I Write The Music

Carl Vine – Advice to Emerging Composers

Posted in Uncategorized by Higher Density Blog on August 15, 2017

First gig:
Daily life
Published on Mar 14, 2016

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

Posted in Uncategorized by Higher Density Blog on August 3, 2017


Art of Composing 

Streamed live on Apr 8, 2017

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:

Checkout my podcast:

My recommended reading list:


Tagged with: ,

Music Composition Tips from Mozart

Posted in Uncategorized by Higher Density Blog on August 24, 2016




Glenn Gould-So You Want to Write a Fugue? (HD)

Posted in Uncategorized by Higher Density Blog on July 21, 2016


Frère Jacque, How to compose a canon

Posted in Uncategorized by Higher Density Blog on March 1, 2016


Tagged with: ,

Game Music Composition

Posted in Composition, Uncategorized by Higher Density Blog on February 4, 2016




Tagged with: ,

Andrew Chellman – Composing with Piano and Cello

Posted in Comp Techniques by Higher Density Blog on September 29, 2015

Andrew Chellman

Composer Fazıl Say – Compositions

Posted in Composition, Improv by Higher Density Blog on 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.

Tagged with: ,

Techniques for Expanding Your Compositions

Posted in Composition by Higher Density Blog on August 28, 2015

Art of Composing: Road Blocks Beginning Composers Face

Posted in Uncategorized by Higher Density Blog on August 28, 2015
Tagged with:

AP Music Theory – Guide for Part Writing, Counterpoint, Composition, Figured Bass, Non Chord Tones

Posted in Comp Process, Counterpoint by Higher Density Blog on February 24, 2015



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

Art Of Composing – Lesson 1 – How to Write a Melody

Posted in Comp Process, Composition, Melodic Lines by Higher Density Blog on October 30, 2014



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.

AP Music Theory: Guide for Part Writing, Counterpoint, Composition, Figured Bass, Non Chord Tones

Posted in Comp Process, Theory by Higher Density Blog on October 18, 2014


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


Masterclass with Kevin Austin – Composition in Contemporary Electroacoustic Studio

Posted in Comp Process, Composition, Education, Masterclass, Music Studio by Higher Density Blog on June 9, 2014

CEC·60 videos

Kevin Austin met with music students to look at a number of issues related to electroacoustic composition in the studio, notably working with and understanding sound and sound transformations and control of monitoring levels. Informed by such fields of study as acoustics, psychoacoustics and physiology, composers working in the electroacoustic studio will be able to attain a higher quality in sound output as well as a heightened level of precision in communicating their sonic, artistic and musical ideas. These principles are relevant not only to the acousmatic composer, but also to anyone working in related fields, such as broadcast journalism, video game music creation and more.

Thursday, 24 November 2011
Studio FLAT, Desautels Faculty of Music, University of Manitoba

Published as part of eContact! 15.3 — CEC@25 (February 2014), by the Canadian Electroacoustic Community (CEC).

The presentation documented in this video was part of a public educational conference / seminar co-sponsored by the CEC (a not-for-profit organization), and hosted by the Desautels Faculty of Music of the University of Manitoba and Studio FLAT (Winnipeg, Canada).

Robert Rival – Inside the Composer’s Workshop – Whirlwind – From Sketch to Score

Posted in Comp Process, Comp Techniques, Composition Process by Higher Density Blog on April 25, 2014

Edmonton Symphony Orchestra·29 videos

Ever wonder how a composer puts together a new piece? In this narrated slideshow, Robert Rival, Composer-in-Residence with the Edmonton Symphony Orchestra, opens up his sketchbook to explain the creative process behind his latest work, Whirlwind. Lucas Waldin conducts the world premiere on September 23, 2012 at the Winspear Centre in Edmonton, AB: http://edmontonsymphony.com/sunday-sh…

Larysa Kuzmenko – In Memoriam to the Victims of Chernobyl

Posted in Comp Process, Experimental, Music, Piano, Young Composers by Higher Density Blog on April 12, 2014

pianovocals88·20 videos

This piece was dedicated to the victims of the nuclear explosion in the city of Chernobyl, Ukraine. Larysa Kuzmenko was my theory instructor, and she was more than glad to give me ideas when I told her I wanted to perform this piece. This piece is extremely disturbing both aurally and emotionally, conveying the truly harrowing picture of a nuclear holocaust. My contemporary music repertoire is still limited, but this is definitely a favourite. 🙂

Composition – AA’BA’ Form

Posted in Comp Process, Composition, Lesson, Musical Form by Higher Density Blog on March 26, 2014

How to Write Piano Music

Posted in Composition, Lesson, Piano by Higher Density Blog on November 27, 2013


Com-Note – The Composer’s Notebook

Posted in Apps, Comp Techniques, Composition, Composition, Composition Process by Higher Density Blog on October 8, 2013

UniversityofSurrey·456 videos

The composition of music is a complex, creative and collaborative act. This is currently done with a range of tools including the editing of musical notation, the playing, recording and playback of musical phrases, and their verbal discussion. In this project we will bring these activities together in a single ‘composer’s notebook’ app called Com-Note for a smartphone. This will be based on the trial and extension of an existing multimedia narrative app called Com-Phone, during the creation of a new work for trumpet and string quartet. Technical implementation will involve mathematical modelling and adaptive visualisation of time-based media.

Collaborators: David Frohlich (Digital World Research Centre), Tom Armstrong (Arts), Janko Calic (CVSSP), Simon Desbruslais (Trumpet Player), Liget Quartet.

Songwriting – Practical Theory for Composition – creativeguitarstudio

Posted in Composition, Electric Guitar, Lesson, songwriting by Higher Density Blog on October 7, 2013

creativeguitarstudio·381 videos


Search Andrew Wasson.com for FREE lesson Handouts.
This Video: November 26, 2010 | Search Videos by Title/Date.
GO TO: http://www.andrewwasson.com/recent_po…

Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: For me, the basics of music are something I feel that I have developed. I both understand and can play lot’s of; chords, scales and arpeggios. My problem however, is this; when I am composing, what music theory say’s is technically correct hardly ever sounds good to me. Could you make a lesson that covers how to compose with more of a practical approach to theory, independent of all of the technical sides of music-theory. I don’t want to abandon music theory, just begin working in a way that doesn’t have me critically dependent upon theory all of the time.
– Thomas, Tampa, Florida.

A: When I teach composing, I always stress that one of the very first things to learn is how to build on a theme. Theme’s are melodic hooks that create a coherence in a phrase. There are many ways to build a theme, but the most basic way is to repeat something to create a form of melodic or harmonic identification for the listener.

The complete lesson article for this video will be available on the Creative Guitar Studio website shortly. Follow me on Twitter for lesson posting announcements:

%d bloggers like this: