These music theory and composition books were enormously influential on my development as a musician in one way or another. They came at the right time for me – maybe they’ll come at the right time for you too! If you decide to check them out, do me a favor and click my affiliate links below!
Music audio/visual tool – 4-12-19
April 12, 2019
The new digital download version with a file size of 92MB is now available at e-junkie and also sold on eBay. This edition has 266 MP3 examples playable right off the page – no CD required – and hyperlinked contents and cross references in the text. Books in this format can also be projected on-screen during lectures, together with sound.
Magnificent Counterpoint in the Finale of Mozart’s Jupiter Symphony
February 11, 2019
Published on Aug 2, 2016
Richard Atkinson analyzes the magnificent counterpoint in the finale of Mozart’s Jupiter Symphony, no. 41 in C major, K. 551, culminating in the coda, during which 5 of the previously introduced themes are combined at once, in five-part invertible counterpoint. This is a fair use educational commentary that uses excerpts from a recording by the Academy of St. Martin in the Fields, directed by Sir Neville Marriner.
“Without craftsmanship, inspiration is a mere reed shaken in the wind.” — Art of Quotation
November 8, 2018
“Without craftsmanship,
inspiration is a mere reed
shaken in the wind.”
Johannes Brahms, composer
via “Without craftsmanship, inspiration is a mere reed shaken in the wind.” — Art of Quotation
How to Write a String Quartet (1) – Movement 1 – Part 1
November 1, 2018
How to Compose Music – Lesson 7 – Small Ternary Form
October 12, 2018
Carl Vine – Advice to Emerging Composers
August 15, 2017
So you want to be a composer? Some words of wisdom from Carl Vine AO.
Considered one of Australia’s 10 Greatest Composers (Limelight Magazine 2015), Carl Vine AO is also Senior Lecturer in Composition at the Sydney Conservatorium and Artistic Director of Musica Viva Australia. Read more about him at http://carlvine.com/
It’s the Boroondara Eisteddfod’s 25th birthday and we’re celebrating the range of careers open to music lovers. LIKE our Facebook page for more insights from Australia’s inspiring arts leaders:https://www.facebook.com/boroondaraei…
Music: Garden of Bronze (2015) by Peggy Polias, Federation Bells, http://federationbells.com.au/. Visit http://peggypolias.com to hear more.
Art Of Composition – Ear Training, Going to College, Orchestration – Music Composition Webinar – by Art of Composing
August 3, 2017
https://www.artofcomposing.com/compos…
Welcome to the Composer Symposium. This is a live weekly webinar where I talk about how to compose music.
Show notes:
My article on diatonic harmony:
https://www.artofcomposing.com/08-dia…
Checkout my podcast:
https://www.artofcomposing.com/catego…
My recommended reading list:
https://www.artofcomposing.com/books-…
Music Composition Tips from Mozart
August 24, 2016
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Glenn Gould-So You Want to Write a Fugue? (HD)
July 21, 2016
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Frère Jacque, How to compose a canon
March 1, 2016
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Game Music Composition
February 4, 2016
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Andrew Chellman – Composing with Piano and Cello
September 29, 2015
Composer Fazıl Say – Compositions
September 17, 2015
Composing is always a form of improvisation: with ideas, with musical particles, with imaginary shapes. And it is in this sense that the artistic itinerary and the world-view of the Turkish composer and pianist Fazıl Say should be understood. For it was from the free forms with which he became familiar in the course of his piano lessons with the Cortot pupil Mithat Fenmen that he developed an aesthetic outlook that constitutes the core of his self-conception as a composer. Fazıl Say has been touching audiences and critics alike for more than twenty-five years in a way that has become rare in the increasingly materialistic and elaborately organised classical music world. Concerts with this artist are something else. They are more direct, more open, more exciting; in short, they go straight to the heart. And the same may be said of his compositions.
Fazıl Say wrote his first piece — a piano sonata — as early as 1984, at the age of fourteen, when he was a student at the Conservatory of his home town Ankara. It was followed, in this early phase of his development, by several chamber works without an opus number, including Schwarze Hymnen for violin and piano and a guitar concerto. He subsequently designated as his opus 1 one of the works that he had played in the concert that won him the Young Concert Artists Auditions in New York: the Four Dances of Nasreddin Hodja. This work already displays in essence the significant features of his personal style: a rhapsodic, fantasia-like basic structure; a variable rhythm, often dance-like, though formed through syncopation; a continuous, vital driving pulse; and a wealth of melodic ideas that may often be traced back to themes from the folk music of Turkey and its neighbours. In these respects, Fazıl Say stands to some extent in the tradition of composers like Béla Bartók, George Enescu, and György Ligeti, who also drew on the rich musical folklore of their countries. He attracted international attention with the piano piece Black Earth (1997), in which he employs techniques familiar to us from John Cage and his works for prepared piano.
After this, Say increasingly turned to the large orchestral forms. Taking his inspiration from the poetry (and the biographies) of the writers Nâzım Hikmet and Metin Altıok, he composed works for soloists, chorus and orchestra which, especially in the case of the oratorio Nâzim, clearly take up the tradition of composers such as Carl Orff. In addition to the modern European instrumentarium, Say also makes frequent and deliberate use in these compositions of instruments from his native Turkey, including kudüm and darbuka drums and the ney reed flute. This gives the music a colouring that sets it apart from many comparable creations in this genre. In the year 2007 he aroused international interest with his Violin Concerto 1001 Nights in the Harem, which is based on the celebrated tales of the same name, but deals specifically with the fate of seven women from a harem. Since its world premiere by Patricia Kopatchinskaja, the piece has already received further performances in many international concert halls.
Fazıl Say scored a further great success with his first symphony, the Istanbul Symphony, premiered in 2010 at the conclusion of his five-year residency at the Konzerthaus Dortmund. Jointly commissioned by the WDR and the Konzerthaus Dortmund in the framework of Ruhr.2010, the work constitutes a vibrant and poetic tribute to the metropolis on the Bosporus and its millions of inhabitants. The same year saw the composition, among other pieces, of his Divorce String Quartet (based on atonal principles), and commissioned works like the Piano Concerto Nirvana Burning for the Salzburg Festival and a Trumpet Concerto for the Mecklenburg-Vorpommern Festival, premiered by Gábor Boldoczki. In response to a commission from the 2011 Schleswig-Holstein Musik Festival, Say has also written a Clarinet Concerto for Sabine Meyer that refers to the life and work of the Persian poet Omar Khayyam; for the Munich Biennale he is working on his first opera, entitled Sivas. Fazıl Say’s works are issued worldwide by the renowned music publishers Schott of Mainz.
Techniques for Expanding Your Compositions
August 28, 2015
AP Music Theory – Guide for Part Writing, Counterpoint, Composition, Figured Bass, Non Chord Tones
February 24, 2015
This video talks about guidelines for successful partwriting and counterpoint
Produced for WHS AP Music Theory http://goo.gl/vr5mA
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Art Of Composing – Lesson 1 – How to Write a Melody
October 30, 2014
http://www.howtocomposemusic101.com
http://www.artofcomposing.com
Learn how to compose music, from start to finish.
Be sure to sign up at http://www.howtocomposemusic101.com or http://www.artofcomposing.com to get the full benefits of the course including summaries of all the lessons, worksheets and additional videos.
In this course, you’ll learn about melody, harmony, form, accompaniment, dynamics, articulations and how to make your music generally sound good.
Study the ways in which Mozart, Haydn, and Beethoven all made their music work.
Lesson 1 – How to Write a Melody – Learn about how to write a Basic Idea, the real building block of classical music. The easiest way you’ve ever seen, to write a convincing melody.
Lesson 2 – Harmony 101 – Learn about harmony, and how to make the basic idea you wrote in lesson 1, fit to different harmonies.
Lesson 3 – The Musical Period – Learn about the musical period, the first of the small theme types that classical composers use in their music.
Lesson 4 – The Musical Sentence – Learn about the musical sentence, the second of the small theme types that classical composers use in their music.
Lesson 5 – Functional Harmony – Start to get in depth with your knowledge of harmony. Find out what you’ve been missing that will make writing chord progressions easier than ever.
Lesson 6 – Harmonic Progressions and Chromaticism – Learn even more about how to use harmony to get the effects you want in your music. Learn about the different types of chord progressions, sequences and how to easily use chromatic harmony.
Lesson 7 – Your First Complete Piece – Learn about small ternary form, and how all the previous lessons fit together to create a complete piece of music.
Lesson 8 – The Details – Learn how to use your accompaniment, articulations and dynamics to create a great sounding, convincing piece of classical music.
Be sure to sign up at http://www.howtocomposemusic101.com or http://www.artofcomposing.com to get the full benefits of the course including summaries of all the lessons, worksheets and additional videos.
I Write The Music 