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Final Reflection
Throughout the first semester, I have consolidated my understanding of harmonic vocabulary and learned advanced modulation techniques, including Max Reger and reharmonization. I practiced modulation exercises and gained a deeper understanding of how to use advanced modulation techniques to create compelling and interesting musical pieces. In addition, I have studied Romantic and Late Romantic orchestration and learned how to arrange music for string and wind instruments using techniques such as linear writing style and dynamics. I have also explored thematic development and orchestral devices, and learned how to use Messiaen modes and scales to modulate to different keys. Overall, I have gained valuable experience in applying these techniques to my own musical compositions.
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Semester 2 Week 11-14
Consultation week for our music.
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Semester 2 Week 9
In Week 9, we delved into the complex concepts of polytonality and atonality. Polytonality involves the use of two or more different keys simultaneously, creating a dissonant and challenging sound that pushes the boundaries of traditional harmony. Atonality, on the other hand, is the absence of a key or tonal center and often involves the use of dissonant and unstable harmonies. We listened to examples of both polytonal and atonal music, including works by Stravinsky and Schoenberg.
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Semester 2 Week 8
Consultation Week, for my first piece, where I used atonal techniques.
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Semester 2 Week 7
In Week 7, the class reviewed various compositional devices and analyzed Gustav Holst's works, specifically "Mercury, Venus, Jupiter & Uranus." The compositional devices covered include Common Practice Tonal Centers, chord extensions, added note chords, chromaticism, tonal ambiguity, meter, modes, pandiatonicism, polyharmony, non-tertian harmony, secundal chords, parallelism, 12-tone technique and serialism, limited composition, hexachord writing, unrelated triads, neotonality, mirror writing, harmonic direction and synthesis, and indeterminate procedures. Neotonal music was also discussed, which features non-traditional concepts such as tonal assertion or contrapuntal movement around a tonal center that may shift. The class also looked at some neotonal composers, including Paul Hindemith, William Schuman, Roy Harris, Samuel Barber, Vaughn Williams, Sergei Prokofiev, and Igor Stravinsky (in his Neo-Classical pieces).
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Semester 2 Week 6
Motivic development is the process of taking a short musical idea or motif and developing it over time. In week 6, we explored various ways to develop a motif including repetition, sequence, changing intervals, fragmentation, extension, inversion, changing the rhythm, decorated repetition, changing order of notes, augmentation, diminution, contraction, and expansion. We also discussed orchestral devices such as doubling, divisi, and solo sections. We analyzed Holst's pieces "Mars," "Mercury," and "Venus" to understand how these techniques were used in practice.
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Semester 2 Week 5
In week 5, we delved into writing for brass and analyzed Wagner's The Flying Dutchman. We learned about the characteristics of the brass family, such as their powerful sound and the importance of paying attention to voicing, spacing, and voice-leading. We also discussed the common functions of brass instruments, including strengthening and clarifying harmony, stating a melody, and building climaxes. Additionally, we learned about the use of contrapuntal voices and the importance of using instruments in their best register for clarity of line and balance. Finally, we referred to Stravinsky's J.S. Bach Choral Variations, Var. IV, mm. 1-6 for further insight.
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Semester 2 Week 4
This week, we reviewed Max Reger modulation techniques and learned how to write for woodwind instruments. We also analyzed Wagner's "Rienzi" and learned key concepts such as no enharmonics and all modulations being approached via cadence-like progressions. We learned that the modulations in Reger's technique are logical and accountable via tonal relationships, and all are arrived at cadentially. We also learned that it is easier to work out the modulations backward from the dominant of the new key.
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Semester 2 Week 3
In week 3, we continued to learn about modulation, specifically focusing on Max Reger's approach. We learnt that the modulations are based on tonal relationships and are arrived at cadentially through chord progressions such as IV - V - I, II - V - I, and bII - Ic - V - I. We also learned about pivot chords, borrowed chords, Neapolitan 6th chords, and Dorian 6th chords that can be used to modulate to different keys, with the 2nd super-dominant being a useful chord for remote modulations. We were encouraged to work out the modulations "backwards" from the dominant of the new key.
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Semester 2 Week 2
During the second week of the semester, we learned about advanced reharmonization techniques, particularly those commonly used in jazz music. We explored how to create melodies and harmonize them to chords, ensuring that each melody note was also a chord tone. This skill is essential for composers and arrangers who want to create rich and complex harmonies in their music, particularly in the jazz genre. By learning these techniques, we were able to add more depth and interest to our compositions, and create more sophisticated harmonies that enhance the overall musical experience.
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Semester 2 Week 1
During the first week of my second semester, I had the opportunity to listen to movie soundtracks that each of us liked, and analyze the works of our favorite composers. I was able to identify the main themes, motifs, and other musical elements that contributed to the overall effect of the soundtrack. By analyzing these works, I gained insight into the composition techniques used by my favorite composers and how they create mood and emotion in their music. This was an important experience for me as a composer, as it allowed me to learn from the best and incorporate these techniques into my own work.
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Semester 1 Review
Based on the information provided, you have learned a variety of topics related to music composition, including harmonic vocabulary, modulation, orchestration, thematic development, counterpoint, and various musical materials such as motifs, rhythms, and textures. You have also explored the works of several composers, such as Max Reger, Wagner, Holst, R. Strauss, Debussy, and Hindemith. Through the course of the semester, you have improved your skills in creating interesting and innovative compositions, incorporating modern techniques into traditional principles. Finally, you have reviewed all the concepts and techniques covered in the course, consolidating your learning and preparing for the final assignments and assessments.
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Semester 1 Week 13
During the 13th week of my learning, we reviewed all the composition materials that we had learned throughout the semester. We revisited the concepts and techniques that we had covered in the previous weeks, including harmonic vocabulary, modulation, orchestration, thematic development, and counterpoint. We also discussed general types of musical material, such as motifs, rhythms, and textures, and how they can be used to create interesting and unique compositions. By reviewing these materials, we were able to consolidate our learning and gain a deeper understanding of how to use these techniques in our own compositions. Overall, this week's lessons were a valuable recap of the semester's learning and helped to prepare me for the final assignments and assessments.
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Semester 1 Week 12
During the 12th week of my learning, we continued to explore 20th Century Counterpoint, with a focus on reviewing the topics we had covered thus far. We studied more scores and compositions from the 20th century and practiced writing our own counterpoint music using modern techniques and styles. We learned how to create more complex harmonies and textures in our compositions by using different chord progressions, tonalities, and modes. By the end of the week, we had improved our skills in writing counterpoint music and had gained a deeper understanding of how to incorporate modern techniques into traditional counterpoint principles. Overall, this week's lessons provided me with a solid foundation in 20th century counterpoint and equipped me with the tools I need to create innovative and interesting compositions.
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Semester 1 Week 11
During the 11th week of my learning, we delved into 20th Century Counterpoint Pt. 1. We studied more scores and compositions from the 20th century and practiced writing our own counterpoint music. We learned how to incorporate modern techniques and styles into our compositions while still maintaining the principles of traditional counterpoint. By the end of the week, we had gained a deeper understanding of how counterpoint has evolved over time and how it can be used in contemporary music. We had also improved our skills in writing counterpoint music and had learned new techniques for creating interesting and complex compositions. Overall, this week's lessons provided me with valuable insights into the evolution of counterpoint and how it can be applied in modern music compositions.
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Semester 1 Week 10
During the tenth week of my learning, we were introduced to the world of media music. We listened to two examples, Batman and Seven Years in Tibet, and analyzed the music in terms of how it was composed to serve the media it was intended for. We learned that in Batman, a strong melody was used to catch the listener's attention, which is a common technique in media music to create a memorable theme. In contrast, Seven Years in Tibet utilized different scales over different bars, constantly changing to suit the chords being played, creating an unusual and unconventional sound that fit the context of the film. By the end of the week, we had gained a deeper understanding of how music is used in media and how different compositional techniques can be used to create effective and impactful music for visual media. Overall, this week's lessons provided me with a new perspective on music composition and opened up new avenues for me to explore in my own compositions.
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Semester 1 Week 9
During the ninth week of my learning, we analyzed Paul Hindemith's Mathis der Maler and Claude Debussy's Nuages. In addition, we continued our study of contrapuntal lines, this time analyzing more pieces by Gustav Mahler. We learned how to identify and analyze complex contrapuntal lines and how to incorporate them into our own musical compositions. By the end of the week, we had gained a deeper understanding of the complex and intricate nature of contrapuntal music and had improved our skills in composing music with multiple independent lines. Overall, this week's lessons provided me with valuable insights into the techniques used by great composers and taught me how to apply these techniques to my own musical compositions.
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