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.
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!
The Brain's Soundtrack: How Music Rewires Our Neural Pathways
Have you ever wondered what's truly happening inside your head when you listen to your favorite song? It's far more than just pleasant sounds entering your ears. Music, in its intricate beauty, doesn't just entertain us; it actively sculpts our brains, forging new connections and even enhancing cognitive abilities. This remarkable phenomenon is a testament to the power of neuroplasticity, the brain's incredible ability to change and adapt throughout our lives.
From the first lullaby to the complex symphony, music engages a vast network of brain regions, lighting them up like a festive circuit board. But it's not just about what lights up; it's about how those connections strengthen, deepen, and even grow new pathways with repeated engagement.
A Symphony of Brain Activity: What Happens When We Listen?
When a melody, rhythm, or harmony reaches our ears, it doesn't just hit one spot. Music activates a complex and distributed network across the brain:
Auditory Cortex: This is the primary processing center, responsible for interpreting sound waves into recognizable pitches, timbres, and rhythms.
Motor Cortex: Even if you're not dancing, your motor cortex often becomes active, anticipating the beat and prompting toe-tapping or head-nodding. This suggests a deep, primal connection between music and movement.
Frontal Lobe (Prefrontal Cortex): Involved in higher-level cognitive functions like attention, memory, planning, and emotional regulation. This area helps us appreciate the structure of a song, predict what's coming next, and derive pleasure from it.
Temporal Lobe (Hippocampus & Amygdala): Crucial for memory formation and emotional processing. This is why music is so potent in triggering memories and evoking strong feelings, as we discussed in our previous post on "The Soundtrack of Our Lives."
Cerebellum: Traditionally associated with motor control and coordination, the cerebellum also plays a significant role in processing rhythm and timing in music.
Nucleus Accumbens (Part of the Reward System): This region, part of the brain's pleasure and reward circuitry, releases dopamine in response to music, particularly during moments of tension and release, contributing to the "feel-good" aspect of listening.
It's the coordinated dance between these diverse regions that allows us to experience music in all its richness.
Neuroplasticity in Action: How Music Reshapes the Brain
The magic truly begins with neuroplasticity. Every time you listen to music, especially if you're engaged with it (singing along, tapping your foot, analyzing its structure), you're reinforcing the connections between these various brain regions. Repeated exposure, learning an instrument, or even just regularly engaging with music, acts like a sculptor, subtly reshaping the neural landscape.
Think of it like paths in a forest. The more you walk a certain path, the clearer and more defined it becomes. Similarly, the more specific brain circuits are activated together by music, the stronger and more efficient their communication becomes.
This applies not only to strengthening existing connections but also to creating entirely new ones. Studies have shown that learning and playing music, in particular, can lead to:
Increased Gray Matter Volume: Several studies have indicated that musicians often have a higher density of gray matter (where neuron cell bodies are concentrated) in areas related to auditory processing, motor control, and spatial cognition.
Enhanced White Matter Integrity: White matter consists of myelinated axons, which act like insulated wires that connect different brain regions. Musicians often show better white matter connectivity, suggesting more efficient communication pathways between diverse brain areas.
Stronger Corpus Callosum: This thick band of nerve fibers connects the two hemispheres of the brain. Musicians, especially those who started at a young age, tend to have a larger and more robust corpus callosum, indicating enhanced communication between the left (often analytical) and right (often intuitive/creative) sides of the brain.
Musicians vs. Non-Musicians: A Deeper Look
Research consistently highlights fascinating differences in the brains of musicians compared to non-musicians. These aren't just subtle nuances; they represent tangible structural and functional adaptations:
Auditory Processing Superiority: Musicians show enhanced abilities in processing subtle changes in pitch, timbre, and rhythm. Their brains are more efficient at decoding complex auditory information.
Improved Executive Functions: Studies suggest musicians often perform better on tasks requiring working memory, attention, problem-solving, and planning – skills collectively known as executive functions. This is likely due to the mental demands of practicing and performing complex musical pieces.
Enhanced Motor Skills: The intricate coordination required to play an instrument leads to highly refined fine motor skills and sensorimotor integration (the coordination between sensory input and motor output).
Better Emotional Recognition: Some research indicates that musicians are better at perceiving and interpreting emotional cues in speech and other non-musical sounds, possibly because their brains are highly attuned to sonic subtleties.
Greater Brain Plasticity: The very act of learning and mastering an instrument pushes the brain to adapt, making musicians' brains arguably more "plastic" and adaptable to new learning experiences in general.
These changes aren't limited to professional musicians. Even casual engagement with music, like singing in a choir, learning a few chords on a guitar, or simply being an active listener, contributes to neuroplasticity and cognitive benefits.
The Takeaway: Your Brain on Music
The next time you press play, remember that you're not just enjoying a temporary auditory experience. You're engaging in a profound dialogue with your brain, prompting it to adapt, grow, and strengthen. Whether you're a seasoned maestro or someone who just loves to sing in the shower, music is continually rewiring your neural pathways, shaping not just your musical appreciation, but potentially enhancing your memory, attention, and emotional intelligence.
So, go ahead – put on your favorite album. Your brain will thank you for the workout.
The Psychology of Music: Why It Moves Us
Have you ever heard a song and been instantly transported back in time? Not just a vague recollection, but a vivid, multisensory flashback to a specific moment, a feeling, a place? It’s as if the melody isn't just playing through your speakers, but resonating directly with your past. This powerful phenomenon, where music acts as a key to unlock our most potent memories, is something many of us experience, and it's deeply rooted in the fascinating psychology of our brains.
Consider, for instance, the enduring magic of Simon & Garfunkel's "Concert in Central Park." For some, it might evoke a specific era, or perhaps memories of folk music festivals. But for me, it's a specific moment: getting that CD at my aunt's house. I remember the tactile feel of the jewel case, the sunlight streaming through the window, and how I simply couldn't stop listening to "The Boxer" and "Bridge Over Troubled Water" on repeat. It wasn't just music; it was the entire atmosphere, the nascent discovery of an album that would shape my musical landscape for years to come.
This isn't mere nostalgia; it's a profound psychological phenomenon.
The Science Behind the Song: Autobiographical Memory and the "Proust Effect"
The reason music is such a potent trigger for memories lies in its unique connection to our autobiographical memory. This is the memory system responsible for personal experiences from our past. Unlike factual knowledge, autobiographical memories are rich with sensory details, emotions, and a sense of self.
When we experience a significant event, our brain doesn't just store the factual details; it also encodes the sensory information present at that moment – the sights, sounds, smells, and emotions. Because music is so often interwoven with our emotional experiences and social interactions, it gets deeply embedded within these memory networks.
This is where the "Proust effect" comes in. Coined after Marcel Proust's famous literary scene where the taste of a madeleine cake triggers a flood of childhood memories, the "Proust effect" refers to a powerful, involuntary memory triggered by a sensory cue. While Proust focused on taste and smell, music is arguably an even more common and potent trigger for this phenomenon.
Neuroscience explains this connection: the auditory cortex, which processes sound, is closely linked to the hippocampus and amygdala – brain regions crucial for memory formation and emotional processing. When we hear a familiar song, these areas light up, often before we're even consciously aware of the memory taking shape. The emotional resonance of music further strengthens this link, making musical memories particularly vivid and long-lasting.
Why Music Hits Different Than Other Triggers
While a scent or a visual can also trigger memories, music seems to have an unparalleled ability to transport us fully. Why?
Emotional Encoding: Music is intrinsically tied to emotion. We often listen to music during highly emotional periods of our lives – celebrations, heartbreaks, pivotal moments. These strong emotional connections make the associated memories more resilient and readily accessible.
Repetition: Unlike a single event, we often listen to the same songs repeatedly. This repeated exposure, especially during formative years, reinforces the neural pathways connecting the music to those specific times and feelings.
Non-Verbal Nature: Music bypasses our analytical, verbal processing. It speaks directly to our subconscious, accessing memories that might be harder to retrieve through conscious effort or verbal cues.
Harnessing the Power of Your Personal Soundtrack
Understanding this profound connection isn't just intellectually interesting; it offers practical ways to leverage music for our well-being.
For Reminiscence and Connection:
Curate "Memory Playlists": Create playlists dedicated to specific periods of your life (e.g., "High School Jams," "College Days," "Summer of '98"). Listen to them when you want to intentionally revisit those memories, connect with your past self, or even share stories with loved ones.
Spark Family Conversations: Play old music when gathered with family. The shared musical experience can be a powerful catalyst for storytelling, helping bridge generational gaps and strengthening bonds.
Support Cognitive Health: For individuals experiencing memory decline, music therapy is often used to tap into preserved musical memories, bringing moments of clarity, connection, and joy.
For Mood Regulation and Emotional Well-being:
The "Pump-Up" Playlist: When you need a boost of energy, motivation, or confidence, turn to songs associated with past successes or periods of high vitality. Your brain will automatically tap into those positive emotional states.
The "Comfort" Playlist: For moments of stress, anxiety, or sadness, curate a list of songs that evoke feelings of safety, warmth, or tranquility. These are often songs from your childhood or times when you felt secure.
Processing Emotions: Sometimes, the best way to move through a difficult emotion isn't to suppress it, but to acknowledge it. Sad or reflective music can provide a safe space to process grief, frustration, or melancholy, leading to a sense of catharsis.
Mindful Listening: Instead of just having music as background noise, try active listening. Pay attention to the instruments, the lyrics, the emotions evoked. This can be a form of mindfulness, grounding you in the present moment while also connecting to your inner emotional landscape.
For Future Memory Building:
Theme Your Experiences: Consciously choose a "soundtrack" for significant new experiences – a road trip, a new job, a personal project. This can help embed the memories more deeply, creating future musical triggers.
Document the Moment: When you find a song that resonates deeply with a current experience, make a quick note in your phone or a journal about why it resonates. This builds a rich archive for future reminiscing.
Music is more than just entertainment; it's an intricate part of our cognitive and emotional architecture. It’s a powerful, personal time machine, ready to whisk us away to moments long past, full of forgotten feelings and cherished memories. By understanding this incredible power, we can consciously use our personal soundtracks not just to relive the past, but to enrich our present and shape our future.
What songs instantly transport you to a specific memory? Share your "Proust effect" musical moments in the comments below!
The Day My Computer Tried to Silence My Music: A Composition Jury Disaster
Ever had a tech disaster threaten to derail your academic dreams at the absolute worst possible moment? Imagine this: you're a music composition student, you've poured your heart and soul into creating a portfolio of new works, and the culmination of your semester – your composition jury – is just days away. You've spent countless hours meticulously notating every crescendo, every subtle dynamic shift, every note, using your trusty computer and specialized software. You're ready. You're prepared.
Then, disaster strikes. Your computer, your lifeline, the very device holding all your musical creations, decides it's had enough.
That's precisely what happened to me in 2010. My computer, a faithful companion through many late-night composing sessions, decided to stage a dramatic exit just before my final jury presentation. It wasn't a slow fade; it was a sudden, catastrophic failure. One moment, I was fine-tuning a string quartet; the next, a blank screen stared back at me, mocking my impending deadline.
Panic, as you can imagine, set in quickly. All my scores, all my carefully crafted audio mockups, all my hard work… seemingly vanished. This wasn't just an inconvenience; it was a potentially grade-destroying event. My composition jury wasn't just a presentation; it was a crucial evaluation of my progress as a composer, requiring me to showcase my finished pieces. Without my files, I had nothing to show.
I scrambled, trying every troubleshooting trick in the book, but it was clear: my computer was kaput. With no immediate solution and the jury looming, I had to face the music, so to speak. My professor, understanding the gravity of the situation (and perhaps having witnessed similar tech-related meltdowns before), granted me an "incomplete." While a temporary reprieve, it meant one thing: my summer would be spent not relaxing, but making up for lost time and rebuilding my portfolio from scratch.
It was a grueling summer. I borrowed a computer, scrounged for old drafts, and essentially recomposed parts of my portfolio. The pressure was immense, but it also forced me to work in a way I hadn't before. I discovered a newfound resilience and an ability to push through immense stress. When I finally presented my made-up jury at the end of the summer, there was a profound sense of accomplishment, not just in the music itself, but in having overcome such a significant hurdle.
Lessons Learned (the Hard Way):
This traumatic experience taught me some invaluable lessons that I carry with me to this day, and that I want to share with any aspiring composer:
Back Up Everything, and Then Back It Up Again: This is non-negotiable. Cloud storage, external hard drives, USB sticks – use them all! Set up automatic backups if you can. Assume your technology will fail, because eventually, it probably will.
Version Control is Your Friend: Don't just save over your old files. Create new versions regularly (e.g., "PieceTitle_v1," "PieceTitle_v2," etc.). This way, if a file gets corrupted, you can always revert to an earlier, working version.
Print Your Scores (Even Drafts): While digital is convenient, having physical copies of your scores can be a lifesaver. You can always refer to them, even if your computer dies.
Embrace Resilience: Things will go wrong. Your creative process will hit roadblocks. Learn to adapt, problem-solve, and push through. These challenges often make you a stronger artist.
The 2010 jury incomplete was a disaster, but it was also a powerful teacher. It forced me to confront my reliance on technology and to build robust habits that have served me well throughout my compositional career. And trust me, I've never forgotten to back up my files since!
From Blank Page to Full Ensemble: The Thrill of My First Concert Band Piece
There are milestones in a composer's journey that stand out, moments where you feel a significant shift in your understanding and capabilities. For me, one of those truly unforgettable moments was writing my first piece for concert band.
Before this, my compositions were primarily for smaller ensembles – string quartets, piano pieces, maybe a vocal work or two. These were valuable experiences, certainly, but composing for a concert band felt like stepping onto a much larger, more colorful canvas. The sheer breadth of instrumentation – woodwinds, brass, percussion, all working in unison – presented both an exhilarating challenge and an incredible opportunity.
The idea for the piece came to me in a rush of inspiration. I remember sitting at my desk, thinking about the powerful resonance of a full ensemble, the layered textures, the potential for grand statements. Unlike smaller chamber works where every individual line is often exposed and intimate, the concert band offered a tapestry of sound, allowing for broad strokes and vibrant orchestral colors.
The process of writing was an adventure in itself. I spent hours poring over scores of established band literature, dissecting how composers like Holst, Grainger, and more contemporary figures managed to blend timbres, voice chords across different sections, and create compelling narratives with such a diverse group of instruments. It wasn't just about writing notes; it was about understanding the unique characteristics of each instrument – the bright clarity of the flutes, the warm depth of the clarinets, the stately power of the brass, the rhythmic drive of the percussion.
Orchestration, which had been a relatively minor concern in my chamber works, suddenly became paramount. How do you voice a chord so it sounds balanced and full? When do you double parts for added strength? How do you create contrast between sections? These questions dominated my thought process. There were moments of frustration, of course, where a passage didn't quite sound right in my head, or where I struggled to balance competing melodic lines. But these challenges were part of the learning process, pushing me to experiment and refine my ear for large ensemble writing.
Then came the moment of truth: the first rehearsal. Walking into the band room, seeing all those musicians with their instruments, knowing they were about to play my music – it was a mix of intense nerves and overwhelming excitement. The conductor raised the baton, and then… sound. My notes, my rhythms, my harmonies, suddenly filled the room, brought to life by dozens of talented musicians.
It wasn't perfect, of course. There were intonation issues, balance problems, and passages that needed clarification in the score. But hearing it, even in its raw form, was an incredible experience. The initial chords, the swells of melody, the powerful percussive hits – it was all there, tangible and real. That feeling of hearing your creation resonate through a full ensemble, of seeing musicians engage with the world you've built on paper, is truly unparalleled. It’s a moment every aspiring composer dreams of.
Writing that first concert band piece was more than just completing an assignment; it was a transformative experience. It expanded my compositional palette, deepened my understanding of instrumentation, and solidified my passion for creating music on a grander scale. It proved to me that the journey from a blank page to a resounding performance is one of the most rewarding paths a composer can take.
Composing Music for Band Part 1
In the following video, I go into a four or five part series (this is part 1) on how to write music for band or wind ensemble. Hopefully, this will help you if you are new to writing band music and want to take a stab at it.
Here is the video. Enjoy!
A Look Back at My College Composing Days Part 1
I have found these days that composition has turned into something of an evil demon that makes you feel like the most spat-on speck of dust. In my latest piece, "A Singer's lament (my least favorite piece) I mention that the harsh reality has darkened the very dream. Well, I have found that the execution of this work has darkened my very dream of a career as a professional composer. One of the things that I admit that I have not done is successfully blocked out my previous anxieties on the complexities of my craft which should not exist. Ten weeks, eleven weeks, and now twelve weeks into my studies, I still am struggling with definite edits as people that I have graciously summoned to perform my works that I've so desperately tried to put on the table. The common practice with Dr. Menton, my composition teacher and I is that I do one set of corrections while he corrects them, which is fine but it leaves me thirsting for more favorable reviews from the people who hear these works day in, day out. I know, to everyone, this is just life. This is just the way composers have to work. Composers must be really be willing to devote hours and hours of practice and editing to make their compositions the best and the brightest they could be.
They must also build a real, working relationship with performers. This includes the performers being ready to rehearse and perform compositions in a very communicative format. The composers have to also have all scores ready for the performers to perform. But, minor edits should be allowed in rehearsal. All this sounds great, but my experience below is the reality of the odds of having a performer perform your piece.
From a rehearsal stand point, the energy for my works is seldom there. Maybe when I get to heaven, a choir will cover all the glorious work that I have tucked away deep in my mind and heart for so many years. Every time I approach some one for a rehearsal of a piece of mine, I always get some enthusiastic replies, but yet there's a majority that come up with reasons that they cannot commit to my work. I always feel like the recitals are sort of off-points for me. I tend to think I'm in the wrong place, when I know that I'm in a right place. I can't really understand my place in this music world. I feel like I'm expected to be a slave for performers. Well, if there are no performers available to give you some rehearsals of the music, how are composers supposed to survive? I wonder if my compositions are really that terrible.
And then, there is always this bold statement: You know, I can do other things to make money and to make important relations with people through my books and subsequent songs. I don't need to do these compositions for a grade. I'd much rather do my compositions for performers just begging for music. It should not be the composer begging for performers. I'm tired of begging.
Also, I think that pop music is much faster for me to write than this classical music. Classical music is just too serious for me. Singing in choir and performing in jazz are almost the only highlights for me. I just wish that my work would be as rewarding as these two performing acts. I really wish I could write a swan song for choir that is not as difficult as the last. Yet, I do not understand how we can do a piece like Whitacre's "A Boy and a Girl" which is full of dissonant stuff and we can't take on a student's choir piece of the same or similar nature. I think there is something wrong with this picture. I almost think I should have edited the choir piece and perfected that instead of doing this new choir work.
I believe that as a department, and as a collective of music majors, we are feeding into laziness and passing people on who are not as hard-working. But yet, how can I say that I am hard working when I'm a composer who doesn't act on offers that present themselves to him, let alone goes after his chance to perform. What the hell am I doing writing this material? Better yet, what am I doing sitting here living, when living is going out and performing? I don't get out much. That's a big problem.
I figured that I have to write my feelings down at this point. I don't know what my composition career will hold. I know that more simple music sells well and I know that more simple (non musically educated) audiences understand the music better than atonal mathematical stuff. But right now, I don't have my compositional stride in check. If only I could focus and write something with some feeling.
With my writing, feeling is key. I am not a mathematical soul. I cannot write music utilizing tone rows. I have an ear and the ear should be for the use of consonant materials. Yes, one could use dissonance in certain intervals, but do it tastefully. Don't just throw some meat on there that listeners can't chew. Have some class! Be colorful. I could see doing something partially synesthetic which involves some increased amounts of dissonance but throw a consonant chord in the music at the ends of phrases, at their buildups.
It seems all too often the case, nowadays, that a composer can be taught all of the essential aspects of the artistic side of composing--i.e. the music theory, the aural skills, the counterpoint, the orchestration, the arranging, even technological tips on how to save copies and engrave compositions, with the inventions of software programs such as Finale, Sibelius, Notation, and other such programs. Not too much attention; however, is paid to how composition as a career relates with the real world. This would lead the erstwhile young composer to feel lost after four or more years of training at the university level. This leads the composer to frustration and angst about what he or she is to do with his or her future. I have been a "victim" to this on many occasions where I have asked my composition professors for tips on how to get my music into the appropriate hands to be nurtured and performed. My professors would have me focus on just the quality of the works that I compose for now and worry about promoting the work that I do write when I'm perceivably good enough. Hence, the old adage, "Walk before you run," or "Crawl before you walk."
From Rock Music To Classical and Back
From this path in time where I sit, classical music has become less of an interest to me than telling a story, as I figured it might. All of the abstract rules of how to make a certain section sound a certain way, or to make me sound like a certain composer of the nineteenth century really doesn't work. Yeah, it's nice to point out ideas in the scope of all this training and to examine what other master composers have done but it all means nothing when it will not stick in my head. It may stick when I'm on a break from the laborious task of school or work, but once the projects start, my brain goes right into just getting the job done.
Also in a society where we are not allowed to slow down for fear of a loss of some kind, whether it be money or a breach of contract, I find it very difficult to make ideas work. Everyone wants simple fast results. Well, not every career or industry is as fast as the manufacturing industry or subsequent offshoots of it. Not everything is created within the snap of a finger. Trying to put art in a time-slot that is ready-made to order is not art at all. That is why so much of the supposed art we have nowadays is half-baked. Whenever you try to do something but are expected the opposite, it doesn't work. Writing my ideas takes a lot more time than this merely short quarter system to come to full fruition. Professors say, "Then, make it simpler." So, I try and make it simpler. I go in for the jury. The professor says, "Add more color to this. Make this stronger. Bring this out." All the while, you sit there and go, i just made it simpler after making it extravagant and now you want it to be extravagant again? People, make up your minds! If you water down things too much, you diminish any standing quality that the work may have and it becomes a joke on stage. But, if you make it too difficult, it will also be a joke to the audience who will not like the performance of it. Doing chord analysis would help, but that alone does not manufacture originality.
Looking through edits throughout this chapter, I've realized that I've needed to slow down quite a bit, take a few moments to ponder what these other composers have done so that I'm not making the same mistake for yet another jury. At this point I need to be seasoned. If the professors were reading this, they would say, "We're trying to season you. That is why we are suggesting the things we are suggesting." Well, in my off-time, when I'm not writing, I do peruse scores for hours on end, trying to figure out what these composers are doing. But the results that I get from this process aren't much better than the ideas I had to begin with. Thus, the only solution that I find that works is engraving the scores as I analyze them, just as many university pupils rewrite their notes in order to study for tests. This way, I get it.
As of today, I'm still not writing the phrasings as I should for my pieces and doing all that I can to make due for hearings and other important events. Hours and hours of research in the library, studying scores like La Mer by Claude Debussy or Frank Ticheli’s Blue Shades and Angels in the Architecture brings some depth to the kinds of harmonies that should be employed today. In meetings with the conductor and the director of bands at Cal State, I have two widely scored this piece. There is just too much going on right now. Mary—A Prelude for Concert Band in D Minor is my take on a dream I had where this Clapton-esque rock song was blaring in the background while a carnival progressed in front of me. It is a wild and crazy story—this ghost girl coming back to pounce on unrelenting victims that were not victims in the first place, but attacked her viciously. She was the Iris—the eyesore that the world couldn’t stand.
Junior Recital— How Did It Go
Going through the motions looking at all the work that I had done, I see that I have plenty of material to do a recital since the triumphant premier of my first ever band piece Mary—A Prelude for Concert Band in D Minor. Many of my fellow classmates and friends that played in the CSUSB Symphonic band thought that my first work for band was one of the craziest but also one of the funnest works they have ever had the privilege to play. If I were to place it on the grading scale of band music, it would have been a high grade 5 or grade 6.
I'm preparing for my junior recital. I have a lot of different work that I'm doing--even past work--the clarinet concerto. Everything's going well.
Then, there are the private compositions, most notably “Fire In My Soul” that are some of the best I have ever written. I sit back and think “Why didn’t I ever put that on a student recital? Better yet, why don’t I put that on the upcoming recital?” Fast forward almost eight years after the song was “written,” the full orchestral score is yet to be completed and re-recorded and released. At least, a single has been put on iTunes and Spotify for people that are interested.
Performance of My Piece “Lost for Words”
Here is my performance of an original piece called “Lost for Words,” performed at Saint Luke’s Lutheran Church, Hacienda Heights. NEW MUSIC THEORY COURSE OUT NOW:
Composing “Happy Bear”
Hello all! I’m coming to you composing “Happy Bear” as part of the “Grumpy Bear Series.” Below is a video that will walk you through what I’m doing as I’m composing (i.e. the melodies I’m using; the harmonies, etc.)
I will post this piece to the Works page very soon!
Sad and Scared Grumpy Bear
Hey guys! I am back with the next two pieces in “The Grumpy Bear” series. The first one is the “Sad Grumpy Bear,” and the other is the “Scared Grumpy Bear.”
Here are some possible backstories to support the pieces:
Barnaby's familiar forest home is changing – perhaps a favorite berry patch has withered, or a noisy construction crew has moved in. His sadness stems from the loss of the familiar and the uncertainty of the future. The story could explore his resistance to change and his eventual adaptation, perhaps even finding new joys in the altered landscape. This delves into themes of change, resilience, and finding beauty in unexpected places.
Scenario #2:
Barnaby observes other animals enjoying activities he can't participate in – maybe a group of squirrels playfully chasing each other up trees (and Barnaby is too big and clumsy), or a family of ducks swimming happily in the pond (and Barnaby dislikes water). The story could focus on his feelings of exclusion and his journey to either find his own unique way to connect or accept his differences. This touches on themes of belonging and self-acceptance.
For “The Scared Grumpy Bear,” here are two possible backstories for the piece.
Story #1
Barnaby is usually just grumpy, but a strange and unsettling sound echoes through the forest, filling him with an unusual fear. The story could follow his hesitant investigation, perhaps with the help of a braver (but still slightly annoyed by his grumbling) friend. The source of the sound could be something mundane but perceived as terrifying, leading to a humorous or heartwarming resolution. This plays with the contrast between grumpiness and vulnerability, and the power of facing fears.
Story #2
While in his usual state of mild grumpiness, Barnaby has a startling encounter with something he's never seen before – maybe a nocturnal animal during the day, a strange-looking insect, or even a lost human child. His fear could stem from the unknown and his lack of understanding. The story could explore his initial panic and his eventual interaction with the unfamiliar, perhaps leading to an unexpected friendship or a lesson learned. This touches on themes of the unknown, prejudice, and the potential for connection across differences.
Here is a video of “The Sad Grumpy Bear,” one of my recent video scores.
I am also putting this piece in the Works section of the website for you all to take a look at and buy if wanted.
Stay tuned for more! Happy Music Making!
New piece- “The Grumpy Bear” for Easy Piano
Hello all!
This "Grumpy Bear" music started as a little bit of a gag (funny) inspired by one of my piano students. We had a little black bear inside the studio on the piano that she used to press. It would do (I guess) a bear's roar. I should really credit her with the idea because she said, "How about a piece called 'The Grumpy Bear?'" Well, that started a chain reaction of inspiration to do a full set of original tunes that I'm calling "The Grumpy Bear" series. This is the first one of the series. There will be more coming up. Stay tuned!
The sheet music and the YouTube video are available here: https://musescore.com/user/31940243/scores/24910678?share=copy_link