Author Archives: Glenn Schoonmaker

Art of Mixing

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I took this class thinking that it would be a nice refresher to the Mixing and Mastering for the Electronic Musician course that I took during my second term with Berklee Online. It ended up being more of a headache than anything else, largely due to the instructor. I won’t go into the details, but let’s just say this class didn’t appear to be a high priority for him.

As for the course itself, it could use a good refresh on the content as a lot of it is pretty dated. That being said, the information covered was really useful and well done. I particularly enjoyed the explanations about working with a large format console like an SSL.

Here’s what we went over during the twelve weeks.

Week 1 – “Overview of Mixing Music”, Sep 27 – Oct 1
Introduction, Meet and Greet, Quiz 1.1: DAW and Basic Recording and Mixing Knowledge, Overview and History of Mixing, Mixing is Balance, Level and Loudness, Level Adjustment, Panning, Panning Strategies, Discussion 1.1: Panning Perspective, Reply, Exercise: Build Your Reference Library, Muting Techniques, Building a Mix, Dynamic Mix, Assignment 1: Mix “I Hate” by Jessica Oh, Recap

Week 2 – “Mix Setup: Organization, Ergonomics, and Phase Relationships”, Oct 2nd – Oct 8th Introduction,Recommendations from the Music Industry,Create One Master Project/Session,Label Audio Tracks and Use Comments,Label Appropriately and Set the Date and Time(Page 4), File Format, Sample Rate, and Bit Depth,Use Tempo Map and Timeline Markers,The Clean-Up Process,Keep Tracks Organized,Essential Plug-Ins,Exercise 2.1: Mix Organization,Automation,Data Management, Storage, and Transfer,Quiz 2.1: Mix Setup: Organization, Ergonomics, and Phase Relationships ,Compatibility Between DAWs,Exercise 2.2: Build Your Reference Library, The Importance of Metering,Exercise: Metering,The Importance of Gain Staging,Simple Mix,Mixing Levels and Delivery Standards, Dynamic Range,Standard Operating Level (SOL),Standard Operating Level (SOL),TV and Instrumental Mix, Phase, Phase Relationships Between Tracks, Exercise: Phase Relationships, Exporting the Mix,Discussion 2.1: Exporting a Mix,Assignment 2: “Till the Morning Comes” by Idun Forfang, Recap

Week 3 – “Equalization Techniques”, Oct 9th – Oct 15th
Introduction, Equalizers: Theory, Equalizers: History and Application, EQ Parameters, Q Factor, Slope, EQ Types: Graphic Equalizers, EQ Types: Shelving Equalizers, EQ Types: Parametric Equalizers, Filters, Discussion 3.1: EQ Options, DUE OCT 12, Plug-ins vs. Analog Hardware EQ, What Are Those Advantages?, Why Do We Still Use Analog EQ?, Listening Exercise, Exercise 3.1: Build Your Reference Library, DUE OCT 13, Exercise 3.2: Corrective vs. Creative EQ, DUE OCT 14, Creative Equalization Techniques, Subharmonic Enhancers & Aural Exciters, Classic Analog EQ: SSL, Listening Exercise: SSL, Neve 1084, Neve 1073, Listening Exercise: Neve, API 550, Listening Exercise: API 550, API 560, Listening Exercise: API 560, Pultec, What Makes Pultec EQ Different?, Listening Exercise: Pultec, GML, Listening Exercise: GML, Manley, Listening Exercise: Manley, EQ with Plugins, Exercise 3.3: Masking Correction, Assignment 3: Mix “I Know What You’re Doin’ Tonight” by Daphne Khoo, Recap

Week 4 – “Reverb and Delays”, Oct 16th – Oct 22nd
Introduction, Reverb as an Acoustical Phenomenon, Delay as an Acoustical Phenomenon, Reverb and Delay: History and Application, Reverbs, Reverb Parameters, Chamber Reverb, Spring Reverb, Plate Reverb, Halls and Room Reverb, Exercise 4.1: Build Your Reference Library, Reply, Delays, Delay Parameters, Tape Delay, Ping Pong Delay, ADT Delays, Exercise 4.2: Setting Up an ADT and Slapback Delay Effect, Reply, Setting Up a Short Delay in a Mix, Analog vs. Digital, Plug-in vs. Hardware, Historical Perspective, Plug-ins, Quiz 4.1: Reverb Critical Listening, Recap, Assignment 4: Mix “What Will Tomorrow Dream” by Federico Aubelo

Week 5 – “Automation Techniques”, Oct 23rd – Oct 29th
Introduction, Automated Mixing Overview and Historical Perspective, Winds of Change in the ’70s, Full Automation and Digital Consoles in ’80 – ’90, Predicting the Future?, Discussion 5.1: Where is Automation Headed?, Main Physical Automation Systems, VCA (Voltage-Controlled Amplifier), Flying or Moving Faders, Total Recall, Automation in Analog Consoles, Automation in Digital Consoles and DAWs, Digital Consoles vs. DAWs, Exercise 5.1: Build Your Reference Library, Modes of Operation for Automated Mixes, Write, Read, Update, Setting for Automation Systems, Hands-on Options: Real Time, Off-Line or Snapshot Automation, Real Time Automation Techniques, Off-Line or Playlist Automation, Snapshot Automation, Quiz 5.1: Automation Techniques, Assignment 5: Mix “Sinking Sands” by Violette, Recap

Week 6 – “Dynamics Processing Part 1”, Oct 30th – Nov 5th
Introduction, What is the Purpose of Compression?, Compression Controls and Functionality: Threshold, Compression Controls and Functionality: Ratio, Compression Controls and Functionality: Attack, Compression Controls and Functionality: Release Time, Output or Make-Up, Discussion 6.1: Differences in Sound, Quiz 6.1: Dynamic Processing, Practical Applications for Compression in Mixing, A Step-by-Step Approach, Exercise 6.1: Compression, The Difference Between Compression and Limiting, Ratio-Based Definition of Limiting, Brickwall-Based Definition of Limiting, Exercise 6.2: LUFS Streaming Targets and Peak Limiting, Exercise 6.3: Build Your Reference Library, The Anatomy of a Mix, Assignment 6: Mix “Silent Waters”, Recap

Week 7 – “Dynamics Processing Part 2”, Nov 6th – Nov 12th
Introduction, Bus Compression, Drum Bus Compression, Multiple Bus Compression, Stereo Bus Compression, Side-Chain Triggered Compression Effects, Side-Chain Triggered Drum Bus Compression, Side-Chain Triggered Stereo Bus Compression, Pumped Compression of the Bass Triggered by the Kick, Miscellaneous Compression FX, Multi-Band Compression, Hardware Compressor Demonstration, Plugin Compressor Demonstration, Discussion 7.1: Use of Side-Chain Triggered Compression Effects, Quiz 7.1: More Advanced Dynamic Processing, Noise Gates/Expanders, Noise Gate Controls and Functionality, Noise gating: a Step-by-Step Approach, Keyed Noise Gating, Exercise 7.1: Build Your Reference Library, Practice Exercise 7.2: Using Multiple Audio Subgroups, Assignment 7: Mix “I Don’t Care” by Corneal, Produced by JM Ferreiras, Recap

Week 8 – “Miscellaneous Unusual FX and Secret Techniques”, Nov 13th – Nov 19th
Introduction, Time-Based Special Effects: Chorusing, Flanging, and Phasing, Effects Processors Parameters, Chorusing, Flanging, Phasing, Amplitude-Based Effects: Tremolo, Wah, Leslie Cabinet, Tremolo, Wah, Leslie Cabinet, Exercise 8.1: Build Your Reference Library, Image Widening or Stereo Enhancing, Exercise 8.2: Image Widening, Distortion, Reamping and Amp Simulation, Exercise 8.3: Saturation and Distortion, Exciters and Sub-Harmonic Enhancers, Reverse Processing, Tape Emulation, Exercise 8.4: Tape Emulation, Vocoder and Talk-Box, Noise Reduction, Exercise 8.5: Showcase Your Favorite Special Fx Plug-In, Assignment 8: Mix “Honey Up” by Vanessa Collier, recorded by Mark Wessel, Recap

Week 9 – “Vocal Mixing Techniques”, Nov 20th – Nov 26th,
Introduction, Preparing Vocals for the Mix: Vocal Editing, Tuning, and Time Correcting, Vocal Comping, Timing Editing, Pitch Correction, Additional Vocal Editing, Exercise 9.1: Build Your Reference Library, Vocal EQ, Dynamic, Gain Setting, Leveling, Vocal EQ, Dynamic Control and Leveling of the Vocal Tracks, Vocal De-essing, Gain Setting, Exercise 9.2: Build Your Own De-Esser, FX Processing, Discussion 9.1: Vocal Treatment, Assignment 9: “You Don’t Remind Me” by Sam Mordecai, Recap

Week 10 – “Drum Mixing Techniques”, Nov 27th – Dec 3rd
Introduction, Preparing Drums for the Mix, Phase Relationship between Drum Tracks, Drums Editing: Time Corrections, Grouping Drum Tracks, Stereo Processing, Parallel Processing, Exercise 10.1: Post an Example of Parallel Compression, Drum Sound Replacement, Mixing MIDI Sequenced Drums and/or Loops vs. Acoustic Drums, Mixing Acoustic Drums, Mixing Sequenced Drums and Loops, Exercise 10.2: Build Your Reference Library, Assignment 10: Mix “The King and All His Horses”, Recap

Week 11 – Instrumental Mixing Techniques, Dec 4th – Dec 10th
Introduction, Mixing Bass: Acoustic, Electric, and/or Synthesized, Electric Bass, Acoustic Bass, Synthesized Bass, Mixing Electric and Acoustic Guitars, Mixing Electric Guitars, Mixing Acoustic Guitars, Mixing Horns and Strings, Both Real and Synthesized, Strings, Horns, Exercise 11.1: Build Your Reference Library, Mixing Less Common Instruments, Deconstructing a Mix In-a-Box, Assignment 11: Mix “All We Had”, Recap

Week 12 – “Specialized Mix Directions and Techniques”, Dec 11th – Dec 17th
Introduction, An Overview to Mixing Pop, Common Pop Trends, Mix Analysis of Pop, Exercise 12.1: Analyze a Pop Mix, Exercise 12.2: Ozone 9 Match EQ, An Overview to Mixing Rock, Common Rock Trends, Mix Analysis of Rock, Exercise 12.3: Analyze a Rock Mix, An Overview to Mixing Hip-Hop and R&B, Mix Analysis of Hip-Hop and R&B, Exercise 12.4: Analyze a Hip-Hop, Rap or R&B Mix, An Overview to Mixing Jazz, Mix Analysis of Jazz, Exercise 12.5: The Izotope Tonal Balance Control 2, Assignment 12: Mix “I Keep Falling” by Mike Soto, Produced by Peter Wang, Recap

Berklee Online – Term 9

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Term 9 (Fall 2021) was tough. I think I hit a wall emotionally as I didn’t really enjoy this term. Partially due to an instructor that really wasn’t great, and partially due to feeling drained and taxed from the process of program, overall.

The classes I took this term were Art of Mixing and Music Composition for Film and TV 2.

As usual, I’ll go into detail on each class in separate posts.

Music Composition for Film and TV 1

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“Music Composition for Film and TV 1” was the second Berklee Online class that I took during my eighth term. As with other courses authored by Ben Newhouse, this was a fantastic class that went over everything in a clear, logical and methodical progression. Our instructor, Vicente Avella, was excellent in providing thoughtful & meaningful feedback, guidance and advice.

Here’s what we went over during the twelve week term.

Week 1 – “Creative Considerations of Film Music Composition”, Jun 28 – Jul 2nd
Introduction, Meet and Greet, Course Structure, The Role of Music in Film, The Green Mile, Troy, Exercise 1.1: Identifying a Scene’s Underlying Emotions, The Complete Audio Landscape, Dialogue Considerations, Sound Effects Considerations, Sound Effects Considerations, Exercise 1.2: Balancing Music with Dialogue and Sound Effects, Highlighting Visual Events, Musical Entrances and Exits, Matching the Internal Contour of a Scene, Matching the Pacing of Picture and Music, When to Have No Music, List of Musical Characteristics, Exercise 1.3: Matching the Contour of Visual Events in a Scene, Other Roles of Music in Film, Setting Location and Time, Source Music, A Framework for Analyzing Scenes, Quiz 1.1: Creative Considerations, Assignment 1: Writing Music to Picture, Recap

Week 2 – “Creative Considerations Specific to Television and Music Libraries”, Jul 3rd – Jul 9th
Introduction, The Television Main Title, The Television Main Title: Friends, The Television Main: Arrested Development, The Television Main: Lost, The Television Main: Summary, Discussion 2.1: Analysis of the Main Title from Heroes, Commercial Bumpers, Commercial Bumpers: Lost, Commercial Bumpers: Arrested Development, Commercial Bumpers: Summary, Discussion 2.2: Analysis of the End Credits from Arrested Development and Lost, The Role of Music Libraries, Discussion 2.3: A Hypothetical Project – To Compose or to License?, Strategies for Maximizing Licensing Usage, Underscores and Submixes, Shortened Edits, Clean Entrances and Exits, Exercise 2.1: Underscore Mix from a Full Mix, Similarities and Differences—Music in Film and Television, Quiz 2.1: Music for Television, Assignment 2: Theme and Bumper Package, Recap

Week 3 – “Ballads of Love and Positive Emotions”, Jul 10th – Jul 16th
Introduction, Analysis: Intimate Ballad 1, Intimate Ballad 1: Harmony, Intimate Ballad 1: Melody, Intimate Ballad 1: Tempo and Rhythm, Intimate Ballad 1: Orchestration, Exercise 3.1: Indiana Jones Intimate Ballad, Analysis: Intimate Ballad 2, Intimate Ballad 2: Harmony, Intimate Ballad 2: Melody, Intimate Ballad 2: Tempo and Rhythm, Intimate Ballad 2: Orchestration, Exercise 3.2: Write a Chord Progression for an Intimate Ballad, Analysis: Intimate Ballad 3, Intimate Ballad 3: Harmony, Intimate Ballad 3: Melody, Intimate Ballad 3: Tempo and Rhythm, Intimate Ballad 3: Orchestration, Score Analysis: “The Triceratops” from Jurassic Park, Quiz 3.1: “The Triceratops” , Analysis: Intimate Ballad 4, Intimate Ballad 4: Harmony, Intimate Ballad 4: Melody, Intimate Ballad 4: Tempo and Rhythm, Intimate Ballad 4: Orchestration, Exercise 3.3: Write a Melody for an Intimate Ballad, Summary of Observations – Intimate Ballads, Assignment 3: Score an Intimate Love Scene , Recap

Week 4 – “Ballads of Love and Positive Emotions” – Part 2, Jul 17th – Jul 23rd
Introduction, Analysis: Intimate Ballad 1, Intimate Ballad 1: Harmony, Intimate Ballad 1: Melody, Intimate Ballad 1: Rhythm and Tempo, Intimate Ballad 1: Orchestration, Discussion 4.1: Tchaikovsky’s Romeo and Juliet, Analysis: Intimate Ballad 2, Intimate Ballad 2: Harmony, Intimate Ballad 2: Melody, Intimate Ballad 2: Tempo and Rhythm, Intimate Ballad 2: Orchestration, Exercise 4.1: Orchestrating a Love Scene for a Small Setting, Analysis: Intimate Ballad 3, Intimate Ballad 3: Harmony, Intimate Ballad 3: Melody, Intimate Ballad 3: Tempo and Rhythm, Intimate Ballad 3: Orchestration, Score Analysis The Lightkeepers, Quiz 4.1: The Lightkeepers , Analysis: Intimate Ballad 4, Intimate Ballad 4: Harmony, Intimate Ballad 4: Melody, Intimate Ballad 4: Tempo and Rhythm, Intimate Ballad 4: Orchestration, Exercise 4.2: Orchestrating a Large Statement Love Scene, The Positive Ballad Template, Quiz 4.2: Love and Positive Emotions , Assignment 4: Score a Positive Ballad Scene , Recap

Week 5 – “Ballads of Sadness and Sorrow”, Jul 24th – Jul 30th
Introduction, BPRD Suite, Harmony in the BPRD Suite, Melody in the BPRD Suite, Tempo and Rhythm in the BPRD Suite, Orchestration in the BPRD Suite, Discussion 5.1: The King Dies, “The Face of Pan” from Hook, Harmony in “The Face of Pan”, Melody in “The Face of Pan”, Tempo and Rhythm in “The Face of Pan”, Orchestration in “The Face of Pan”, Orchestration in “The Face of Pan”, Exercise 5.1: Write a Chord Progression for a Sad Ballad, “Lente” from Schindler’s List, Harmony in “Lente”, Melody in “Lente”, Tempo and Rhythm in “Lente”, Orchestration in “Lente”, Score Analysis Rememberances, Quiz 5.1: Score Analysis Rememberances , “Braveheart” from Braveheart, Harmony in “Braveheart”, Avoiding Dominant to Tonic, Long-Term Harmonic Movement, Melody in “Braveheart”, Tempo and Rhythm in “Braveheart”, Orchestration in “Braveheart”, Exercise 5.2: Write a Melody for a Sad Ballad, Assignment 5: Score a Sad Ballad, Recap

Week 6 – “Ballads of Sadness and Sorrow – Part 2”, Jul 31st – Aug 6th
Introduction, Analysis: Intimate Ballad 1—”Across the Stars”, Harmony in “Across the Stars”, Melody in “Across the Stars”, Tempo and Rhythm in “Across the Stars”, Orchestration in “Across the Stars”, Orchestration Key Points, Discussion 6.1: Barber’s Adagio for Strings, Analysis: Intimate Ballad 2—”Window to the Past”, Harmony in “Window Into the Past”, Melody in “Window Into the Past”, Tempo and Rhythm in “Window Into the Past”, Orchestration in “Window Into the Past”, Exercise 6.1: Orchestrate a Sad Ballad—Small Instrumentation, Analysis: Intimate Ballad 3—”Stay Out of My Life”, Melody in “Stay Out of My Life”, Harmony in “Stay Out of My Life”, Tempo and Rhythm in “Stay Out of My Life”, Orchestration in “Stay Out of My Life”, Quiz 6.1: Score Analysis of The Lightkeepers , Analysis: Intimate Ballad 4—”I Never Stopped Caring”, Harmony in “I Never Stopped Caring”, Melody in “I Never Stopped Caring”, Tempo and Meter in “I Never Stopped Caring”, Orchestration in “I Never Stopped Caring”, Exercise 6.2: Orchestrate a Sad Ballad—Large Orchestration, The Sad Ballad Template, Quiz 6.2: Theory and Music Terms , Assignment 6: Score a Sad Scene, Recap

Week 7 – “Horror and Scary Music”, Aug 7th – Aug 13th
Introduction, Strategies for Creating Dissonance, Minor Second Chords, Octave Changes, Combining Consonant Chords, Diminished and Augmented Triads, 12-pitch chords, 12 Pitches and Augmented Triads, Exercise 7.1: Write a Chord Progression for a Horror Sequence, Analysis: Music for Strings, Percussion and Celesta from The Shining, Melody in Music for Strings, Percussion and Celesta, Harmony in Music for Strings, Percussion and Celesta, Tempo and Rhythm in Music for Strings, Percussion and Celesta, Orchestration in Music for Strings, Percussion and Celesta, Score Analysis of Silly Sally, Quiz 7.1: Score Analysis Silly Sally, Analysis: “Main Title” from The Omen, Melody in “Main Title”, Harmony in “Main Title”, Tempo and Rhythm in “Main Title”, Orchestration in “Main Title”, Score Analysis: “George to the Rescue”, “Meating of the Minds” from The Thing, Harmony in “Meating of the Minds”, Melody in “Meating of the Minds”, Tempo and Rhythm in “Meating of the Minds”, Orchestration in “Meating of the Minds”, Quiz 7.2: Harmony, Assignment 7: Score a Scary Horror Cue, Recap

Week 8 – “Horror and Scary Music” – Part 2, Aug 14th – Aug 20th
Introduction, Analysis: “Discoveries” from The Mummy, Melody in “Discoveries”, Melody in “Discoveries”, Harmony in “Discoveries”, Tempo and Rhythm in “Discoveries”, Orchestration in “Discoveries”, Exercise 8.1: Octatonic Counterpoint, Analysis: Aleatoric Music in 20th Century Concert Music, “Trombone Concerto” by Christopher Rouse, Exercise 8.2: Write and Sequence an Aleatoric Idea for Pizz Strings, Analysis: “House of Paincakes” from Blade II, Harmony in “House of Paincakes”, “House of Paincakes” Low Intervals, 20th Century Orchestration in “House of Paincakes”, 20th Century Orchestration in “House of Paincakes”, Aleatoric Textures in “House of Paincakes”, Discussion 8.1: “Meating of the Minds”, Analysis: “The F-35” from Live Free, Die Hard, Harmony in “The F-35”, Aleatoric Music in “The F-35”, 20th Century Orchestration in “The F-35”, Template for Horror and Scary Music, Quiz 8.1: Techinques and Technical terms, Assignment 8: Score a Suspenseful Horror Scene, Recap

Week 9 – “High Intensity Action Music”, Aug 21st – Aug 27th
Introduction, Action Cue: “The F-35” from Live Free or Die Hard, Reduction of “The F-35”, Rhythm in “The F-35”, Compound Meters, Odd Meters, Harmony in “The F-35”, Melody in “The F-35”, Orchestration in the “F-35”, Exercise 9.1: Write a Rhythm Appropriate for an Action Cue, Action Cue: “Just Do It” from Atlantis, Action Cue: “Just Do It” from Atlantis, Rhythm in “Just Do It”, Harmony in “Just Do It”, Melody in “Just Do It”, Orchestration in “Just Do It”, Discussion 9.1: “The F35”, “The Battle” from Bridge to Terabithia, Harmony in “The Battle”, Rhythm in “The Battle”, Melody in “The Battle”, Orchestration in “The Battle”, Score Analysis: “Jurassic Park”, Quiz 9.1: Score Analysis “Jurassic Park”, Assignment 9: Score an Action/Chase Cue, Recap

Week 10 – “High Intensity Action Music” – Part 2, Aug 28th – Sep 3rd
Introduction, Action Cue: “The Leviathan” from Atlantis, Harmony in “The Leviathan”, Tempo and Rhythm in “The Leviathan”, Melody in “The Leviathan”, Orchestration in “The Leviathan”, Exercise: Orchestrate Material for Rhythmic Strings, Action Cue: “Forest Battle” from Star Wars: Return of the Jedi, Harmony in “Forest Battle”, Tempo and Rhythm in “Forest Battle”, Melody in “Forest Battle”, Orchestration in “Forest Battle”, Listening and Discussion: Tchaikovsky, Action Cue: “Incident at Isla Nubar” from Jurassic Park, Tempo and rhythm in “Incident at Isla Nubar”, Melody in “Incident at Isla Nubar”, Harmony in “Incident at Isla Nubar”, Orchestration in “Incident at Isla Nubar”, Score Analysis: Battle, Quiz 10.1: Score Analysis “Battle”, High-intensity Action Template, Quiz 10.2: High Intensity Action, Assignment 10: High-Intensity Action Video, Recap

Week 11 – “Magic and Fantasy Music”, Sep 4th – Sep 10th
Introduction, Magic and Fantasy: “Mahoney’s Debut” from Mr. Magorium’s Wonder Emporium, Harmony in “Mahoney’s Debut”, Melody in “Mahoney’s Debut”, Tempo and Rhythm in “Mahoney’s Debut”, Orchestration in “Mahoney’s Debut”, Exercise 11.1: Magical Tone Colors, Magic and Fantasy Cue: “Fairy Dance” from Peter Pan, Harmony in “Fairy Dance”, Tempo and Rhythm in “Fairy Dance”, Melody in “Fairy Dance”, Orchestration in “Fairy Dance”, Discussion 11.1: “Sugar Plum Fairy”, Magic and Fantasy: “Hedwig’s Theme” from Harry Potter, Melody in “Hedwig’s Theme”, Melodic Treatment, Hedwig’s Melody, Harmony in “Hedwig’s Theme”, Tempo and Rhythm in “Hedwig’s Theme”, Orchestration in “Hedwig’s Theme”, Score Analysis: “Remembering Petticoat Lane”, Quiz 11.1: Score Analysis “Rememberign Petticoat Lane”, Magic and Fantasy Cue: Disney DVD Logo, Harmony in Disney DVD Logo, Melody in Disney DVD Logo, Tempo and Rhythm in Disney DVD Logo, Orchestration in Disney DVD Logo, Magic and Fantasy Template, Assignment 11: Magic and Fantasy Video, Recap

Week 12 – “Supernatural Grandeur”, Sep 11th – Sep 17th
Introduction, Supernatural Grandeur Cue: “Atlantis” from Atlantis, Harmony in “Atlantis”, Melody in “Atlantis”, Tempo and Rhythm in “Atlantis”, Orchestration in “Atlantis”, Score Analysis: “Duel of the Fates”, Supernatural Grandeur Cue: “Finale” from The Abyss, Harmony in “Finale”, Melody in “Finale”, Tempo and Rhythm in “Finale”, Orchestration in “Finale”, Exercise 12.1: Orchestrate a Progression, Supernatural Grandeur Cue: “Rebirth” from The Mummy, Harmony in “Rebirth”, Melody in “Rebirth”, Tempo and Rhythm in “Rebirth”, Orchestration in “Rebirth”, Discussion 12.1: Listening, “O Fortuna”, Supernatural Grandeur Cue: “Mermaids” from Hook, Harmony in “Mermaids”, Melody in “Mermaids”, Tempo and Rhythm in “Mermaids”, Orchestration in “Mermaids”, Supernatural Grandeur Template, Exercise 12.2: Supernatural Grandeur Library Cue, Assignment 12: Create an Audio Film Scoring Demo, Recap

Here’s the Film Score Demo that I put together from assignments and exercises that I did for this class.

Thanks for another great class, Berklee!

Creative Strategies for Composition Beyond Style

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This was one of two classes that I took during my eighth term with Berklee Online. I had a feeling based on the course overview that this would be a good class. Turned out to be a great class. The instructor and course author Professor Eric Gould was fantastic (to say that he is a subject matter expert would be an understatement). His live classes were amazing – deep, profound and terribly humbling. If you ever get a chance to study with him take it!

The basis of the class was for us as composers to be able to write from any compositional vantage point: be it from a melody, or from a chord progression, or a bass line, or rhythm/groove, we needed to be able to do it from any starting point. Additionally, the class spent a good deal of time having us think about the processes behind and around writing music, helping to address any limiting preconceptions or perspectives that we might be harboring consciously or unconsciously. Really powerful and helpful techniques were offered throughout.

I can’t say enough good things about this class. If you are interested in writing music and how to move beyond your personal limitations then this is for you.

Here’s what we went over during the twelve weeks.

Week 1 – “Recognizing Your Compositional Comfort Zone”, Jun 28 – Jul 2nd
Introduction, Meet and Greet, Composing “On the Clock”, Bass Progressions and Bass Lines, Chord Progressions, Intervallic Patterns, Rhythmic Patterns, Exercise 1.1: Composing “On the Clock”, Self-Evaluation: What Just Happened?, Discussion 1.1: Self Evaluation, Exercise 1.2: “On the Clock” Take Two, Assignment 1: Sixteen-Bar Work Sample, Recap

Week 2 – “Overview of the Compositional Process”, Jul 3rd – Jul 9th
Introduction, What is the Compositional Process?, The Decision Making Process in Composition, Exercise 2.1: Planning your Composition, Defining a Starting Point, Composers on Starting Points, Manipulating Melodic Fragments, Compositional Work Flow, Assignment 2: On the Clock-Take Three, Recap

Week 3 – “Project Decisions and Templates for Sketching”, Jul 10th – Jul 16th
Introduction, Making Project-Level Decisions, The Right Tool for the Job: Understanding Templates, Something Sketchy, Setting Up Templates, Exercise 3.1: How to Work with Your Templates, Discussion 3.1: Sketching, Writing Process, and Templates, Instrument Sounds, Assignment 3: Putting Your Template to Use, Recap

Week 4 – “Composing From the Bottom Up”, Jul 17th – Jul 23rd
Introduction, Points of Departure, Starting From a Harmonic Progression or Bass Motion Patterns, Starting from a Melodic Fragment, Rhythm as a Starting Point, Rhythm as a Starting Point: Some Creative Possibilities, Exercise 4.1: Rhythmic and Melodic Exploration, Examples of Bass Line Melodies, Exercise 4.2: Constructing a Bass Line Melody, Discovering Music Through the Bass Line, Exercise: Constructing a Musical Sketch from a Bass Line Melody, Discussion 4.1: Slowing Down the Bass Line, Songwriting Process: Composers Speak, Assignment 4: Developing a Musical Sketch from a Bass Line, Recap

Week 5 – “Composing From the Top Down”, Jul 24th – Jul 30th
Introduction, Starting Points for Melodic Construction, Developing Upon a Melodic Fragment, Starting from a Rhythm, Starting from a Harmonic Progression, Exercise 5.1: Construct a Melody, Discovering the Music through the Melody, Exercise 5.2: Construct a Work Sample From a Melody, Discussion 5.1: Starting from Melody vs. Bass Line, Assignment 5: Work Sample, Recap

Week 6 – “Using Rhythm as a Source”, Jul 31st – Aug 6th
Introduction, Understanding Polyrhythm, Rhythm and Style, Genre, Style, and Composition, Exercise 6.1: Transcribing Style Elements, Using Rhythm to Generate Ideas, Exercise 6.2: Creating a Sketch Based On Rhythm, Discussion 6.1: Understand Rhythm, Assignment 6: Eight-Bar Work Sample, Recap

Week 7 – “Creating and Expanding Harmonic Progressions”, Aug 7th – Aug 13th
Introduction, The Aesthetics of Harmony, Options for Creating Harmony, Options for Expanding Harmonic Progressions, Songwriting Advice: Economy, Exercise 7.1: Expanding Harmonic Progressions, Discussion 7.1: Moving the Harmony, Assignment 7: Harmonic Progression, Recap

Week 8 – “Developing Melodic Materials From a Harmonic Progression”, Aug 14th – Aug 20th
Introduction, Options for Creating Melodies Based on Harmonic Progressions, Rhythmic and Metric Considerations, Unifying Elements, Exercise 8.1: Melodic Sample Based on a Progression, Discussion 8.1: Harmonic Structure, Assignment 8: Melodic Materials from a Harmonic Progression, Recap

Week 9 – “Conceiving Form”, Aug 21st – Aug 27th
Introduction, Basic Elements of Form, Sections, Larger Building Blocks, Additional Larger Blocks, The Formal Road Map: Conceiving of Formal Structures, Professional Advice, Work Sample: Building a Formal Road Map, Discussion 9.1: The Big Picture, Assignment 9: Form, Recap

Week 10 – “Transition”, Aug 28th – Sep 3rd
Introduction, Understanding Transition in Musical Composition, When Do You Need a Transition?, Key Changes, Rhythmic Changes, Textural Changes, Introductions, Solos, Contrasting Melodic Ideas, Contrasting Harmonic Devices, Different Time Signatures, Strategies for Transition, Harmonic Preparation, Use of Space, Textural Devices, Melodic Preparation, Use of Common Elements in Both Sections, Rhythmic Preparation, The Human Connection, Exercise 10.1: Transitions In a Work Sample, Discussion 10.1: Transitions and Form, Assignment 10: Main Musical Selection for Final Project, Recap

Week 11, “Orchestration and Arranging”, Sep 4th – Sep 10th
Introduction, Basic Instrumental Considerations, Range, Volume, Character and Tone, Woodwinds, Brass, Bowed Strings, Plucked Strinds, Harmonic Complexity and Density of Your Musical Ideas, How Instrumentation Affects the Musical Ideas, Instrumental Solos, Musical/Transitional Effects, Textural Changes Based on Instrumental Combinations, Art and Science, Setting Up a Score, Exercise 11.1: Final Project Score Setup, Discussion 11.1: Instrumentation, Assignment 11: Orchestration and Arranging, Recap

Week 12 – “Final Project”, Sep 11th – Sep 17th
Introduction, Processes Used in this Course, Self-Evaluation, Global Decision-Making, Sketching from Templates, Compositional Approaches, From a Bass Line Up, Melody, Harmony, Rhythm, Aesthetic Concepts, The Craft of Composition, Templates for Sketching, Score Setup, Basic Principles of Orchestration and Arranging, What’s Next?, Creative Exploration, Discussion 12.1: Course Retrospective, Assignment 12: Final Project, Recap

Here’s the final project I put together for this class.

And here is the score “Schoonmaker-Final-Project”

Thanks Berklee!

Berklee Online – Term 8

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Man, this year has flown by. Hard to believe that September is almost over. Seems like summer just got here. I really meant to spend more time outside this year, I really did…

That being said, my eighth term with Berklee Online was quite good. This time around I took “Creative Strategies for Composition Beyond Style” and “Music Composition for Film and TV 1”, both of which were excellent.

As with other terms I’ll go into detail on each class in separate posts.

Thanks for another great term, Berklee!

Freeze!

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I was working on putting together a new orchestral template last night and realized that I was maxing out my system’s CPU and RAM. This file was bringing my entire system to a crawl. It was late so I decided to go to sleep and come back to it the next day.

After waking up, I still felt a bit defeated and bummed out that I wouldn’t be able to use all the cool things that I put into this new template. I started to think of how I could salvage the work I had done in the way of alternative workflows. I enlisted my wife in an impromptu brainstorming session and she started asking me questions about the need for this type of template and what it would provide. I then described the time it would save and how I might consider having different versions of the template for different phases of production (e.g. a version with ensemble patches for general writing, fuller version with individual instrument parts & limited articulations and another version for mixing).

Then something that I had completely forgot about occurred to me: Freeze Tracks. I wasn’t sure if my plug-in supported this functionality so I rushed to my computer and opened the massive file to find out. To my relief and astonishment, it worked!

I’m so stoked as this will most likely be my go-to file for the next year or more. Should be a huge time saver, allowing me to get right to work on ideas, not having to build a project file up every time that I want to do something with orchestral instrumentation in it.

Thanks for being awesome (again), Logic/Apple!

For anyone interested, here’s the template file that I put together:

BBCSO-Pro.logicx

“Watch The Sound”

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I wasn’t sure what to think when I saw the trailer for this music documentary but after watching the first two episodes I was hooked. It’s a fantastic series with excellent interviews & perspectives, beautifully shot and edited. I had to confess that it made me rather envious imagining the type of life the host Mark Ronson has led up to now. That being said, it’s a very inspiring, informative and admirable project. Can’t recommend it enough.

Orchestration 2

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This was the second class that I took with Ben Newhouse. It is the follow-on course to Orchestration 1 and I enjoyed it just as much, if not more than its predecessor. There was a lot of information covered in just 12 weeks. And just like the previous class, everything was clear, logical, laid out really well, with each subject building on the previous. In fact, he mentioned in a live class that he designed these two classes to be two halves of one large 24 week course.

I feel very fortunate to have been able to experience Professor Newhouse’s classes and to have him as an instructor. He might be the best teacher I’ve ever had, on any topic. Just fantastic. As I said in a previous post, if you get a chance to study with him you should take it. He’s that good.

Here is the material we went over.

Week 1 – “Color Choices”, Apr 3 – Apr 9
Introduction, Course Structure, Group Instruments by Color, not by Range, Approaching Color Choices Systematically, Alternative Organization – Instrument Structure, Waveform Structure, Color Choices in Appalachian Spring, Treatment 1, Treatment 2, Treatment 3, Treatment 4, Treatment 5, Simple Gifts Summary, Doubling and Its Effect on Tone Color, Orchestral Mockups: The Two Circles, Assignment 1: Tone Color Orchestration

Week 2 – “Orchestrating Dynamics”, Apr 10th – Apr 16th
Introduction, A General Framework for Dynamics, Orchestrating Accents I, Orchestrating Accents II (Part 1), Orchestrating Accents II (Part 2), Orchestrating a Crescendo or a Diminuendo, Orchestral Mockups: Battling Computing Limitations, Computers, Using Multiple Hard Drives, Incorporating Hardware, Adding a Hardware Sampler, Adding a Second Computer for Sampling, Using MIDI Over Ethernet, Purging Unused Samples, Audio Interface Buffer Size, Latency Compensation, Freezing Tracks, Sample Rates and Bit Depths, Bypassing Reverbs, Checklist for Notated Scores, Assignment 2: Orchestrate a Diminuendo

Week 3 -“Orchestrating Lines”, Apr 17th – Apr 23rd
Introduction, Dovetailing Dictated by Range, “Mercury” by Gustav Holst, “Fireworks” by Igor Stravinsky, Dovetailing Dictated by Playing Limitations, Lines for Single Instruments and Doublings, Single Instrument Treatment, Doubling, Segmenting a Melodic Line, Line Segmentation, Pointillism, Note Segmentation, Orchestral Mockups: Note Transitions, Sustained Chord Progression, Sustain Common Tones, Overlapping Notes, Humanizing Note Starts, Add Automation, Assignment 3: Orchestrating a Line

Week 4 -“Orchestrating Harmonic Material”, Apr 24th – Apr 30th
Introduction, Voicing Chords for Full Orchestra, Combining the Families, E.T. Strings and Percussion, E.T. Families Combined, Combining Wind and String Chords, Additional Examples of Chord Voicings, First Inversion, Second Inversion, Unconventional Voicings, Dense Voicing in the Low Register, Sustained Harmonic Accompaniment, Rhythmic Harmonic Patterns, Rhythmically Repeating Chords, Combining Sustained and Rhythmic Harmonies, Extended Harmonic Passages, Orchestral Mockups: Combining Samples, Assignment 4: Orchestrating a Harmonic Progression

Week 5 -“Orchestrating Single-Layered Textures”, May 1st – May 7th
Introduction, Tutti Statements, Variety in Tutti Statements, Homophonic Statements, Inexact Doubling, Orchestral Mockups: On-Velocity, On-Velocity, Fixed Decay Instruments, Assignment 5: Homophonic Writing

Week 6 -“Orchestration in a Two-Layered Environment”, May 8th – May 14th
Introduction, Creating Separation, Maintaining Balance, Focus – Guiding the Listener’s Attention, Separation, Balance, and Focus in a Two-Layer Texture (Part 1), Separation, Balance, and Focus in a Two-Layer Texture (Part 2), Orchestral Mockups: Continuous Controllers and Dynamics, Dynamic Samples, Volume, Expression, Modulation, Assignment 6: Foreground and Background Writing

Week 7 -“Orchestration in a Three-Layered Environment”, May 15th – May 21st
Introduction, Foreground, Middleground, and Background Material in Tannhauser, Wagner Treatment 1, Wagner Treatment 2, Foreground, Middleground, and Background Material in Bolero, Ravel Treatment 1, Ravel Treatment 2, Ravel Treatment 3, Ravel Treatment 4, Ravel Treatment 5, Foreground, Middleground, Background in Tchaikovsky 4: Treatment 1, Foreground, Middleground, Background in Tchaikovsky 4: Treatment 2, Tchaikovsky Example Summary, Orchestral Mockups: Quantizing, Quantizing – Choosing the Rhythmic Interval, Quantizing – Additional Options, Flexible Tempo Maps, Workshop: Quantizing, Assignment 7: Foreground, Middleground, and Background Writing

Week 8 -“Complex Textures of Four or More Layers”, May 22nd – May 28th
Introduction, Limits to Human Perception, Stravinsky’s Fireworks (Part 1), Stravinsky’s Fireworks (Part 2), Extreme Complexity: The Rite of Spring I (Part 1), Extreme Complexity: The Rite of Spring I (Part 2), Extreme Complexity: The Rite of Spring I (Part 3), Extreme Complexity: The Rite of Spring I (Part 4), Extreme Complexity: The Rite of Spring 2 (Part 1), Extreme Complexity: The Rite of Spring 2 (Part 2), Extreme Complexity: The Rite of Spring 2 (Part 3), Controlled Chaos Textures, Orchestral Mockups: Horizontal Placement, Orchestral Mockups: Spread, Orchestral Mockups: Sampling Implications, Assignment 8: Sequencing Chaos 

Week 9 -“Horizontal Relationships I”, May 29th – Jun 4th
Introduction, Horizontal Relationships, Horizontal Relationships in Tchaikovsky 5, Part I, Horizontal Relationships in Tchaikovsky, Part II, Horizontal Relationships in Tchaikovsky 4, Part I (Treatment 1 and 2), Horizontal Relationships in Tchaikovsky 4, Part I (Treatment 3 and 4), Horizontal Relationships in Tchaikovsky 4, Part I (Treatment 5), Horizontal Relationships in Tchaikovsky 4, Part II, Orchestral Mockups: Reverb Background, Digital Reverb, Convolution Reverb, Sampling Considerations

Week 10 -“Horizontal Relationships II”, Jun 5th – Jun 11th
Introduction, Horizontal Balance, Horizontal Balance in Beethoven (Part 1), Horizontal Balance in Beethoven (Part 2), Horizontal Balance in Orff (Part 1), Horizontal Balance in Orff (Part 2), Horizontal Balance in Tchaikovsky, Orchestral Mockups: Reverb Routing, Individual Patches, Sampler Instances, Reverb on Converted Audio Tracks, Using Sends, Busses and Aux Tracks, Multiple Outs From Your Sampling Software, Review of Key Concepts: Global Considerations, Review of Key Concepts: Single-Layer Considerations, Review of Key Concepts: Multi-Layer Considerations, Review of Key Concepts: Horizontal Relationships

Week 11 -“Hollywood Textures I”, Jun 12th – Jun 18th
Introduction, Sustained String Cues (Part 1), Sustained String Cues (Part 2), Mystery and Magic Cues, Theme Cues I, Orchestral Mockups: Vertical Placement, Delay, To Delay or Not to Delay?, Predelay, Assignment 11: Final Project Continued

Week 12 -“Hollywood Textures II”, Jun 19th – Jun 25th
Introduction, Theme Cues II: Treatment 1, Theme Cues II: Treatment 2, Bouncy Comedy Cues, Action Cue 1, Action Cue 2, Action Cue 3, Orchestral Mock-Ups: Mastering, Compression, Compression Considerations, Limiting and Multiband Compression, Assignment 12: Final Project Continued

I’ve posted the score and audio for my final project below.

Thanks for another great class, Berklee!

ORCH2-Final-Project-Week-12-Glenn-Schoonmaker


Contemporary Techniques in Music Composition 1

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This was the other class that I took during Berklee Online’s Spring 2021 term. There was a huge amount of really dense material with lots of exercises and discussion topics. In many ways this course was outside of my comfort zone as it challenged most of what we had studied in the Music Theory & Composition 1-4 classes and pretty much everything I had done with music throughout my entire life. This class spent a lot of time focused on atonal and chromatic music by composers from the early to mid 20th century.

While I admire and respect the cerebral/intellectual acuity of the composers doing this type of work, it isn’t my favorite music to listen to. I’m glad that I had some exposure to these concepts as they are often utilized in current films and television, but I’m glad this class is over.

Here’s what we covered during the twelve weeks.

Week 1 – “New Scales”, Apr 3rd – Apr 9th
Introduction, Meet and Greet, Whole Tone Scales, Exercise 1.1: Whole Tone Scale Melody, Pentatonic Scales, Exercise 1.2: Pentatonic Scale Melody, Octatonic Scales, Exercise 1.3: Octatonic Scale Melody, Invented Scales, Exercise 1.4: Invented Scale Melody, Discussion 1.1: New Scales, Assignment 1: Music for Solo Instrument or Voice

Week 2 – “New Modes”, Apr 10th – Apr 16th
Introduction, Modes of Limited Transposition, Practice Exercise: Modes of Limited Transposition Analysis, Exercise 2.1: “Abîme des Oiseaux” Analysis, Mode Mixture, Folk Influences, Quiz 2.1: “Romanian Dances” by Bela Bartok, Igor Stravinsky, Discussion 2.1: Harmonic Implications, Assignment 2: Composition, Recap

Week 3 – “Interval Structures”, Apr 17th – Apr 23rd
Introduction, Interval Sets, Practice Exercise: “Abîme des Oiseaux” Analysis, Exercise 3.1: Interval Set, Arnold Schoenberg’s Early Works, Exercise 3.2: “Sechs Kleine Klavierstücke” Analysis, Exercise 3.3: Interval Sets for Two Instruments, Pre-Serialism, Exercise 3.4: Pre-Serialism Analysis, Reply , Discussion 3.1: Defining Pitch Language, Assignment 3: Piece for Two Melodic Instruments , Recap

Week 4 – “Triadic Extensions”, Apr 24th – Apr 30th
Introduction, Tertian Harmonies in Non-Functional Relationships, Exercise 4.1: “La Cathedrale Engloutie” Analysis, Exercise 4.2: Tertian, Chordal Language, Triad Voicings and Voice Leading, Triad Layering, Exercise 4.3: Triad Layering, Discussion 4.1: Triad Layering, Assignment 4: Composition , Recap

Week 5 – “Other Intervallic Structures”, May 1st – May 7th
Introduction, Quartal Harmony, Charles Ives, Exercise 5.1: Analysis of “The Cage” by Ives, Exercise 5.2: Quartal Harmony, Quintal Harmony, Exercise 5.3: Quintal Harmony, Secondal Harmony and Clusters, Exercise 5.4: Composing with Chord Clusters, Interval Mixture, Discussion 5.1: Intervallic Structures, Assignment 5: 20-30 bar piano piece, Recap

Week 6 – “Harmonic Motion”, May 8th – May 14th
Introduction, Parallelism and Other Types of Harmonic Motion, Exercise 6.1: Planing and Parallelism, Exercise 6.2: Harmonic Movement, Harmonic Stasis, Cadential Devices, Exercise 6.3: Cadential Devices, Discussion 6.1: Resolutions, Assignment 6: Project 2, Recap

Week 7 – “Rhythmic Devices”, May 15th – May 21st
Introduction, Mixed Meter and Odd Meter, Exercise 7.1: Using Mixed and Odd Meters, Rhythmic Complexity, Ties and Tuplets, Exercise 7.2: 7 against 8, Additive Techniques: Non-Retrogradeable Rhythms, Exercise 7.3: Rhythmic Techniques, No Meter, Exercise 7.4: No Meter, Discussion 7.1: Rhythmic Perception, Assignment 7: Rhythmic Devices, Recap

Week 8 – “Formal Devices”, May 22nd – May 28th
Introduction, Fibonacci Series, Discussion 8.1: Fibonacci Series, Mosaic/Moment Form, Exercise 8.1: Mosaic Form, Cagean Rhythmic Structures, Discussion 8.2: Formal Devices, Assignment 8: Composing Using Formal Devices, Recap

Week 9 – “Aleatory”, May 29th – Jun 4th
Introduction, Chance, Discussion 9.1: “Music of Changes”, Exercise 9.1: Chance Operations, Indeterminacy, Discussion 9.2: Indeterminacy, Proportional Notation, Exercise 9.2: Proportional Notation, Graphic Notation, Discussion 9.3: Notation Style, Assignment 9: Aleatory, Recap

Week 10 – “Percussion and Found Instruments”, Jun 5th – Jun 11th
Introduction, Standard Percussion Instruments, Discussion 10.1: Percussion Use Examples, Exercise 10.1: Piece for Snare Drum, What’s in Your Kitchen?, Percussion is All Around You!, Discussion 10.2: Found Percussion, Assignment 10: Composing with Percussion in Mind, Recap

Week 11 – “Prepared Piano”, Jun 12th – Jun 18th
Introduction, Inside the Piano, Prepared Piano, Exercise 11.1: Prepared Piano, Other Effects, Discussion 11.1: You and Prepared Piano, Assignment 11: Prepared Piano Composing, Recap

Week 12 – “Other Extended Techniques”, Jun 19th – Jun 25th
Introduction, Harmonics, Exercise 12.1: Harmonics Analysis, Artificial Harmonics, Exercise 12.2: Artificial Harmonics, Other String Effects, Multiphonics, Other Wind Instrument Techniques, Putting it Together, Discussion 12.1: Other Extended Techniques, Assignment 12: Final Project, Recap

I’ve posted the score and audio for my final project below.

CTMC1-Assignment-12-Glenn-Schoonmaker