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🎼 Final Recital pieces (compositional approaches)

Principle Study 🎻 Sem 2

Tales of the Legendary Festival

heavy usage of quartal and quintal intervals

wide contrast in dynamics and texture

prolongation of developmental sections

picturing a festival-like feel/visual

ostinato line on vibraphone

Sentimental Railway

usage of dissonant vertical structures imitating train "horns" - combination tritones

altered scale/free atonal scale-like melody

varying rhythms imitating train tracks (constant and ostinato-like feel)

change in texture and mood in new section - more tonal

breaking up phrases and distributing to Vln 1 and 2 to ease from being too busy

silvery, soft trills at the end to give different texture and feel from train-like rhythmically driven sections

incorporated chinese/japanese-like elements

Mountain Lights

mountain inspirations - picturing beauty of mountains, translating into music

beautiful and gentle lines, yet slightly grand-like (mountains are huge)

contrapuntal texture

narrative like sections - different developmental stages

drones by bassoon and horn at 2nd section stage

variations of crossover barline rhythm/harmonies

atonal structures, modulating scales, chromatic slides

changes in tempo and mood

usage of gamelan saron into "eery creepy" section

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🎼 Analyses

Principle Study 🎻 Sem 2

Joseph Schwanter

[Aftertones of infinity]

playing around with sound effects (hexachord)

varied tempo, timbre, blocks of sound

no melody/order of notes

fallin and rising notes

playing with dynamics

leading tones in and out of chord structures

Stravinsky

[Babel]

contrapuntal lines, harmonic clusters

shifting textures (thick polyphony->transparent passages)

ostinato patterns every now and then

dense chordal structures, vertical sonorities

syncopation, irregular meters, asymmetrical phrasing

Takemitsu

[A flock descends into the Pentagonal Garden]

clustered verticals

slivery glisses

lyrical melodies

metallic bell-like textures

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🎼 What is my harmonic language?

Principle Study 🎻 Sem 2

Identifying and choosing the harmonic direction to go before composing anything. Select your palette!

Scale-first arranging - thinking about scales in structure and usage of enharmonic pivots and modulations

Chord-first arranging - thinking about voice-leading and inversions of same chord (new chord) to vary the sound

Subsets - choose numbers/notes to compose (something like limited composition?)

Harmonic considerations - polytonal, atonal, neotonal

but most importantly, COHESIVENESS

Don't be afraid of prolongation and extending phrases - vary compositional devices to good use

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🎼 Hyperglobalisation

Principle Study 🎻 Sem 2

Insistent Chord (key centre) - repeated chord

2. Modulation

finding relatedness between scales

pivot, single note, enharmonic movement

voice-leading

3. 3rd relationship (3rd note) / leading

leading topline with verticals (works wonders)

4. Polytonality

avoid produving a haphazard

moving in and out (tension and release)

keeping consistent dissonance then resolving to consonant

very much designed - textural consistency

space, register, omission (clarity, muddiness)

engagement in tonalities (e.g atonal->atonal->tonal)

intentional dissonance - with conviction and intention (strong melody)

5. Serial harmony

12 tone

intervallic r/s

melodic direction

verticals and linears etc.

[ Cohesion! Transitions! Strong and Memorable theme! How to Develop and Link!]

Comprehensibility is an outcome, logic and cohesion = goals

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🎼 Character, Mood, and Emotion

Principle Study 🎻 Sem 2

Analysis is important! - Learn through osmosis: listening to pieces, immerse in diff songs

Annotations - first impressions and latter impressions (comparing with analyses of others), listening to different versions of the same piece (different conductors different sound)

Study the character and think of expressing music with clarity and intention. Setting mood and emotions would need some considerations beyond the structure and progression.

Orchestration - think about colours, devices, elements and texture. (Combinations of different instruments together to create a certain sound)

Form and structure - organising developmental sections that fits storylines, recognisable motif that appears at certain sections (recurring theme) , tutti sections that defines to unity etc.

Rhythm - specific tempos and rhythms at specific times (for e.g fast tempo and syncopated rhythm for a horse galloping scene)

Harmonic language - poly, neo, atonality, modes, vertical colours

Intervallic relationships - dramatic leaps, skips, small steps

Phrasing, Breath, Cadences - motivic

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🎼 Composition Techniques (new stuff!)

Principle Study 🎻 Sem 2

Here are some of the new composition techniques that I have learnt in Y3S2!

Notturno (Semi-romantic)

Mood, time signatures matters alot

Modulation, relativeness

subtle chromatic shifts, by steps!

ostinato feels

Interlocking Quintals

A combination of quintals in sequenced rhythms, with dissonances intentionally unresolved.

Chord (together and in opposition)

Varying chord shapes, playing with register and dynamics

Encircling

Encircling of different elements that repeat at certain areas as fragments or complete motif - (could be anything from a simple motif to a complex motif that uses different tonalities, but must be consistent)

Bitonality/Polytonality

Instead of vertical structures, use different tonalities in two lines through linear phrases. (And here again - dissonances and intervals must be controlled and resolved properly)

Polychords over Polytonality

(E.g Rite of Spring Primitivism -> Pagan Ballet)

accented comping of chords

characteristics of narrative

uses of ornaments, arrangement of instruments

different uses of tonality on different instruments, taste of texture

Bulgarian Rhythms

Asymetric meters. 7/8, 9/8, 12/8 etc.

Uncommon modalities

Limited composition

Choosing of intervals to compose with, varying in cluster form and linear forms (melody), and rhythms

Time displacement without meter change (for practicality)

morphing barlines

syncopation

rushing entries

Extended techniques - graphic notation,

Contemporary textures - Mikropolyphony (Full ensemble instruments playing in individual key and rhythm simultaneously) thick textures

Improvisation - specific sets of notes to play with free expression of when to play within a certain timeframe

Layering - thick texture of instruments coming in and going out at different times with varying dynamics

Structural modulation

Free form layering to rhythmic ostinati

glissandi to improvisation

directional texture usage to improvisation

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🎼 Learning about Film Scoring Pt.2

Principle Study 🎻 Sem 2

Great composers of all time

Stravinsky

[Rite of Spring]

Bartok

[Music for String Instruments, Percussion and Celesta

Modern composers uses his compositions alot for horror.

Movement II - fragmented motivic development

Orff

[Carmina Burana]

building of layers from small to big

Aeolian mode

Brahms

[Symphony No. 3, 3rd movement, Lush theme (romantic theme)]

Peeling off technique used - peeling off instruments one by one

Functions of music in film

Commenting - judging the scene by the story and visual aspects to set the details for the music

2. Illlustrating Movements - Mickeymousing technique

3. Creating plot relationships - Darth Vader leitmotif and Heroes theme (involves particular scenes) Lord of the Rings (giving the mood, type of people, and morning feels etc.)

4. Level of drama - creating atmosphere through orchestration

5. Portraying emotions - music enhances emotions alongside script, evoke emotions.

6. Social/Cultural/Geographical references - composing according to landscape and history

7. Time/Period references - place and time considerations (1300 and 1400: no harmonic minor and melodic minor)

8. Connecting of scenes, montages - through variations of motivic material.

9. Manipulation of music - pushing film into the "right" direction, morphing character development and conveying details to the audience through music

10. Alternate perception of time - pushing and dragging scene (excitement vs calm in the same sequence)

11. Implying sense of space - semantic perception (playing with register, limits and ranges)

12. Creating unreal situations - imaginative perception of music in e.g dreams and nightmares etc.

13. Creating contradictions - sweet sounding music and plot that twists into something dark and ominous (f"oreshadowing")

14. Parody - quirky, funny music, MEMES!!

15. Physiological conditioning - not always tutti unison, full music. (Could be just a solo violin playing without any accompaniment) Shock effects, sometimes with the help of tempo

16. Implying size relationships - visual difference (small boy = flute in high register)

[amaezingblog]

🎼 Learning about Film Scoring Pt.1

Principle Study 🎻 Sem 2

What to expect and how to go about scoring for films?

Layering of melodic lines and emotions - usually when dealing with communication (melody is important)

Composing with motion/stillness aspect - movement, speed, moments of silence/quietness

Harmonic and melodic languages and vocabulary (stirs emotional movements - peaceful, warm, fuzzy, horror, ugly, tense etc.) -> bring in polytonal, atonal and less predictable sounds

Accessibility (can the audience get what the music is conveying?)

Most of the points here are familiar to me as I have prior experience to composing underscores for short films, but what I am lacking in my film scoring knowledge is the flexibility of using music to paint.

{Music is a manipulative medium - it is what makes people move}

Manipulating music to paint a landscape, capturing the narrative and setting of the film is an important part in telling a story, to feel the era, time and space that was set for any scene.

Tan Dun's Hero soundtrack is a good example to learn from.

Film scoring isn't a one-man show, but a team effort. However, the most important communication is between the composer and the director of the film. Sometimes, the director may not be well-versed in music and it is the responsibility of the composer to understand what is needed for the film. Close communication and detailed discussions have to be executed:

Intention of the film

Getting the sense of mood and feeling

Note down first impressions

Concentrate on the big picture - overall emotional effect and film's effectiveness

Composing the underscore: (things to take note)

Consider and check tempo

Try not to be influenced by temp tracks

Establishing concept, understanding the genre

Figuring out harmonies that presses the buttons of emotions

Target audience - who?

Expectations and anticipation

Element of surprises every now and then!

Some renown modern composers and their works:

Joe Hisaishi (simple melodic lines with beautiful orchestration)

John Williams (less conventional melodies, yet have the element of surprise)

Enrio Morricone (narrative-like melodies - accommodates to character or setting) Cinema paradiso iconic theme in the movie [from diegetic village sounding music to non-diegetic professional sounding music]

Tan Dun (keeping flavour of ethnic instruments in fixed forms and musicality)

Seeliq Bale (music enhances yet not overpowering)

Hans Zimmer (simple drones, simple slow moving melodies)

James Horner (extended techniques, exaggeration, less-common sounds)

Don't overwrite! It's an underscore!

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🎼 𝒲𝑒𝑒𝓀 12-13

Principle Study 🎻

Passacaglia

Musical form characterized by a ostinato bass line (ground bass).

Typically in triple meter.

Above this bass line, variations are built, often progressively elaborating on the theme.

Originated in Spain in the 17th century, later popular in Baroque and Classical eras.

Known for its structural stability and potential for expressive depth.

We've also looked at these:

Unaccompanied melody

solo

doubled unison

doubled at octaves

tutti unison

Unified harmony

moving in same rhythm

uniform tone-quality

incidental rhythmic differences might occur

Composite Harmony

presence of 2 or more chordal units

tone quality, direction, large distances and common rhythms affects harmony

Imitative Counterpoint

canonic

imitation

one-tone quality

'Similar' Counterpoint

non-canonic

related rhythms and intervallic relationships

Contrasted Counterpoint

noticeable differences in intervals and rhythms

accents usage

texture wise: harmonics

fuller instrumentation

[amaezingblog]

🎼 𝒲𝑒𝑒𝓀 11

Principle Study 🎻

Today, before we get into the theory part of the lesson, we had to show some ideas we thought of for our recital pieces.

My ideas are fragments and I didn't have anything solid to show. I felt that I wasn't in good conditions lately which affected my self-esteem and created constant self-doubt upon myself.

Though, what Belinda said did make some sense: We know the techniques, we know the devices, it's a matter of using them to our advantage. A writer's block isn't something that came out of nowhere, rather, it is created by us. We reject moving forward as we fear failure and that causes us to feel down and not confident.

I agree with what Belinda said. I fear failure. I am afraid of writing pieces that people wouldn't have interest in. That has always been a recurring problem in my journey as a composer.

Today, we looked at modus operandi style. For my half-recital pieces, I've came up with sets of notes to compose with and had some issues with the arrangement. My sets were: (D E G# A), (E F# A# B), and (A B D# E).

Belinda showed some ways of manipulating these sets:

re-arrange the order of the notes linearly -> a uncommon-sounding melody is born!!

alternate intervals within the same set in a weaving-form

comping style arrangement, thick texture

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🎼 𝒲𝑒𝑒𝓀 10

Principle Study 🎻

"Music Semantics"

Today, we learnt about Music in Media (Film, TV, Animation, Games, Commercials etc.).

There are different approaches to the composition in these music - need to encapsulate emotion into the music / portray some kind of morphing movement according to the scenes / narratives.

Some useful techniques can be one of the simplest ideas yet turn complicated after intricate planning and designing:

repeated rhythms

ostinato

alternating tempo / perception of time

On the other hand, using these composition devices would need to be in hand with these aspects:

geographical / landscape

historical

narrative

colour

(this would be the part of making meaning in music)

What makes music in media effective?

Commenting, Illustrating movement, Enhancing momentum, Create atmosphere, Portray emotions, Social / Cultural / Geographical references, Time /Period reference, Alternate perception of time, Imply sense of space, Create unreal situations / contradictions, Physiological conditioning, Implying size relationships

This bunch of words...it is A LOT! Which means that composing for media has to be logical and sensible.

Ultimately, music for media revolves around emotional, visionary aspects, and sometimes in a "3D" realm.

(inserting our weekly photo cuz why not xD)

In my journey with music, I have done a few compositions for animation and commercials as practice to build my portfolio. I could see the reason behind "making meaning" in music. Music seems to act as the support to visuals or any narrative portrayed in any kind of medium, but in actual fact, it is the one that moves audiences to feel and understand what they are watching / getting to know. It enhances the visualistic experiences through auditory sensations.

Through this lesson, I have learnt to open up my perspectives - in terms of music in media, the essence of music can be manipulated through conditions a certain product has, using all information that we can get (atmosphere, time/period, sense of space etc.).

Sometimes, I am prone to stick to only composing for the "vibes". That could steer me towards a wrong direction as I would composing based on my take and feel on the media I'm working on rather than what the media has. Thus, grasping what can be on the musical palette that RELATES to the media is important.

[amaezingblog]

🎼 𝒲𝑒𝑒𝓀 9

Principle Study 🎻

(After week 8 break)

Ahhhhh the break wasn't a break but it's ok!! At least I got to attend the Genshin Concert and enjoyed the music!!

Today's lesson, something new yet something known:

Point 1: Composing by limiting intervals used - more for verticals in this case. Understood that limiting intervals would give a certain colour to the entire image of a piece. Can be used in environments that only surrounds within a single idea or a certain emotion. To me, it sounds very tight, just like an animal in captive. Personally, I'd think that composing with limitations would look easier, but deciding when and where to put the verticals and linears would be the challenging part.

Point 2: Modulating scales! Just like what we covered in John William's "Over the moon", there are other ways to explore that!

Unrelated modulation through scalic means

staggered entrances

phrasing and registers

more than 4 voices

Point 3: Hexachords can be looked in a different angle - rather than looking it as a whole, find intervals that are distinguishable (aside from Perfect 5th unless there is none)

think of 2 triads to play with tritone relationships to "form" a hexachord

vertical chords are then born!!! no rules with intention!!!

We've also looked at Debussy Nuages - in particular his woven texture

^ Belinda playing D major and Eb major in a woven texture - sounds like a bitter gourd to me hahahahah

Also, Holst's Uranus is spun out from 4 notes! Sometimes we don't have to go too far and think of a melody out of the 81 keys on the piano. Very interestingly, this requires a substantial amount of focus and confidence to compose a piece out of 4 notes. Challenging! But it's also what it means to be a composer. We don't have the brains everyday to think about so many things!!! SOOOOO!!! (It's not cheating though, it's called THINKING SMART)

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🎼 𝒲𝑒𝑒𝓀 7

Principle Study　🎻

Today, we went through a "refreshment course" of the things we have learnt through the past semesters. And one of the questions that popped up was about making meaning in music.

My thoughts:

Music semantics is a good topic to discuss about, especially in modern day compositions where non-musical pieces are usually difficult to comprehend (e.g noise music).

In regards to 12-tone writing and serialism, they are equally difficult to compose in a way that can evoke meaning. Though, there are a few ways to bypass the stage of awkwardness in those music: the use of repetition and rhythm. Just like how people love mainstream pop songs due to their repetitive and rhythmic nature, 12-tone and serialism compositions can make sense if they are planned well enough on those aspects.

The same thing can be applied to neotonal music where atonality characteristics and tonal ambiguity are common - it is a matter of good planning and design to work out making musical sense.

________________________________________________________

"Maybe you could start with hexachords"

True?! Why didn't I think of that? Instead of stressing to squeeze out thematic material, starting with a set of notes could probably take me further.

[amaezingblog]

🎼 𝒲𝑒𝑒𝓀 6

Principle Study 🎻

"𝓓𝓸𝓷'𝓽 𝓫𝓮 𝓪𝓯𝓻𝓪𝓲𝓭 𝓸𝓯 𝓽𝓱𝓮 4𝓽𝓱𝓼 𝓪𝓷𝓭 7𝓽𝓱𝓼!"

Today's lesson was a little short as we had a small meeting with Yee Shen for TLCS'24! Nonetheless - we still had an enjoyable class!

We've looked through "Over the Moon" by John Williams today. This time we are focusing on how he goes about composing this piece.

There are a few points to point out:

Polytonality Modulations

Encircling Technique

Unrelated relationships (pan-tonal)

We've also looked at orchestral devices in composing orchestral music - or rather in our case wind quintet + string quartet.

Though I have written for wind+strings for last semester's assignment, I have so much more to learn and apply for my upcoming recital piece. Today's lesson reminded me about how I should write a new piece with improvements.

The feedback given from my previous piece:

piano chords to be a bit looser with time to add in greater rhythmic diversity and feel

explore more to uncover different musical layers - let a phrase be slowly uncovered by gradually adding notes each time it is repeated

motivic development can be longer - motivic environment would then leave a stronger impression on the listeners

Given the feedback, I have understood that I am lacking the focus of expanding a single idea. I tend to develop a certain motivic material and end abruptly when there is potential to continue prolonging. Today's lesson about thinking orchestrally has taught me to be versatile in many different ways to approach orchestral writing, especially the technique of orchestral combinations and the core of motivic development.

DO NOT BE AFRAID OF SOLOS - Solo features or any small combinations can be beautiful. Having contrasting texture contours are an interesting thing to have!

Peaceeeeeeeee <3

[amaezingblog]

🎼 𝒲𝑒𝑒𝓀 5

Principle Study 🎻

"𝓜𝓮𝓵𝓸𝓭𝔂 𝓲𝓼 𝓚𝓲𝓷𝓰!"

- - - - - - - - - - - - - - - - - - -Mathis der Maler - - - - - - - - - - - - - - - - - -

For today's lesson, we looked at Paul Hindemith's 𝕸𝖆𝖙𝖍𝖎𝖘 𝖉𝖊𝖗 𝕸𝖆𝖑𝖊𝖗.

There are many strong melodies - supported by background layers in nuances.

- - - - - - - - - - - - - - - - - - - - - Passacaglia - - - - - - - - - - - - - - - - - - -

Learnt about a new kind of composition! - 𝕻𝖆𝖘𝖘𝖆𝖈𝖆𝖌𝖑𝖎𝖆 (craving for some lasagna mmm)

I think I would use passacaglia as an inspiration to starting a new structure in a section and layer other instruments on top on it - avoiding following the traditional way so as to make it more modern and a style that I can call mine. It is the "easiest" to compose yet there is a need to take care of the intervallic relations between the motif and the supporting layers.

- - - - - - - - - - - - - - - - - - - Scoring for Brass - - - - - - - - - - - - - - - - -

Learning points:

Brass are mellow and are usually used as background lines, as a harmonic glue to strengthen the sound

Take note of intervallic relationships between horn players! Hn 1, 3 should not have an interval smaller than minor 3rd, vice versa for Hn 2, 4, and etc.

Best used at climaxes, giving the maestoso vibesss

Higher notes are usually harder to be played at a softer dynamic. Want soft notes? Go lower. Want louder notes, go higher!

[amaezingblog]

🎼 𝒲𝑒𝑒𝓀 4

Principle Study 🎻

"𝓚𝓷𝓸𝔀 𝔂𝓸𝓾𝓻 𝓹𝓵𝓪𝔂𝓮����𝓼; 𝓖𝓲𝓿𝓮 𝓽𝓱𝓮𝓶 𝓽𝓱𝓮 𝓼𝓱𝓲𝓷𝓮, 𝓫𝓾𝓽 𝓪𝓵𝓼𝓸 𝓰𝓲𝓿𝓮 𝓽𝓱𝓮𝓶 𝓼𝓸𝓶𝓮 𝓮𝓪𝓼𝓮"

This week, we've had Jazreel from the 2019 batch over to give us some pointers and thoughts on our concepts and feasibility of the execution. (Paul is last minute addition 🤣)

Some learning points to take note:

Concept should reflect in the composition (e.g. angular geometry and angular chords)

Arrangement should be reasonable (e.g. don't do runs that start after semiquaver rests, especially at fast tempos)

Use more effects! Flutter tonguing etc. Make use of the musicians' talents~

But also be nice to the musicians, make their lives easier, don't write too complicated

Try to avoid too tonal stuff

Make use of layers

In the picture above, these are just notes to constantly remind myself that composition is never always a "going-with-the-flow" process. It is all about the careful design and planning that leads to a well-organised piece.

A composition can be a one-man work, but performing it is a huge project that involves many people - the VIPs are the musicians. We should consider how feasible our composition is to live musicians - they might only be able to rehearse only once before the actual performance due to time constraints and budget.

Modern composers on the right:

Musicians' reactions:

"HOW AM I SUPPOSED TO PLAY THAT?!?!?!?!"

All in all - don't torture the musicians!

[amaezingblog]

🎼 𝒲𝑒𝑒𝓀 3

Principle Study 🎻

.・゜゜・　　 "𝓑𝓲𝓰 𝓲𝓼 𝓷𝓸𝓽 𝓪𝓵𝔀𝓪𝔂𝓼 𝓫𝓮𝓽𝓽𝓮𝓻" (𝓼𝓽𝓻𝓲𝓷𝓰 𝓼𝓲𝔃𝓮) ・゜゜・．

This week, we've looked at the music from the Romantic period which inspired modern day music especially in film and animation music.

Cues Also sprach Zarathustra

Strauss' and Wagner's epic sounding pieces are one of a kind. They are simply amazing. They capture the essence of literary ideas and translate them into thematic lines, using compositional devices to accentuate the narrative with emphasis on grand arrangements.

Cues Ein Heldenleben (i mean "Hell-denleben")

The million dollar question is now: How am I going to compose works that sounds as GRAND as Strauss' and Wagner's pieces? (Without the use of drugs of course, say no to drugs!!)

Throw back to my Y2S2 wind quintet composition. I was given feedback that my music can be developed more in terms of expansion and drive. I have many ideas but I don't develop them well enough. Comparing my pieces to Strauss and Wagner, I'd say that I'm lacking in the dramatic field, always keeping it safe and afraid of repetition.

A step that I can take to further expand my compositions might just be as simple as exaggeration. I mean, appropriate exaggeration. Not just any kind of exaggeration. For example, creating huge contrasts dynamically and "timbre-ly". If it calls for piano, make it pianississimo. If forte, make it fortississimo.

We looked at Paul Hindemith's and ___ works, and found out that there are so many nuances and details put into bringing out different effects. Particularly, I liked the idea of using woven lines sandwich in between a melodic line and harmonies, acting like a pad.

Though, big is not always better. Implementing careful designs in the SOUND is most important in recreating narrative through music. Varying string sizes and the intention behind the playing gives different feels. Before I get excited to use every single string technique into my works, I'll sit myself down to brainstorm on the concept and ideas, what keywords to emphasize, what colour to paint on the music; plan harmonically and melodically and thematically dramatic.

3rd pic together! (Next week will be Belinda's turn to take!!)