compoblog

[compoblog]

Composition Sem 1 recap

Recap on advanced reharmonization

Replacing chords

Contrary motion based on melody and bass

Parallel - based on the melody and bass

Chromatic movement (half/whole step)

Tonal move V - I

Pairs of tritone

Pedal point

Max Reger Modulation

Stemming away from traditional modulations such as pivot chords. Many other ways of modulating such as:

Direct/abrupt modulation

Neapolitan 6th

Dorian 6th, raised the 6th

2nd Super-dominant

Borrowed chord

Review on the Strings and Winds

Extended techniques such as col legno on strings, the use of artificial and natural harmonics.

Applications of extended techniques on winds

Double Tonguing

Triple Tonguing

Harmonics

Flutter Tongue

Especially for flute, the use of "Sa", vocal and beatboxing.

Commonality between the strings and winds is that they are agile except for the horn. Learnt extended techniques for Horn such as Harmon mute, hand stop or lontano.

Analyzing Holst's the Planets

The use of repetitions, sequencing, fragmentations and motivic development are very common in his variations of themes. Many films such as Star wars theme were derived/inspired from Holst. Listening to Holst has inspired me to compose the piece Demise.

Exotic scales

Prometheus Scale

Can create your own given scale, need not be predefined chords, can be formed based on intervallic relations.

Analyzing Mathis Der Maler and Ricordanza 

Similar to holst, many repetitions of the theme, melody is king with supported harmonies. Lots of contrapuntal writing, supporting couter melodies. Thematic motif is different sections but always repeated again. Some fragmentations but still retain the motif to enable the listeners to capture the same theme. Structure of the song, A-B-A format

Half -Recital comments

Some comments were given with aide me to make some changes. For instance, one of the comments given was too many ideas around the piece, just to stay in one idea and then slowly evolve the idea before moving to the next theme/idea.

Some of the piece may not need be contrapuntal. A sense of unity is also good or powerful in some context.

Listen to more composition works or have more extended techniques on the instruments to add colours to the pieces.

Explore more melodies, rhythm and harmony variations to add deeper dimension to the piece.

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Wk 11 - 12

Feedback on the pieces, nothing much feedback just minor changes and also expanding the thematic motifs.

For example in the ending of both Confusion?? and Ending.. were very short. It was suggested to repeat the section again as it was felt too short.

Some minor changes in the scores were made such as Horn in F, most of the pieces the horn has to reach D5 - E6, however I realised it is impossible and difficult for the player to do so. Hence, I have to either shift the motif down an octave or change the melody to suit his range.

Key cap on Key centers such as Traditional tonality and less traditional tonality. Covered modulation, there are many ways, traditional way was pivot chords. Less traditional modulated may be abrupt parallel shifts etc.

Serial Harmony, melodies are important that stresses on direction, voice leading and texture also determine the overall effect of sonorities. Intervallic relationships are very much concentrated and important factors in deciding on how verticals are formed.

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Wk 9 - 10

Analyzing different composers and pieces for example:

La Mer - Debussy.

Understanding what were the thematic sections and motifs during the piece.

Looking into how the melodies is the king while the rest supports the melody based on the theme and also the intervals.

The use of unison and counter melodies that supports the music

Also on how debussy use timbre and orchestration on different instruments to evoke an emotions

Many couplings in this section

Divertissement et Musette - Gustave

Strong tonal harmony piece, many contrapuntal lines in different instruments. Some instruments were doubled and some were supporting with harmonies based on the chord

Simplicity is important that is that is enough to make the music flow cohesively and beautifully.

Call and response were very much used in this piece, there were also some changes or slight expansion on the rhythms and melodies. More or less strict harmonies were applied that were based on the earlier 20th century, romantic era.

Textures and Timbre

There are many large number of ways other than cluster techniques to achieve textures. For example, mikropolyphonie that is created by a multitude of different lines, rhythms more of many contrapuntal lines. More of cluster chord techniques.

Improvisation can be used as achieving variably dense textures. Application on EM is one example like graphic scores can also be applied in orchestra scores. Such as giving instructions or chance to musicians.

Typical textures and timbres such as orchestration or doubling and unison etc.

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4th Piece - Ending...

I decided to add a 4th piece to my recitals because I feel that I needed a balance between all my pieces. The first 3 pieces were very much driving and triumph. Therefore, I decided end the piece in a slow tempo and also back to my roots which is writing in tonal key. The piece is not much inspired by any composers per say but I decided since my piece is more of a "movie"/"Journey" I decided to have it round off the recital just like ending credits in the movie were.

I would say the intended theme would be bittersweet and calming as it is the end of the journey. Some considerations during this piece was simplicity because I would not want the theme to be so complex with time signatures and rhythms. I decided to tone it down to simple 4/4 time signature. Of course it is tonal music but I decided to shift the keys to different modes and keys. The piece started off with Eb key and then it shifted to D dorian key and then D minor. Also strictly down to tonal harmony and also focus in on the melody itself with supporting counter melodies and bass lines to drive the theme of the piece.

Since is like an ending credits/fairy ending credits, some themes or films that came to my mind was disney films such as Tangled and Cinderella

Since disney movies are very much fairy-like and calming, drew inspirations for me to compose such piece. Challenges wise was that I was very tempting to write out the chord progressions, but I decided to trust my ears and follow the melodies. Trust the use of intervallic relations and bass lines to guide me through the piece.

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3rd Piece - Demise

The third piece that I decided to compose was something that is related to films and adding percussion elements to the piece. Writing something neo-tonal is always a big challenge as it requires lots of practice and listening.

In year 2 I was taught to listen and analyze mahler Symphony No. 2. My piece was one of the pieces that was greatly inspired by him. In addition his other works such as No 6 & 8 were very much inspired for me to compose a war theme piece. From what I learnt, other that chords and rhythms, orchestration is very important in wanting to drive the concept of the song. Since my piece is about war and triumph, I decided to add the double bass, tubular bells and bass drum to support the effect. In No 2, his piece starts off with a C minor and of course, I would want to start the piece with some sense of tonal key and then slowly evolved that is based on the melody. The piece revolves around the low end instruments such as double bass, cello, bassoon and horn in F to drive the main theme of the piece which is demise. Whereas the other instruments would be supporting the effect of the piece. For instance, the strings would be doing tremolo while the other winds would be playing counter melodies to support the main low pitch instruments. I also listened to Holst's Mars, the Bringer of war. Similar to Mahler's No 2, the intended effect of war was given to the low instruments while the rest of the instruments were either in unison or supporting the main melody.

Holst's

Mahler's

My piece:

As I were listening to both of their pieces, not only it gives me a rough idea, but mainly using their pieces as a compass/scatch. For instance, in mahler's there is strong and feminine theme to give contrast to the piece which I did similarly in my B section which is not a feminine but a peaceful theme during the war section. I felt that having the entire piece on strong war motif, would get too repetitive hence, I decided to add a peaceful section. I decided to incorporate piano as it has the ability to give off the peacefully elements with the addition of the glockenspiel and the winds.

In addition I decided to add in the call and response for the running notes between the piano and the flute to add colour to the piece. Since the section was peaceful and calming, I decided to have that incorporated.

Since the theme is about war, I decided to add unison because in war, everyone is in it together with everyone playing together would add the contrast and the intended purpose to this piece.

Of course, with the inspiration from Holst and Mahler, I also draw inspirations from various pictures and films. For instance, Lord of the rings during the war scene as well as harry potter films that guided and inspired me to go along the direction.

Lastly, 1 thing that I learn a lot from listening is that not only melody is king, but, the most important thing about it is simplicity. As I was observing their pieces, it was very much repetitions in terms of the themes and most important the rhythms. The rhythms in both pieces were not complex which helped me to discover that you do need complex rhythms to drive the piece. The most important thing should be orchestration and also the melodies. If those are delivered and executed properly, the listeners will be able to comprehend and understand.

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2nd Piece - Confusion??

Writing something Atonal has always been a back of my mind. I decided to write a hexachord that based on the 6 notes. I'm very used to writing tonal music however, I do lack the experience in writing atonal music.

I decided to listen some of the atonal piece to get the sense of the music. For instance, I listen to some of the various composers such as Ligeti string quartet's clouds and no 1 and also schoenberg's string quartet in D minor. From listening and analyzing the score, I learnt that intervalic relations are important because certain intervals create a distinct sound and mood. In addition, having a standardise or thematic rhythm is also very important to grab the attention and also enabling cohesive and comprehensive to capture the listeners.

For example

Ligeti uses the repeated rhythms and intervals in some of the sections to capture the esscence of the piece. Also, atonal piece is rather hard to grasp as theres no "tonal harmony", therefore, utilizing repeating rhythms or intervals to help the listeners to listen easier.

In my confusion piece, I decided to add the same rhythm throughout some sections of the piece and also same intervals so as listens will understand and able to hear easier.

I have also added more repeated sections and slight evolve on the rhythms for listeners to able to hear distinctively

The piece were mainly inspired by both legeti and schoenberg's pieces. In addition, the piece confusion was also inspired the theme of maze whereby there is never ending journey, hence the piece confusion??

Later on I decided to shift key in a semitone in the "B" section as if were trying to capture the essence of danger hence with the slow tempo. I decided to add colour to the piece whereby a mixture of combination of different instruments can emulate the mood of danger. For instance, Violin I would be playing a very high pitch accompanied by the cello to give off the low sound. In addition, viola and oboe would then support the mood by supporting the rhythm and motif from Violin and Cello

Later on, it goes back to the main theme. As for this piece, I decided to add colours in a sense of adding extended techniques since the piece is kind of eerie and confusion. For instance, in Semester 1, there was a recap for winds and strings extended techniques. In this piece, I had the flute and oboe to do flutter tongue to emulate the vibe. Also, I had the strings to ponti cello to give off the "running' vibes in the maze.

The challenge I faced during this piece making it simpler. In a sense that there were many asymmetric rhythms in this piece, given the lack of rehearsals, players would need more time to rehearse. Secondly, I wanted to give the Horn in F to play high notes to give off the eerie, however the limitation of the Horn is until C5.

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Week 7

Dress down rehearsal

We decided to conduct a technical rundown because this year, we did not have the support from the AP students. We only have the new batch of year 1s to assist us with the lighting, sound, slides and ushering. In addition, we also have 2 international students who volunteered to be our MCs for this year concert.

Prior to that, we also attended Dirk's lessons weekly to get familiar with how to plan an actual concert. It ranges from how plan a stage through excel sheets, technical sheets (what are the logistics needed for the concert). How to execute less movement on the stage. We also learned how to draft out cue sheets so as stage managers know how communicate to the technical team. To be very honest, I'm glad that the AP did not take part in this because based on past concerts, we did not have a chance to learn stage production under Dirk. In addition, we are the first concert to experience acoustic shell that was planned out by Dirk and his team. I believed the lessons he taught me on stage management to actual concert preparation really prepared me on how to plan and execute an event in the real world. Such experience were truly valuable.

After 2 rounds of technical rehearsals, we were glad that the knowledge that I gather from Dirk enabled me and my classmates to run it smoothly.

Actual concert

The actual concert was really nerve wrecking for us as we did not run an actual concert before. As for my piece, I was still nervous as I'm prone to stage fight. Despite the stage fight, I managed to pull through.

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Week 5 & 6

TLCS Rehearsals

It was the week that as a co-producer, I have to make sure all the drafted pieces are to be submitted accordingly so that their works can be viewed and given feedback accordingly. Fortunately, my piece was chosen to be part of the programme. I did practiced my conducting along with the recording, however, practicing with live players is a whole different game. Partly because I was nervous as it was my very first time conducting live string quartet players. Also given the tempo at about 140 bpm and in an asymmetric time signature of 7/8, the piece is rather difficult to play and also conducting at the same time. Given the lack of experience, the rehearsal was difficult to cope.

After the rehearsal, I decided to practice singing the rhythm and conducting at the same time.

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1st Piece - Horses Journey in Mongolia

I decided to challenge myself into writing more extended techniques and I feel that string quartet would be a great start for me to start venturing into writing and exploring different sounds of a string quartet.

Previously, I have written a piece about birds in my wind quintet. Now I decided to write a piece based on a mammal which I first thought of was a Horse. When I first thought of Horse, the first thing came to my mind was Asia, especially China and Mongolia which horses were commonly used as a mode of transportation or even into wars. Speaking of China and Mongolia, the first thing that came to my mind was pentatonic scale. It is commonly used in their culture especially their ethnic instruments and most of their music commonly surrounds in a pentatonic scale. Also during my Specialised Composition workshop in Felix class, one of the Guzheng player shared with us that pentatonic is very common and one of the most common key in pentatonic scale would be the D pentatonic scale. Therefore, I decided to compose a piece based on the D pentatonic scale.

I start watching horse videos and decided to study their movements and characteristics.

Galloping was one of the characteristics that a horse would do. And also during my personal piano lesson, I was learning a béla bartók mikrokosmos 152 where it uses an odd meter of 7/8. Incorporating with the movement of the horse galloping, I decided to incorporate the movement of the horse galloping into 7/8 (2-2-3).

Since the piece much surrounded with China and Mongolia culture, I also decided to add some elements of their culture. For instance, Mongolia throat singing is very common and important part of their culture. Having throat singing gives off the sense of the emotions or the vibes of the piece.

Since the throat singing as covered by the males and are deep. Therefore I decided to pass the section to the cello as the cello is able to play in a low pitch and there's a lot of vibration in throat singing, I decided to have the cello to play the tremolo to emulate the throat singing style.

Of course working around the 5 pentatonic notes which are D,E,F#,A,B to drive the song. The piece I pictured the horse journey itself up the mountains of Mongolia

The mountain scene in Mulan movie was also inspired me have some motivic and thematic rhythms as well as repeated melodies to able to capture listener's attention and with the (2-2-3) rhythm that helps to drive the piece going.

Later on the during the Journey, I feel that there should be some struggles as the journey on the mountain terrain is steep and challenging. So I decided go out of the pentatonic scale and to emulate the scenes of drastic challenges. I decided go with feels and emotions rather than chord progression. Of course challenges, I decided to use intervals to guide me in emulating the scene. For instance, having some minor 3rd, 7th and even augmented intervals to give a listener a sense of despair and challenges faced during the journey up the mountain terrain.

And for the next section, I feel that journey should not be given up easily should be able to brace through it. Horses tends neigh when they start charge forward. I figured having violins to do some wide vibrato in a high F# to emulate the horse neighing. I also chanced upon a video on how violins are able to emulate animal sounds

After listening to the tutorial, I decided to draft the notes out. Also I decided to add col legno with the cane so to emulate the horse strong galloping in the later section. Since is Horses with a plural, I decided to have different violins and a viola to have sort of an interaction of neighing in the piece followed by a unity of neighing to show that the journey can be overcome. Adding glissando to the strings to add colour and interest that is accompanied by the neighing. Lastly, I decided to repeat the section again to bring the listeners on the main theme of the piece.

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Week 3 & 4

TLCS Planning

During principal studies, we were planning to have our annual TLCS for 2025. I volunteered myself as a Co-Producer for this years concert as I wanted to try to take on as a leadership in guiding and leading my batchmates to a successful event. Initial planning stages were difficult because I do not have experience in leading nor having seniors to guide me through the planning stage. So during this event is important as I have to pick up and learn as fast as I can. I'm also incharge in working with the creative and social media team. To give deadlines and overseas each department so as we can roll out the posters and also to start promoting the event on our TLCS Instagram page. This experience is very fruitful as I learnt to take on leadership and communicate with each of the department and to guide them along on what are the guidelines and requirements that needed to be accomplished. In addition, I was also incharge in drafting out budgeting. It is important to set aside a certain amount of budget so as we do not overspent and use it cautiously. In addition, I have to liaise between the school's admin team and also the musician's invoice so as the musicians are paid accordingly.

Principal Study.

During class time, we also analyze different composition techniques or manual for us to start planning and composing for my recital. The handout is essential and useful for me because it allows me pick which techniques or elements of the composition methods that could better suited for my recital programme. During class time, we also listened and observed the "Rite of Spring" piece. Listening and looking through the score on how different layers of melodies come together. Understanding the sense of thematic development and emotions that was intended of this piece. Also looked into how different instruments have different rhythms, melodies, contrapuntal writing and makes the piece a stunning piece to study. In addition, the Rite of Spring was also inspired me to compose a piece based on "War" and "Strong" theme.

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Week 1 & 2

Film Scoring

Learning the roles of the media and film industry

Learnt how to incorporate compositions and films into DAW. Discovering different genres and styles to film scoring. It is important to understand the theme and requirement of the films before composing/scoring for film. Music is essential and important but the key point is the film. Rhythm, melodies and harmonies must flow with the film. Be prepare to cut short or lengthen the music according to the producer.

Also learnt to analysis different film scoring. For instance, dark vadar theme by John Williams, studying this motivic development, the key melodies and rhythms of the piece. Also analyze the structure of Jaws theme.

Able to capture the important scene of the movie and how the music should support the film

Of course, melody is important, and most movies have tonal music but some music may not be based on tonal progression. Chords and progression fits the melody and how it transitions to different sections. The essence should be able to capture the audience's attention and able to make it memorable. Recital Planning

As recital is near, the requirement of the recital should be minimum 22 mins.

I decided to go by the theme of "Journey" I feel each piece should have a story to tell and of course decided to end the music in a calming and tonal music just like how ending credits in the movies should be.

I have boiled down to having String Quartet, followed by Wind Quintet + String Quartet and add on additional piano and percussion instruments.

Challenges I faced during the planning is able to write and compose music. In the sense that all my ideas were very much used during my show & tell session in year 2. Drafting out a very new piece for 22 minutes is a big struggle. In addition, challenging myself to write music based on ears rather than writing out chord progression is something I wanted to improve myself as a composer. Despite to listening to many music on YouTube or even going out for a walk seems difficult to come out with ideas as I fear that I would copy existing works.