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THIS IS A MEMBER-ONLY AREA
INTRO to IMITATIVE COUNTERPOINT
- Introduction
- The Round
- Canon at the Octave (2 voices)
- Partial Imitation (Bach Inventions)
- Partial Imitation Part 2 (more Bach)
- Partial Imitation Part 3, John Williams, Mayrand
ADVANCED TONAL HARMONY
COMPLETING DIATONIC HARMONY
- The Leading-Tone Seventh Chords
- The Flat Seventh Degree in Minor
- Extended Dominant Chords
- Extensions on Diatonic Chords
- Extensions on Diatonic Chords Part II
CHROMATIC HARMONY
- Simple Mixture
- Harmonizing with Simple Mixture
- Secondary Dominants
- Secondary Dominants Part II
- Modulation Part I
- Modulation Part II
- The Bach Chorales
- The Neapolitan Chord
- Augmented Sixth Chords
- Augmented Triads
- Extended Aug Chords & Alt. Dominants
- More Extended Augmented Chords
- Common Tone Chords
- Remaining Forms of Mixture
- Modulations Part III
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
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