vibrant, contrasting colors (chromaticism).

Let's revisit these essential melodic embellishments:

1. Passing Tones (PT)

The passing tone is perhaps the most fundamental and intuitive non-chord tone. It acts as a bridge, smoothly connecting two consonant chord tones by stepwise motion in the same direction.

• Definition: A non-chord tone approached by step and left by step in the same direction.

• How it Works: You have two chord tones, say C and E in a C major chord. A D can be a passing tone, smoothly connecting C to E (C-D-E). The D is not part of the C major chord, but it "passes" through.

• Types:

  • Ascending Passing Tone: Moves up from one chord tone to another (e.g., C-D-E over a C major chord).

  • Descending Passing Tone: Moves down from one chord tone to another (e.g., E-D-C over a C major chord).

• Placement: Usually occurs on a weaker beat or unaccented part of the measure, contributing to fluidity rather than strong emphasis.

• Purpose: Primarily to create smooth melodic flow and a sense of forward motion. It fills in gaps, preventing melodies from sounding too angular or "blocky." It makes melodies more singable and natural.

• Example: In C Major, over a C major chord (C-E-G), if your melody moves from C up to E, inserting a D (C-D-E) is a passing tone. If it moves from G down to E, inserting an F (G-F-E) is a passing tone.

2. Neighbor Tones (NT)

The neighbor tone (also called an auxiliary tone) creates a subtle ornamentation by moving away from a chord tone by step and immediately returning to that same chord tone. It acts like a little decorative "wiggle" around a stable note.

• Definition: A non-chord tone approached by step and left by step in the opposite direction, returning to the original chord tone.

• How it Works: You have a chord tone, say C in a C major chord. A neighbor tone would move to D (upper neighbor) and immediately back to C (C-D-C), or to B (lower neighbor) and immediately back to C (C-B-C).

• Types:

  • Upper Neighbor Tone: Steps up from a chord tone and returns (e.g., C-D-C over a C major chord).

  • Lower Neighbor Tone: Steps down from a chord tone and returns (e.g., C-B-C over a C major chord).

• Placement: Like passing tones, often occurs on a weaker beat.

• Purpose: To add gentle melodic embellishment, a mild tension and quick release, and subtle rhythmic interest. It makes a melody feel less static, even if it's essentially hovering around a single chord tone.

• Example: In C Major, over a C major chord, if your melody has a sustained E, moving to F then back to E (E-F-E) uses an upper neighbor. Moving to D then back to E (E-D-E) uses a lower neighbor.

3. Suspensions (Sus)

Suspensions are among the most emotionally rich non-chord tones. They create a beautiful sense of lingering tension and yearning by holding onto a note from a previous chord into a new chord, where it becomes a dissonance, before finally resolving by step (almost always downwards) into a consonant chord tone.

• Definition: A chord tone that is prepared (played as a consonant note in the preceding chord), suspended (held over into the new chord where it becomes a dissonance), and then resolved (steps downwards to a consonant chord tone).

• The Three Stages:

  1. Preparation (P): The note is consonant in Chord 1.

  2. Suspension (S): The same note is held over into Chord 2, where it becomes a dissonance.

  3. Resolution (R): The dissonant note moves by step (usually down) to a consonant note in Chord 2.

• Placement: The suspension itself (the dissonant moment) typically occurs on a strong beat or accented part of the measure, drawing attention to its tension.

• Purpose: To create expressive tension, a feeling of yearning, longing, or anticipation, followed by a satisfying release. They are often used to build emotional depth and dramatic weight, especially at cadences.

• Common Notations (Ratio with Bass): Suspensions are often identified by the interval the suspended note forms with the bass on the strong beat, then the interval it resolves to. Common examples include:

  • 9-8: A 9th above the bass resolves to an 8th (octave).

  • 7-6: A 7th above the bass resolves to a 6th.

  • 4-3: A 4th above the bass resolves to a 3rd.

  • 2-3: (Inverted suspension, bass suspended) A 2nd above the bass resolves to a 3rd.

• Example: In C Major, over a G major chord resolving to C major:

  • You have a G in the bass, and an A (part of an Am chord, for instance) in an upper voice.

  • When the harmony shifts to C major, the A is held over. Over the C in the bass, A is now a dissonance (a 6th, or a suspension that wants to resolve down).

  • The A then resolves down to G, which is consonant with the C major chord (forming a C-E-G triad). This would typically be a 9-8 suspension, but could be a 6-5 or other.

4. Appoggiaturas (App)

The appoggiatura is similar to a suspension in its dramatic effect, but it creates a more assertive, "leaning" dissonance. The key difference is its approach.

• Definition: A non-chord tone approached by leap (often upwards, but can be downwards) and then resolved by step (usually downwards) to a consonant chord tone.

• Key Distinctions from Suspension:

  • Approach: Approached by leap, not held over.

  • Preparation: It is not prepared as a consonant note in the previous chord.

• Placement: Usually occurs on a strong beat or accented part of the measure, making its dissonance highly noticeable.

• Purpose: To create a strong, dramatic, poignant, or emphatic dissonance. The leap makes it feel less gentle than a suspension, more like a deliberate "strike" that then resolves. It can express intense longing, a cry, or a sudden burst of emotion.

• Example: In C Major, over a C major chord (C-E-G), if your melody jumps from G up to F (a non-chord tone) and then resolves down to E (part of the chord): G-F-E. The F is an appoggiatura. Or if you leap from C to F, then resolve to E.

Why These Foundations Matter

Even without chromaticism, the skillful deployment of these diatonic non-chord tones is crucial for:

• Melodic Expressivity: They add sighs, yearnings, embellishments, and moments of dramatic tension that static chord tones alone cannot provide.

• Rhythmic Vitality: They often occur on off-beats or create syncopation, enhancing the rhythmic interest of a melodic line.

• Harmonic Nuance: While non-chord tones, they shape how we perceive the underlying harmony, adding richness and sophistication.

• Fluidity and Direction: They guide the listener's ear smoothly from one chord tone to the next, creating a cohesive and purposeful melody.

These fundamental tools are the bread and butter of melodic composition across centuries and styles. Before we can effectively bend notes with chromaticism, we must first master the art of moving between diatonic tones with grace and expressive intent.

Mini-Exercise: "Embellished Lullaby" (Diatonic Melody)

Objective: Compose an 8-measure melody in G Major (Ionian) that predominantly uses passing tones, neighbor tones, and at least one clear suspension.

• Instrumentation: Imagine this for a single melodic instrument (e.g., flute, violin, or voice).

• Mood: Gentle, flowing, soothing, like a lullaby.

• Instructions:

  1. Start and end on the tonic (G).

  2. Ensure smooth melodic contours.

  3. Consciously insert passing tones to connect chord tones.

  4. Use upper and/or lower neighbor tones to decorate sustained notes.

  5. Include at least one clear suspension. Think of a 4-3 suspension over a C chord, or a 9-8 over a G chord. Plan the chord change where the suspension will occur.

  6. Accompany with simple, sustained chords (G, C, D) in your mind or sketch them in.

Play your melody. Can you clearly hear each type of non-chord tone? Does it sound fluid and expressive?

Conclusion

Passing tones, neighbor tones, suspensions, and appoggiaturas are not mere academic terms; they are powerful expressive devices that add depth, flow, and emotional resonance to your melodies. By understanding their individual mechanisms and expressive purposes, you gain precise control over your melodic lines. In our next blog post, we'll take these foundational ideas and add a crucial layer of complexity and color by exploring their chromatic counterparts, opening up even wider avenues for tension, drama, and harmonic interest. Stay tuned!

Book Review: Debating Dogma with Hindemith, and Mastering Harmony

As composers, our journey of learning is a continuous process of absorbing knowledge, experimenting with ideas, and critically engaging with the masters who came before us. My own Kindle app is packed with countless scores and theoretical texts, each offering a unique lens through which to view the art of music. Today, I want to talk about two books that have been particularly impactful, albeit in different ways: Paul Hindemith's profound, yet sometimes provocative, The Craft of Musical Composition (Books 1 and 2), and the incredibly practical Traditional Harmony - Advanced Exercises.

These books represent two distinct approaches to musical education – one a revolutionary philosophical system, the other a meticulous drilling of established techniques. Both offer immense value, but also invite us to question, adapt, and ultimately forge our own compositional paths.

Paul Hindemith's The Craft of Musical Composition (Books 1 & 2 - Theory)

Paul Hindemith (1895-1963) was a towering figure in 20th-century music – a prolific composer, conductor, violist, and most notably for our discussion, a formidable theorist and pedagogue. His two-volume Craft of Musical Composition is not a conventional harmony textbook; it's a deep, systematic treatise on a new approach to harmony, melody, and form, based on acoustic principles.

The Good Parts: A Fresh Look at Sound

What truly sets Hindemith's Craft apart is his attempt to build a coherent system of harmony and melody from the ground up, starting with the natural overtone series.

1. Intervallic Foundation: Instead of relying solely on Roman numerals or chord classifications, Hindemith prioritizes the individual intervals and their inherent "tension" and "relaxation" values. He categorizes intervals from most consonant (perfect octave/unison) to most dissonant (tritone), providing a fascinating framework for understanding harmonic movement. This emphasis on intervallic quality can be incredibly liberating, shifting focus from abstract labels to the actual sonic relationships.

2. Harmonic Fluctuation: He introduces the concept of "harmonic fluctuation," a measurable ebb and flow of tension and relaxation created by the progression of intervals. This gives composers a tool to consciously control the dramatic arc of their harmony, making informed decisions about when to build intensity and when to provide repose. It moves beyond rote chord progressions into a more intuitive understanding of vertical sonority.

3. Melodic Design and Curve: Hindemith applies similar principles to melody, advocating for well-balanced melodic curves that incorporate varied intervallic tension. He encourages composers to think about the "weight" of melodic notes and the overall gravitational pull within a line. This provides a rigorous, yet insightful, way to assess melodic strength and direction.

4. Unique Approach to Dissonance: His system offers a refreshing perspective on dissonance, not just as something to be "resolved," but as an active element in creating specific levels of tension. This can be particularly useful for composers looking to move beyond traditional common-practice period harmony.

For those willing to invest the time in truly grasping Hindemith's somewhat idiosyncratic terminology and theoretical framework, The Craft of Musical Composition offers a profound alternative to conventional theory. It challenges you to hear music in a new way, focusing on the fundamental acoustic properties of sound.

Traditional Harmony - Advanced Exercises

While Hindemith provides a new theoretical lens, books like Traditional Harmony - Advanced Exercises (a title that might refer to various excellent textbooks such as those by Walter Piston, William Lovelock, or even Persichetti's Twentieth-Century Harmony for more advanced traditional concepts) typically focus on drilling the conventions of common-practice period harmony (roughly 1600-1900).

The Good Parts: Building a Solid Foundation

These types of books are invaluable for composers who want to speak the established "language" of music, even if they intend to break its rules later.

1. Mastery of Voice Leading: Advanced harmony exercises typically push students to perfect their voice leading – ensuring smooth, logical, and independent movement of each melodic line within a chord progression. This is a fundamental skill for any composer, regardless of genre or style.

2. Deep Understanding of Functional Harmony: Through rigorous exercises, you internalize the functions of chords (tonic, dominant, subdominant, etc.), how they relate to each other, and how they create powerful harmonic narratives (e.g., how a dominant chord creates tension that strongly resolves to the tonic).

3. Command of Counterpoint and Form: While focused on harmony, these books often incorporate practical exercises in two-part and three-part counterpoint, and their advanced sections delve into the harmonic structures of larger forms like binary, ternary, and even sonata form.

4. Problem-Solving Skills: Harmony exercises are essentially musical puzzles. They train your ear and mind to identify issues (e.g., parallel octaves, hidden parallels, unresolved dissonances) and find elegant, musically satisfying solutions.

For a composer, a solid grounding in traditional harmony is like learning classical drawing before experimenting with abstract art. It provides the discipline, the vocabulary, and the understanding of established principles that allow for truly informed creativity.

The Great Debate: Repeated Unison Notes and Musical Profundity

Now, let's turn to a specific point of contention, and one where my own compositional experience directly challenges a particular stance often found in more traditional or academically rigid theoretical approaches, including, from my perception, Hindemith's. The user refers to a point in Hindemith's Craft where he discusses how making repeated unison notes in a composition can make musical phrases "less profound" and that he is generally "against using repeated notes in phrases."

I would argue that this is a fascinating example of how theoretical principles, when taken as absolute rules, can sometimes limit expressive potential. While I can appreciate the underlying concern (perhaps an aversion to musical stagnation or a perceived lack of melodic development), my own experience, and indeed the history of music, strongly suggests that repeated notes, even in unison, can be incredibly beautiful and profound if used effectively.

Consider my own piano composition, "Heartbreak." The central motif of this piece relies heavily on a repeated note figure in the melody. It's not a mere technical device; it's designed to convey a sense of insistent, lingering pain, a single thought or feeling that returns again and again, refusing to dissipate. The repetition is not bland; it's a psychological tool, creating:

• Emotional Intensity: Think of a rapid, repeated note like a pounding heart, or a slow, sustained one as a deep, resonant ache. Repetition can build incredible tension and urgency, or convey deep contemplation.

• Rhythmic Drive: In many genres, from classical minimalism to rock music, repeated rhythmic figures on a single note can create an unstoppable momentum and propulsive energy. Think of the motoric rhythms of some Baroque or minimalist pieces.

• Psychological Obsession: Repetition can represent obsession, anxiety, or a thought that cannot be shaken. This is precisely the feeling I aimed for in "Heartbreak" – the persistent, unavoidable return to a core feeling.

• Perceptual Clarity: Sometimes, repeating a note simply clarifies its presence, allowing other harmonic or rhythmic elements to shift around it. It can act as an anchor.

• Textural Effect: In orchestral music, repeated notes can create shimmering effects (e.g., tremolo in strings), rhythmic accompaniment patterns, or a solid, unwavering core around which other melodic lines weave.

• Hypnosis or Trance: Minimalist composers like Philip Glass or Steve Reich often use repeated melodic and rhythmic cells to create a trance-like, evolving sonic landscape. This is undeniably profound and deeply moving.

The key is not whether a note is repeated, but how it's repeated. Is it dull and uninspired, or is it infused with purpose through:

• Rhythmic Variation: Changing the duration or accent of the repeated note.

• Dynamic Shaping: Crescendos or decrescendos on repeated notes can transform their impact.

• Articulation: Staccato, legato, or accented repetitions convey entirely different meanings.

• Contextual Harmony: The changing chords underneath a repeated melodic note can imbue it with new meaning and tension each time it sounds.

• Orchestration: Assigning repeated notes to different instruments or sections can alter their timbre and prominence.

Hindemith's perspective, while rooted in a desire for melodic forward motion and organic growth, might overlook the unique expressive power that stillness, insistence, or a percussive quality inherent in repetition can bring. My "Heartbreak" piece demonstrates that a repeated note, far from being "less profound," can be the very essence of a composition's emotional core, resonating with a deep, universal truth.

Conclusion

Both Paul Hindemith's The Craft of Musical Composition and practical harmony exercise books are indispensable tools for any serious composer. Hindemith pushes you to think about music in terms of its fundamental acoustic properties and the ebb and flow of tension, while traditional harmony books provide the bedrock of voice leading, functional harmony, and formal understanding.

However, the debate around repeated notes highlights a crucial lesson: theory is a guide, not a rigid rulebook. Every principle, every guideline, should be weighed against your own artistic intuition and the expressive needs of your music. Sometimes, the most profound statements are made by deliberately challenging conventional wisdom. Explore these texts, absorb their wisdom, but always keep your own ears and your unique creative voice at the forefront. That’s where the true craft of musical composition truly comes alive.

Painting with Sound: Using Modes to Evoke Mood and Color

In our previous post, "The Seven Sonic Personalities," we dissected the anatomy of each diatonic mode, understanding their intervallic structures and characteristic notes. Now, let's unlock the true power of this knowledge: actively shaping the emotional landscape of your music. Each mode, with its unique internal relationships of half and whole steps, inherently suggests a particular mood, atmosphere, or even a specific cultural association. As composers, understanding and harnessing these subtle, yet profound, associations is key to crafting music that resonates deeply and communicates with precision.

Think of modes as a palette of distinct colors. While major (Ionian) is a vibrant yellow and natural minor (Aeolian) a deep blue, modes like Dorian offer a nuanced teal, Phrygian a brooding crimson, Lydian a shimmering silver, and Mixolydian an earthy ochre. By consciously choosing a mode, you are selecting an expressive lens through which your musical narrative will unfold.

Let's explore the practical application of each primary mode for mood and color:

1. Ionian (Major): The Foundation of Joy and Stability

• Mood: Bright, optimistic, triumphant, stable, pure, straightforward, familiar. It represents clarity and an unadulterated sense of happiness or resolution.

• Application: Ideal for anthems, celebratory fanfares, children's songs, or any clear narrative exposition that aims for unblemished positivity. It’s the sound of "everything is right."

• Harmonic Implications: Dominated by major triads (I, IV, V) and strong dominant-tonic resolutions that reinforce its sense of stability and arrival.

• Melodic Ideas: Melodies often outline major triads, using diatonic steps and leaps. The strong pull of the leading tone to the tonic is a hallmark.

• Examples: Most pop songs, classical symphonies' triumphant movements, traditional hymns.

2. Dorian: The Bittersweet and Cool

• Mood: Melancholy but hopeful, thoughtful, jazzy, soulful, cool, slightly mysterious but not overtly dark. It’s often described as "minor but not sad," carrying a wistful elegance.

• Application: Excellent for introspective moments, sophisticated jazz improvisation (think Miles Davis's "So What"), reflective folk ballads, or creating atmospheric textures in film scores or game music where a touch of minor exoticism is desired.

• Harmonic Implications: The key differentiator is the major IV chord (e.g., G major in D Dorian), which contrasts sharply with the minor iv chord in natural minor. This major IV is a strong indicator of Dorian. While a ii-7b5 chord is technically diatonic, a plain ii minor chord often feels more typical for modern uses in Dorian. The bVII major chord (e.g., C major in D Dorian) is also common.

• Melodic Ideas: Focus on emphasizing the natural 6th (its characteristic note), perhaps ascending towards the tonic or descending, and how it interacts with the minor 3rd. Melodies often feature a blend of minor tonality with a subtle major-key brightness.

• Examples: "So What" by Miles Davis, many Celtic folk tunes, modern indie film scores.

3. Phrygian: The Dark, Exotic, and Intense

• Mood: Dark, intense, dramatic, exotic, often associated with Spanish or Middle Eastern sounds, mournful, heavy, sometimes foreboding. The flat 2nd creates a powerful, almost clashing, tension against the tonic.

• Application: Perfect for dramatic film scores (evoking ancient civilizations, tense standoffs, or spiritual intensity), flamenco music, moments of high suspense, or a deeply sorrowful atmosphere.

• Harmonic Implications: The bII (Neapolitan chord) is a natural and highly characteristic fit (e.g., F major in E Phrygian). A common progression is i - bII - i. The bVII major chord (e.g., D major in E Phrygian) is also very typical, often leading back to i.

• Melodic Ideas: The half-step between the tonic and b2 (its characteristic note) is your most powerful tool. Melodies often descend to the tonic from the b2, or hover around this pungent interval, creating a distinct "sigh" or "lament."

• Examples: Paco de Lucía’s flamenco works, passages in Rimsky-Korsakov's "Scheherazade," scores for historical dramas or suspense thrillers.

4. Lydian: The Dreamy, Ethereal, and Uplifting

• Mood: Dreamy, ethereal, magical, majestic, soaring, hopeful, fantastical, whimsical. The #4 (its characteristic note) avoids the strong gravitational pull of the perfect fourth found in Ionian, giving Lydian a unique floating, unresolved major quality.

• Application: Widely used in film scores for fantasy settings, outer space scenes, moments of wonder, or to create a bright, shimmering, almost improvisatory sound in jazz and contemporary classical music (e.g., some of Debussy's works).

• Harmonic Implications: The #IV diminished chord or #IV minor 7 flat 5 (e.g., Bdim or Bm7b5 in F Lydian) naturally occur. More importantly, a major triad built on the #4 (e.g., B major in F Lydian) gives a highly characteristic sound. A common Lydian progression might involve I - II (major) - I.

• Melodic Ideas: The #4 is paramount. Melodies often hover around or prominently feature this note, contributing to the sense of "openness" and lack of strong gravitational pull.

• Examples: "The Simpsons" theme song (a famous example of Lydian), many film scores for fantasy or sci-fi, compositions by Debussy and Ligeti.

5. Mixolydian: The Bluesy, Gritty, and Open

• Mood: Bluesy, rocky, raw, earthy, slightly unsettled, open, dominant. It's essentially a major scale with a "kick," often implying a dominant chord without the typical need for a strong, decisive resolution.

• Application: The absolute backbone of blues, rock, funk, and a significant portion of popular music. Used for dominant-sounding sections, extended jams, or when you want a major sound that feels less "finished" or less conventionally "classical" than Ionian.

• Harmonic Implications: The tonic (I) chord often feels like a dominant 7th chord (e.g., G7 in G Mixolydian). The bVII major chord (e.g., F major in G Mixolydian) is extremely common, often leading directly to I. This is the basis of countless rock and blues progressions (e.g., G - C - F - G can be G Mixolydian).

• Melodic Ideas: The b7 (its characteristic note) is crucial. Melodies often descend from the tonic to the b7, use it as a melodic pivot, or feature the characteristic "blue notes" (flattened 3rd and 5th) often heard in blues.

• Examples: Almost any blues or rock song, "Sweet Home Alabama" by Lynyrd Skynyrd, traditional folk songs that use a simple I-IV-bVII progression.

6. Aeolian (Natural Minor): The Somber and Reflective

• Mood: Melancholy, sad, serious, reflective, resigned, traditional minor. It conveys a straightforward sense of sorrow, introspection, or gravitas.

• Application: Ballads, lamentations, introspective classical pieces, poignant folk songs, or any situation requiring a direct and sincere sad or dramatic mood without the bright contrast of Dorian.

• Harmonic Implications: The iv minor chord is typical. The VII major chord (e.g., G major in A Aeolian) is often used instead of a V major (which would have a raised leading tone), avoiding the strong V-i pull and contributing to the feeling of resigned melancholy.

• Melodic Ideas: Emphasis on the b3, b6 (its characteristic note, distinguishing it from harmonic or melodic minor), and b7. Melodies often move stepwise.

• Examples: Many classical minor-key movements, traditional folk ballads, sad pop songs.

Tips for Evoking Mood with Modes

By consciously choosing a mode, you are selecting an emotional lens through which your music will be perceived. To maximize this effect:

1. Emphasize the Characteristic Note: This is your primary lever. For Dorian, linger on the natural 6th. For Phrygian, highlight the b2. For Lydian, feature the #4. For Mixolydian, emphasize the b7. These notes are the emotional triggers that quickly define the mode for the listener.

2. Harmonize Appropriately: Use chords that are diatonic to the chosen mode and that support its unique character. For instance, a major IV chord is a hallmark of Dorian, and a bII chord defines Phrygian. Be careful not to introduce accidental notes that conflict with the mode's structure, unless you are intentionally moving into modal interchange (which we will discuss in the next post!).

3. Consider Cadences: While traditional V-I cadences imply major/minor functionality, explore modal cadences. For example, a bVII-I cadence is very typical for Mixolydian, and bII-I for Phrygian. Sometimes, simply sustaining the tonic chord or creating a drone on the tonic can be enough to establish and maintain the modal center.

4. Listen to Examples: Immerse yourself in music that uses these modes effectively. Analyze how composers use specific melodic phrases, harmonies, and orchestrations to convey the modal mood. Active listening is one of your most powerful learning tools.

Conclusion

The modes are far more than mere theoretical curiosities; they are potent expressive tools that allow you to expand your musical vocabulary and communicate with greater precision and depth. By internalizing the unique "flavor" of each mode and consciously applying them in your compositions, you move beyond the conventional and begin to paint truly evocative soundscapes. This mastery empowers you to create music that is not just technically sound, but emotionally resonant and uniquely your own. In our next installment, we'll take this understanding a step further, exploring the powerful technique of modal interchange – borrowing chords from parallel modes to add even more color and harmonic richness to your compositions.

The Seven Sonic Personalities: A Deep Dive into Diatonic Modes

As composers, we often find ourselves comfortable within the familiar confines of the major and minor scales. They are the bread and butter of Western music, forming the harmonic and melodic bedrock for countless compositions across genres. Yet, the vast and vibrant world of musical expression extends far beyond these two foundational scales. If you've been writing for a while and feel the urge to inject fresh, distinctive colors into your music, then a deeper exploration of diatonic modes is your next essential step.

Modes are not esoteric or overly academic concepts. At their heart, they are simply different "flavors" of the diatonic scale, each possessing a unique intervallic structure that gives it a distinct characteristic sound and emotional quality. By understanding and utilizing these seven "sonic personalities," you can unlock new melodic avenues, enrich your expressive palette, and gain a profound understanding of how subtle shifts in pitch relationships can create dramatically different atmospheres.

Let’s dismantle the mystery surrounding modes and explore each of the seven diatonic modes in detail, using the notes of the C Major scale (C-D-E-F-G-A-B-C) as our consistent reference point. This allows us to see how simply shifting the starting point within the same set of notes can fundamentally alter the scale's character.

What Are Diatonic Modes? The Concept Explained

The term "mode" refers to a type of scale derived by starting on a different scale degree of a parent major scale. While all seven diatonic modes use the exact same notes as their parent major scale, rearranging the starting point (the tonic) fundamentally reorders the pattern of whole steps (W) and half steps (H) within the scale. It's this rearranged intervallic pattern that defines each mode's unique sound.

Let's illustrate with the C Major scale (C-D-E-F-G-A-B-C).

1. Ionian Mode (The Familiar Major Scale)

• Derivation: Starts on the 1st degree of the major scale.

• Formula (Intervallic Pattern): W-W-H-W-W-W-H

• Example (C Ionian): C-D-E-F-G-A-B

• Characteristic Intervals: The major third and major seventh define its bright quality.

• Flavor/Association: This is the sound you know intimately – bright, happy, stable, triumphant, and familiar. It’s the default setting for much of our popular and classical music, conveying a clear sense of resolution and optimism.

2. Dorian Mode (The Bittersweet Minor)

• Derivation: Starts on the 2nd degree of the major scale.

• Formula: W-H-W-W-W-H-W

• Example (D Dorian): D-E-F-G-A-B-C (These are the notes of C major, but starting on D, making D the tonic).

• Characteristic Intervals: Its defining features are the major sixth (natural 6) and minor seventh (b7). It’s the natural 6 that truly sets it apart from the natural minor scale.

• Flavor/Association: Often described as "minor but bright" or "minor with a glimmer of hope." It has a sophisticated, jazzy, soulful, or slightly melancholic but not despairing quality. You'll hear it frequently in jazz, funk, and some folk music. This natural 6th often creates a distinctive upward pull that distinguishes it from the more somber natural minor.

3. Phrygian Mode (The Dark and Exotic)

• Derivation: Starts on the 3rd degree of the major scale.

• Formula: H-W-W-W-H-W-W

• Example (E Phrygian): E-F-G-A-B-C-D (Notes of C major, starting on E).

• Characteristic Intervals: Its most defining feature is the minor second (b2) above the tonic. This half-step directly above the tonic creates a powerful, often clashing, tension. It also contains a minor third, sixth, and seventh.

• Flavor/Association: Dark, exotic, dramatic, and often associated with Spanish flamenco music or Middle Eastern sounds. The flat 2nd creates a distinct sense of foreboding, intensity, or deep lament.

4. Lydian Mode (The Dreamy and Ethereal)

• Derivation: Starts on the 4th degree of the major scale.

• Formula: W-W-W-H-W-W-H

• Example (F Lydian): F-G-A-B-C-D-E (Notes of C major, starting on F).

• Characteristic Intervals: The augmented fourth (#4) is its most prominent and defining feature. This interval avoids the strong, gravitational pull of the perfect fourth in the Ionian mode, giving Lydian a unique floating quality. It also includes a major third, sixth, and seventh.

• Flavor/Association: Dreamy, ethereal, majestic, mystical, uplifting, and sometimes whimsical. It’s a favorite in film scores for fantasy settings or moments of wonder, and in jazz to create an open, unresolved major sound. The #4 often makes it feel like "Ionian, but more magical."

5. Mixolydian Mode (The Bluesy and Dominant)

• Derivation: Starts on the 5th degree of the major scale.

• Formula: W-W-H-W-W-H-W

• Example (G Mixolydian): G-A-B-C-D-E-F (Notes of C major, starting on G).

• Characteristic Intervals: The key difference from the major scale is the minor seventh (b7). It contains a major third and major sixth.

• Flavor/Association: This mode has a distinct bluesy, rock, or folk sound. It inherently implies a dominant seventh chord (1-3-5-b7) built on its tonic, making it incredibly useful for dominant harmony that doesn't necessarily resolve strictly to a new tonic. It’s often called the "dominant scale" for its strong connection to the dominant 7th chord.

6. Aeolian Mode (The Natural Minor Scale)

• Derivation: Starts on the 6th degree of the major scale.

• Formula: W-H-W-W-H-W-W

• Example (A Aeolian): A-B-C-D-E-F-G (Notes of C major, starting on A).

• Characteristic Intervals: Minor third, minor sixth (b6), and minor seventh (b7).

• Flavor/Association: This is your familiar natural minor scale – melancholic, sad, serious, and reflective. It's used for traditional minor moods and a sense of somber resignation.

7. Locrian Mode (The Unstable and Dissonant)

• Derivation: Starts on the 7th degree of the major scale.

• Formula: H-W-W-H-W-W-W

• Example (B Locrian): B-C-D-E-F-G-A (Notes of C major, starting on B).

• Characteristic Intervals: This mode uniquely contains both a minor second (b2) and a diminished fifth (b5) above the tonic. This diminished fifth creates extreme instability, as the perfect fifth is usually the most stable interval.

• Flavor/Association: Highly dissonant, unsettling, and unstable. It is rarely used as a primary modal center due to its inherent lack of a stable tonic and dominant. However, it can appear in atonal contexts or for very specific, jarring dissonant effects. For practical intermediate composition, we will focus less on this mode as a primary compositional tool.

The "Characteristic Note": Unlocking Each Mode's Soul

For each mode (excluding Ionian and Aeolian, which serve as our major and natural minor benchmarks), there is typically one specific scale degree that acts as its sonic signature – the note that truly differentiates it from its parallel major or minor counterpart and gives it its unique expressive quality. When composing in a particular mode, emphasizing this characteristic note, either melodically or harmonically, is paramount for establishing and maintaining that modal flavor.

• Dorian: The natural 6th (compared to natural minor's flat 6th). In D Dorian, this is B natural.

• Phrygian: The flat 2nd (b2). In E Phrygian, this is F natural.

• Lydian: The sharp 4th (#4). In F Lydian, this is B natural.

• Mixolydian: The flat 7th (b7). In G Mixolydian, this is F natural.

When composing, consciously featuring these notes, perhaps by lingering on them, using them as melodic peaks, or including them prominently in your chords, will instantly inject the unique character of the mode into your music.

Conclusion

Understanding the seven diatonic modes fundamentally expands your expressive palette. No longer are you confined to just two emotional extremes (major and minor); you now have access to a spectrum of nuanced moods, from the bittersweet introspection of Dorian to the ethereal wonder of Lydian, and the gritty energy of Mixolydian.

This foundational knowledge is not just theoretical; it’s a practical superpower for composers. By choosing a mode, you are selecting an emotional lens through which your music will be perceived, guiding your melodic and harmonic decisions with greater intention. In the next post, we will delve into the practical application of these modes, exploring how to effectively use each "sonic personality" to paint vivid moods and colors in your compositions. Get ready to truly unlock the expressive potential of your music!

Amazing Grace Arranged for Easy Piano

In this video, I post one of many arrangements I’ve written for easy piano. This one is John Newton’s “Amazing Grace.” This version has one sharp and is in G major. There is some triplet action in the piece which adds a little interest to this take on the classic. Watch the video below. Feel free to grab the sheet music here.

An Introduction to Orchestration Part 1

The Role of Orchestration in Composition

Orchestration plays a pivotal role in the realm of music composition, serving as the bridge between a composer's ideas and the final auditory experience. It involves the thoughtful arrangement of musical elements for various instruments, enabling composers to harness the unique timbres and capabilities of each instrument. This process not only enhances the emotional impact of a piece but also ensures clarity and balance in the orchestral texture, allowing each voice to be heard distinctly within the ensemble.

In film score orchestration, the importance of orchestration is magnified, as it directly influences the audience's emotional response to visual narratives. A well-orchestrated score can elevate a film's storytelling, guiding viewers through moments of tension, joy, or sorrow. Composers must consider not only the musical themes but also how orchestration can complement the film’s visuals, using dynamics, instrumentation, and texture to support the on-screen action and enhance the overall cinematic experience.

Video game music orchestration similarly requires a nuanced approach, where the interactive nature of games demands adaptability and engagement. Composers need to create music that can shift seamlessly in response to player actions, and orchestration plays a vital role in achieving this fluidity. By employing various orchestral techniques, such as layering motifs or varying instrumentation based on gameplay scenarios, composers can create immersive soundscapes that enhance the gaming experience.

The world of jazz ensemble orchestration showcases a different facet of orchestration, where improvisation and spontaneity are key. Here, orchestrators must balance written arrangements with opportunities for musicians to express their creativity. This dynamic interplay between structure and freedom is essential in jazz, and effective orchestration can elevate a simple composition into a vibrant, living piece that reflects the personality of each performer.

In contemporary commercial music orchestration, the focus shifts towards creating appealing and accessible sounds that resonate with a broad audience. This involves understanding current trends in popular music while also incorporating orchestral elements that add depth and richness. Composers in this genre must be adept at blending traditional orchestration techniques with modern production methods, ensuring that their works stand out in a competitive landscape while still retaining the essence of orchestral music.

Historical Overview of Orchestration

The historical overview of orchestration reveals a rich tapestry of musical evolution, tracing its roots from the early Baroque period to the contemporary soundscapes of today. Early orchestration was characterised by the use of a limited number of instruments, primarily strings and continuo, as composers such as Johann Sebastian Bach began to explore the interplay between different timbres. This experimentation paved the way for the more complex orchestral textures that would emerge in the Classical and Romantic eras, where larger ensembles became the norm and the role of the conductor began to take shape.

As orchestration evolved, composers like Haydn and Mozart expanded the orchestral palette by introducing wind instruments, creating a more balanced sound. Their innovative use of instrumentation set the stage for later developments in orchestration, particularly during the Romantic period, when composers such as Wagner and Mahler pushed the boundaries of orchestral writing. Wagner’s revolutionary use of the orchestra not only enhanced dramatic storytelling in opera but also influenced the orchestral works of his contemporaries, leading to a broader acceptance of varied instrumental combinations.

The 20th century marked a significant turning point in orchestration, with composers like Stravinsky and Prokofiev embracing new techniques and styles. The advent of film and video game music also transformed orchestration, as composers tailored their arrangements to fit the emotional landscapes of visual media. This shift allowed for the blending of traditional orchestral sounds with electronic elements, paving the way for contemporary commercial music that appeals to wider audiences in diverse genres, including jazz and advertising.

In educational contexts, orchestration has become an essential part of music curricula, equipping aspiring composers with the skills to create sophisticated works across various styles. Institutions now offer specialised courses in orchestration, focusing on the intricacies of arranging for different ensembles and the unique characteristics of each instrument. This education fosters a new generation of composers who are well-versed in both traditional and modern orchestral techniques, ensuring that the art of orchestration continues to thrive.

Today, orchestration remains a dynamic field, with composers constantly seeking innovative ways to combine instruments and create new sonic experiences. As technology advances, the possibilities for orchestration expand, allowing for greater experimentation and creativity. The historical overview of orchestration not only highlights the foundational techniques developed over centuries but also encourages contemporary composers to push boundaries and explore new horizons in their orchestral works.

Understanding Instrumentation

To truly excel in music orchestration, one must first have a comprehensive understanding of instrumentation. Instrumentation refers to the specific instruments that comprise an orchestra and the unique qualities each brings to a composition. Knowing the capabilities and limitations of various instruments is crucial, as it allows composers to write music that fully utilises the strengths of each section, whether it be strings, woodwinds, brass, or percussion. This foundational knowledge empowers composers to create rich, textured soundscapes that engage the listener and enhance the emotional impact of the music.

In film score orchestration, the role of instrumentation becomes paramount. Each instrument contributes to the narrative, helping to convey emotions and support character development. For example, the use of soaring strings can evoke a sense of longing, while brass can add a heroic quality. Understanding how to effectively blend these instruments not only enhances the score but also aligns it with the visual storytelling, creating a seamless experience for the audience. This careful attention to instrumental colour is what distinguishes a compelling film score from a forgettable one.

Video game music orchestration also relies heavily on instrumentation, yet it presents unique challenges and opportunities. Composers must consider the interactive nature of games, where music may need to adapt dynamically to player actions. This requires a keen understanding of how different instruments can be layered or altered in real time, creating an engaging auditory experience that complements gameplay. The ability to orchestrate effectively for this medium can significantly enhance immersion and player satisfaction.

In the realm of jazz ensemble orchestration, the emphasis shifts towards improvisation and interaction among musicians. A composer must be adept at writing parts that not only showcase individual virtuosity but also promote dialogue between instruments. This often involves intricate arrangements that allow for spontaneous creativity while still maintaining a cohesive sound. Understanding the nuances of jazz instrumentation is essential for any composer wishing to excel in this vibrant genre, as it encourages a unique blend of structure and freedom.

Contemporary commercial music orchestration, including choral and educational settings, requires a different approach. Composers must be versatile, adapting their orchestration techniques to fit various styles and contexts. Whether writing for advertising, choirs, or educational purposes, the ability to choose the right instruments and create engaging arrangements is crucial. This adaptability not only broadens a composer's skill set but also enhances their marketability in an ever-evolving music industry.

Chords I and V in a Major Scale

In addition to tutorials on how to use various music software, I also teach a lot of online music theory concepts, this being one of them. In this video, I walk you through Tonic (Chord I) and Dominant (Chord V) in a major scale. Hopefully, this is helpful to you all! Let me know if you have any questions on it. Thanks! Enjoy the video!

Muse Score 4: How to Add Instruments to the Score Post-Setup

In this video, I start to break down the process of how to add instruments to a score post set-up. Send me your comments and questions as you have them. I’d be happy to answer them.

First Impressions Using Muse Score 4

In the below video, I explain how to get started with Muse Score 4 and my first impressions with it. Enjoy the video! Comment, and subscribe to the blog.

C Minor Piece I Have Yet to Transcribe

Enjoy this snippet for piano. I often find myself using some of the same chord progressions.

Diamond and Emerald

Piano piece for four hands- two pianos.

Chromatic Crusade (YouTube)

Here’s one of my most recent pieces for easy piano.

From Two Instruments to Twenty-Five: My Symphonic Band Debut!

There's a first time for everything, right? And for me, that "first" was a journey from writing for a mere two instruments to tackling a full symphonic band with 25! It all started back in 2009, leading to a three-year creative marathon that culminated in my very first piece for symphonic band: “Mary: A Prelude for Concert Band.”

It’s wild to think about now, but this piece, which sounds nothing like a rock song today, was originally conceived with an electric guitar introduction that was supposed to weave its way through the entire composition. That main theme? It ended up finding its home in the clarinet part, so it’s the clarinets that kick everything off.

Car Alarms and Frank Ticheli

The creative process for “Mary” was certainly an adventure. I remember one morning, I woke up to the jarring sound of a car alarm blaring outside. Instead of annoyance, inspiration struck! About three-quarters of the way through the piece, if you listen closely, you'll hear that car alarm make an unexpected cameo in the flute parts. It's a little inside joke that always makes me smile.

Handing the finished score over to the band director was an eye-opening moment. To help me refine my work, he generously loaned me two scores by the legendary composer Frank Ticheli: the vibrant, jazz-infused “Blue Shades” and his breathtaking masterpiece, “Angels in the Architecture.” Studying those pieces was an invaluable lesson in orchestration and form.

Hearing "Mary" Come to Life

There’s truly nothing quite like hearing a piece you’ve created come to life. I still remember standing outside the band room doors, listening as the band gradually brought “Mary” to fruition. They started at a much slower tempo, taking their time to learn the intricacies of the music. But over a few weeks, they gradually built up to the tempo I’d envisioned.

The most magnificent part? About a week before the concert, the director invited me to sit in on a rehearsal. I was a bundle of nerves and excitement! He introduced me to the band, and then asked if their playing matched what I had in mind. My answer was an emphatic "yes!" Truthfully, I was just overflowing with gratitude to hear my work being played. For composers, there's a profound sense of validation that comes from having your music performed. It’s like breathing life into your innermost thoughts and feelings.

The Electrifying Premiere

Finally, the concert day arrived. It was a “Friends of Music” concert at CSUSB, showcasing the winners of their annual concerto/composition festival. And let me tell you, the performance of "Mary" was electrifying and incredibly gratifying. The energy in the room was palpable, and hearing all those instruments come together, playing something that started as a flicker of an idea in my mind, was an experience I'll never forget.

Perhaps I'll share more about that electrifying performance in a future post!