Login

ORCHESTRATING THE LINE 3                    

TEXTURE

• Introduction & Basic Concepts
• Textural Element: The Trill
• Placement & Usage of Trills
• Trill texture Score Study
• Writing Cyclical Textures
• Run Cycle textures: Score Study
• Textural Elements: Held Notes
• Textural Held Tones: Score Study

RUNS

• Writing Orchestra Runs
• Placement and Function of Runs
• Orchestral Runs Score Study

GESTURES

• Gestures Part I
• Gestures Part II
• Gestures Part III

ESSENTIAL COMPOSER TRAINING: FOUNDATION

PART I: VOICE-LEADING AND HARMONY

• Getting Started and Study Guide
• Voicings and Voice-Leading
• Tonic and Dominant
• Subdominant
• Supertonic and Submediant
• Mediant and Dominant 7

PART II: MAKING MUSIC

• Harmonizing Part I
• Inversions
• Making Music
• Figuration
• Composing Out
• Harmonizing Part II
• Seventh Chords

COMPOSER EAR TRAINING DIATONIC          

MAJOR

• Introduction
• Lesson 1
• Lesson 2
• Lesson 3
• Lesson 4
• Lesson 5
• Lesson 6
• Lesson 7
• Lesson 8
• Lesson 9

THE MINOR SCALES

• Lesson 10
• Lesson 11
• Lesson 12
• Lesson 13
• Lesson 14
• Lesson 15

PRACTICAL COUNTERPOINT                          

FIRST SPECIES

• Introduction
• First Species Part I
• First Species Part II
• Dissonance and Horn Fifths
• making Music with First Species

SECOND SPECIES

• Second Species Part I
• Second Species Part II
• Second Species Part III
• Making Music with Second Species
• Combining First and Second Species

THIRD SPECIES

• Third Species Part I
• Third Species Part II
• Combing Species So Far

REMAINING SPECIES & END

• Fourth Species
• Fifth Species
• Analysis and Closing Thoughts

MEMORABLE MELODIES THROUGH MOTIVIC MASTERY         

MOTIVIC CONSTRUCTION & DEVELOPMENT

• Defining “Memorable”
• Defining the Motive
• Motivic Construction & Basic Development (Part I)
• Putting Into Practice
• Motivic Develoment Continued
• More Motivic Development

GUIDE TONES

• Introduction to Guide Tones
• Guide Tons Part II
• Applying Guide Tones

MOTIVIC CONSTRUCTION & DEVELOPMENT II

• Two Motive and Two-Part Motive Construction
• Motivic Interlocking
• Sequencing
• Loose Ends & Extras
• Closing Thoughts & Further Study

PRACTICAL COUNTERPOINT 2                 

CORE CONCEPTS

• Introduction
• Texture & Direction Concepts
• The Musical Thread
• Rests & Line Contour
• Working with Two Lines
• Introduction to Sequences
• Basic Forms & Concepts of Form

ANALYSIS & WRITING

• Analysis & Writing Approach
• Analysis & Writing: Conzonet
• Overview of Group I Pieces
• Analysis & Writing: Aylesford Piece
• Overview of Group II Pieces – Part I
• Overview of Group II Pieces – Part II

MODAL MASTERY                                

INTRODUCTORY

• Introduction to Modes
• How to Use this Course

THE MODES

• Spelling Dorian
• The Sound of Dorian
• Phrygian
• Lydian
• Mixolydian
• Aeolian
• Ionian
• Locrian

USING THE MODES

• Modal Modulation I
• Modal Modulation II
• Modal Modulation III
• Modal Lines & Functional Harmony
• Composition Exercises

ORCHESTRATING THE LINE                             

PRELIMINARIES

• How to Get the Most of this Course
• Initial Thoughts & First Steps

BUILDING THE MAIN SOUND

• The Unison
• The Three Types of Octaves
• Thickening
• Combining Octaves & Thickening

SHAPING THE PHRASE

• Shaping the Dynamics
• Accenting
• Percussion & Movement

PUTTING IT ALL TOGETHER

• From Short Score to Full Score
• Over the Shoulder No.1
• Over the Shoulder No.2
• Over the Shoulder No.3
• Approach to Analysis

ORCHESTRATING THE LINE 2                          

FOUNDATION CONCEPTS

• Introduction
• Basic Concepts
• Basic Concepts Part II
• Functions of the Accompaniment

VERTICAL LAYER – BUILDING ON OTL

• Exploring the Vertical Layer
• Vertical Layering Part II

INDEPENDENT SUSTAINED ELEMENTS

• Held Tone Accompaniment Elements
• Block Chord Elements Part I
• Block Chord Elements Part II
• Complementary (Gap) Writing

BROKEN CHORD ACCOMPANIMENT

• Broken Chord Accompaniment Part I
• Broken Chord Accompaniment Part II
• Broken Chord Accompaniment Part III
• Broken Chord Accompaniment Part IV
• Minimalistic Style Accompaniment

SECONDARY MELODIC ELEMENTS

• Ostinato
• Secondary Melodic Lines