I know most of you fans of Bill Evans must’ve heard this interview.
Themes on this Video:
Waltz for Debby (Bill)
All of You (Bill)
All of You (Bill-Marian)

In Your Own Sweet Way (Bill-Marian)

Gustavo del Pino


What is an Ostinato?

March 21, 2015




This video talks about guidelines for successful partwriting and counterpoint
Produced for WHS AP Music Theory http://goo.gl/vr5mA

junco fukada


How to Write a Madrigal

December 21, 2014

Victoria Williams


Jazz pianist Michael Wolff talks about rhythm in jazz, rock, funk, and latin improvisation

Help us caption & translate this video!


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A Sampling of Ideas and Techniques for Composing


1. Octatonic scale (A.K.A. “diminished scale”)
2. Other “modes of limited transposition” (Messiaen’s term), incl. modes that repeat every 2 – 3 8ves
3. Pentatonic scales (i.e., anhemitonic (e.g., CDEGA), hemitonic (e.g., EFGBC), hirajoshi (e.g., ABCEF), etc.
4. Whole-Tone scale
5. Any other made-up, or synthetic, scaleRHYTHM and METER
1. Motor rhythms (continuous motion)
2. Eastern European (asymmetrical; 2+2+3, 2+2+2+3, 3+2+2+3, etc.), West African, and other world rhythms
3. Jazz (?)
4. Non-retrogradable
5. Additive Rhythm
6. Added-Value Rhythms
7. Isorhythms
8. Cross Rhythm
9. Nonretrogradable Rhythm
10. Free (“timeless”, no sense of pulse)
11. Rhythms or phrase lengths based on Fibonacci (or other) Numerical Series.
12. Polymeters
13. Mixed meters ( 3/4 | 5/8 | 2/4 | 7/16 |, etc.)
14. Tempo fluctuations (i.e., sudden/gradual tempo changes, metric modulation)
1. Various programmatic moods, such as aggressive, pretty, wistful, playful, demented, nervous, sad (various kinds), numb (catatonic), angry, fearful, etc.
2. New jazz, third stream
3. Fusions; combining popular music genres (rock/electropop/trance/hippety-hop, etc.) with various post-tonal art-music devices
4. Minimalism (repetitive (trance-inducing); sparse and static (trance-inducing))
5. New simplicity
6. Borrowing/adopting elements of music from other cultures: Japan, Eastern Europe, India, etc.
7. Expressive (romantic) versus Non-expressive (mechanistic)


Please continue reading at Music Composition Weblog


http://www.SongwriterTips.com http://www.facebook.com/SongwriterTips Here’s a simple trick to find the melodies all around us – hiding in our words and in nature. Melody Mining.

Byron Weigel Music Theory



This video talks about guidelines for successful partwriting and counterpoint
Produced for WHS AP Music Theory http://goo.gl/vr5mA


Logic Pro – Creating Remixes

September 30, 2014


The Composing Process

September 21, 2014

Where Peace Lives

Ken Lampl, film composer, talk about the composing process.


Due to a fantastic reception of our previous video we return this week with another special interview with Harry Gregson-Williams in which he discusses his composing process, his advice for a uncredited budding composer and a few anecdotes.

Go to http://www.thinkspaceonline.co.uk for more free tutorials, information and free sample units on our courses in film scoring, orchestration and composition.

If you enjoyed this video, please like and share it with anyone you think will find it useful. For weekly videos like this every Tuesday, subscribe to this channel.

Download a FREE Music For The Media Sample Unit Here: http://signup.thinkspaceonline.co.uk/…

Download a FREE Cinematic Orchestration Sample Unit Here: http://signup.thinkspaceonline.co.uk/..

Andrew Chellman

Some simple ideas for compositions using ostinatos. It’s a pretty useful technique that can give some great results!

Did you find this helpful? Leave me a comment below if you did, and I’ll work to put up more!

Cassidy Hodges

Nashville songwriters Steve Moakler and Stephanie Lambring walk through the process of making a song and doing it for a living.


Uploaded on Apr 2, 2010

DONATIONS: http://www.andrewwasson.com/donations…

MORE LESSONS: http://www.creativeguitarstudio.com/

Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: Hey Andrew, I want to add some lead licks or runs between my chord changes to give it more life than just strumming away on chords. I know my scales and triad and 7th arpeggios very well. How can I add more lead to my rhythm playing, or is there any exercises that might help. Thanks and keep up the great work!
– Richard, NYC.

Thanks for writing in Richard! Playing licks and runs around chord changes; like Hendrix or Stevie Ray, has a lot to do with a couple of important points… Namely being super solid at your rhythm guitar chops and really knowing your chord changes. Next up, is the entire area of knowing your scales, especially the pentatonics. In the video lesson I cover a number of points I think are quite important. Hope this helps you begin getting this technique down! All the best.

The complete lesson article for this video is available on the Creative Guitar Studio website.
Follow the link below: