This is a fantastic video where Leonard Bernstein explains scales and modes, with the help of the New York Philharmonic performing examples from famous composers. Just brilliant.
Author Archives: Glenn Schoonmaker
Music Composition for Film and TV 2
Music Composition for Film and TV 2 was the other class that I took during the Fall of 2021. As with other courses authored by Ben Newhouse, this was a great class that went over everything in a clear, logical and methodical progression. It was nice having Ben as an instructor again as he always provided useful, helpful, and thoughtful feedback.
Here’s what we covered during the twelve weeks.
Week 1 – “Slow Drama”, Sep 27 – Oct 1
Introduction, Meet and Greet, Course Structure, Slow Drama Cue: Deadline Main Title, Harmony in Deadline Main Title, Melody in Deadline Main Title, Rhythm and Tempo in Deadline Main Title, Orchestration in Deadline Main Title, Score Analysis: “Giza Port” from The Mummy, Slow Drama Cue: “Wreckage” from Alien 3, Melody in “Wreckage”, Harmony in “Wreckage”, Rhythm and Tempo in “Wreckage”, Orchestration in “Wreckage”, Discussion 1.1: Analysis “The King Dies” from Atlantis, Slow Drama Cue: “Mr. Gateau” from The Curious Case of Benjamin Button, Melody in “Mr. Gateau”, Harmony in “Mr. Gateau”, Rhythm and Tempo in “Mr. Gateau”, Orchestration in “Mr. Gateau”, Exercise 1.1: A Dramatic Progression, Slow Drama Cue: “Run to the Church” from The Sixth Sense, Harmony in “Run to the Church”, Melody in “Run to the Church”, Rhythm and Tempo in “Run to the Church”(Page 4), Orchestration in “Run to the Church”, Slow Drama Cue: “Tender Dismay” from Women Warriors: Voices of Change, Harmony in “Tender Dismay”, Melody in “Tender Dismay”, Rhythm in “Tender Dismay”, Orchestration in “Tender Dismay”, Slow Drama vs. Sad, Slow Drama Template, Quiz 1.1: Slow Drama, Assignment 1: Score a Slow Drama Scene, Recap
Week 2 – “Playful Comedy”, Oct 2nd – Oct 8th
Introduction, Comedy Cue: “Toy Store Jam” from Mr. Magorium’s Wonder Emporium, Tempo and Rhythm in “Toy Store Jam”, Harmony in “Toy Store Jam”, Melody in “Toy Store Jam”, Orchestration in “Toy Store Jam”, Exercise 2.1: Write a Comedy Vamp, Comedy Cue: “Triscadecaphobia” from Mr. Magorium’s Wonder Emporium, Tempo and Rhythm in “Triscadecaphobia”, Harmony in “Triscadecaphobia”, Melody in “Triscadecaphobia”, Orchestration in “Triscadecaphobia”, Activity: Score Analysis of “Mr. Magoriums Wonder Emporium”, Score Analysis: Mr. Magorium’s Wonder Emporium, Comedy Cue: Alf Clausen’s Car Scene, Tempo and Rhythm in Alf Clausen’s Car Scene, Harmony in Alf Clausen’s Car Scene, Key Movement in Alf Clausen’s Car Scene, Melody in Alf Clausen’s Car Scene, Orchestration in Alf Clausen’s Car Scene, Discussion 2.2: The Simpsons, Comedy Cue: “A Note from the Teacher” from Peter Pan, Melody from “A Note from the Teacher”, Harmony from “A Note from the Teacher”, Tempo and Rhythm from “A Note from the Teacher”, Orchestration from “A Note from the Teacher”, Comedy Template, Quiz 2.1: Playful Comedy Music, Assignment 2: Score a Comedy Scene, Recap
Week 3 – “Moderate-Intensity Action 1”, Oct 9th – Oct 15th
Introduction, Moderate Intensity Action Cue: “The Myrmidons” from Troy, Melody in “The Myrmidons”, Modes in “The Myrmidons”, Harmony in “The Myrmidons”, Rhythm and Tempo in “The Myrmidons”, Orchestration of “The Myrmidons”, Exercise 3.1: Listening and Discussion of “Tunnel Chase”, “Helicopter Ride” from “Underworld: Evolution, Harmony in “Helicopter Ride”, Rhythm and Tempo in “Helicopter Ride”, Melody in “Helicopter Ride”, Orchestration in “Helicopter Ride”, Exercise 3.2: Add Rhythm to a Chord Progression, “High Wire Stunts” from Jurassic Park, Melody in “High Wire Stunts”, Harmony in “High Wire Stunts”, Modulation in “High Wire Stunts”, Rhythm in “High Wire Stunts”, Orchestration of “High Wire Stunts”, Score Analysis of “Helicopter Ride”, Score Analysis: “Helicopter Ride”, Moderate-Intensity Action Cue: “Hook-Napped” from Hook, Melody in “Hook-Napped”, Harmony in “Hook-Napped”, Tempo and Rhythm in “Hook-Napped”, Orchestration in “Hook-Napped”, Assignment 3: Score a Moderate Intensity Action Scene, Recap
Week 4 – “Moderate Intensity Action II”, Oct 16th – Oct 22nd
Introduction, Moderate-Intensity Action Cue: “Duel of the Fates” from Star Wars: Episode I, Melody in “Duel of the Fates”, More Melody in “Duel of the Fates”, Harmony in “Duel of the Fates”, Tempo and Rhythm in “Duel of the Fates”, Orchestration in “Duel of the Fates”, Exercise 4.1: Write an Ostinato, Moderate-Intensity Action Cue: “Capitol Hill”, Harmony in “Capitol Hill”, Tempo and Rhythm in “Capitol Hill”, Melody in “Capitol Hill”, Orchestration in “Capitol Hill”, Score Analysis: “Bible Study” from Yuma, The Moderate-Intensity Action Template, Sneaking Around Example: “Stealing the Game” from Zathura, Harmony in “Stealing the Game”, More Harmony in “Stealing the Game”, Melody in “Stealing the Game”, Tempo and Rhythm in “Stealing the Game”, Orchestration of “Stealing the Game”, Discussion 4.1: Analysis “The Package” from Psycho, Sneaking Around Cue: “Huh?” from Flight of the Phoenix, Melody in “Huh?”, Harmony in “Huh?”, Tempo and Rhythm in “Huh?”, Orchestration in “Huh?”, The Sneaking Around Template, Quiz 4.1: Terms and Concepts, Assignment 4: Moderate-Intensity Action, Recap
Week 5 – “Lyrical Grandeur”, Oct 23rd – Oct 29th
Introduction, Lyrical Grandeur Cue: “Flicka” from Flicka, Melody in “Flicka”, Perfect Intervals in “Flicka”, Harmony in “Flicka”, Rhythm and Tempo in “Flicka”, Orchestration in “Flicka”, Discussion 5.1: Analysis “Grow to Hero”, Lyrical Grandeur Example: “Camelot” from First Knight, Melody in “Camelot”, Harmony in “Camelot”, Tempo and Rhythm in “Camelot”, Orchestration in “Camelot”, Score Analysis: “Fanfare for the Common Man” by Copland, Lyrical Grandeur Example: “American Hero”, Melody in “American Hero”, Harmony in “American Hero”, Tempo and Rhythm in “American Hero”, Orchestration in “American Hero”, Exercise 5.1: Compose a Lyrical Grandeur Melody, “Light of Olympia” Trailer, Melody in “Light of Olympia”, Harmony in “Light of Olympia”, Rhythm and Tempo in “Light of Olympia”, Orchestration in “Light of Olympia”, Orchestration in “Light of Olympia”, Lyrical Grandeur Template, Quiz 5.1: Lyrical Grandeur, Assignment 5: Score a Lyrical Grandeur Scene, Recap
Week 6 – “Action Heroes and Villains”, Oct 30th – Nov 5th
Introduction, Action Hero Theme: Indiana Jones, Melody in Indiana Jones, Harmony in Indiana Jones, Tempo and Rhythm in Indiana Jones, Orchestration in Indiana Jones, Activity: Score Analysis of “Going After Rourke” from Atlantis, Score Analysis: “Going After Rourke” from Atlantis, Action Hero Theme: Star Wars, Melody in Star Wars, Harmony in Star Wars, Rhythm and Tempo in Star Wars, Orchestration in Star Wars, Exercise 6.1: Compose a Heroic Chord Progression, Action Villain Theme: “Imperial March” from Star Wars, Harmony in “Imperial March”, Tempo and Rhythm in “Imperial March”, Melody in “Imperial March”, Orchestration in “Imperial March”, Orchestration in “Imperial March”, Activity: Score Analysis of “Evil Doers” from Hellboy, Score Analysis: “Evil Doers” from Hellboy, Action Villain Theme: “The Mummy” from The Mummy, Melody in “The Mummy”, Harmony in “The Mummy”, Tempo and Rhythm in “The Mummy”, Orchestration in “The Mummy”, Action Hero Template, Action Villain Template, Discussion 6.1: The Hero/Villain Dichotomy, Quiz 6.1: Action Heroes and Villains, Assignment 6: Score Action Hero and Action Villain Cue, Recap
Week 7 – “Action Adventure I”, Nov 6th – Nov 12th
Introduction, Action Adventure Theme: Jurassic Park Theme A, Melody in Jurassic Park Theme A, Harmony in Jurassic Park Theme A, Rhythm in Jurassic Park Theme A, Orchestration in Jurassic Park Theme A, Exercise 7.1: Compose a Heroic 8-bar Phrase, Action Adventure Theme: Jurassic Park Theme B, Harmony in Jurassic Park Theme B, Melody in Jurassic Park Theme B, Rhythm in Jurassic Park Theme B, Orchestration in Jurassic Park Theme B, Key Points in Jurassic Park, Activity: Score Analysis of “Crimson Gump” from Forrest Gump, Score Analysis: “Crimson Gump” from Forrest Gump, Action Adventure Theme: “Flight to Neverland” Theme A, Melody in “Flight to Neverland” Theme A, Harmony in “Flight to Neverland” Theme A, Rhythm in “Flight to Neverland” Theme A, Orchestration in “Flight to Neverland” Theme A, Exercise 7.2: Orchestrate a Heroic 8-bar Phrase, Action Adventure Theme: “Flight to Neverland” Theme B, Harmony in “Flight to Neverland” Theme B, Rhythm in “Flight to Neverland” Theme B, Melody in “Flight to Neverland” Theme B, Orchestration in “Flight to Neverland” Theme B, Discussion 7.1: Listening, Beethoven Symphony #3, Assignment 7: Compose an Action Adventure Theme, Recap
Week 8 – “Action Adventure II”, Nov 13th – Nov 19th
Introduction, Action Adventure Theme: “Back to the Future” Theme A, Harmony in “Back to the Future” Theme A, Melody in “Back to the Future” Theme A, Tempo and Rhythm in “Back to the Future Theme” A, Orchestration in “Back to the Future” Theme A, Score Analysis: “Main Title” from Zathura, Action Adventure Theme: “Back to the Future” Theme B, Melody in “Back to the Future” Theme B, Harmony in “Back to the Future” Theme B, Tempo and Rhythm in “Back to the Future” Theme B, Orchestration in “Back to the Future” Theme B, Exercise 8.1: Compose a Lyrical Theme B for an Action Adventure Cue, Action Adventure Theme: Star Trek Theme A, Harmony in Star Trek Theme A, Melody in Star Trek Theme A, Tempo and Rhythm in Star Trek Theme A, Orchestration in Star Trek Theme A, Discussion 8.1: Listening, Polar Express, Action Adventure Theme: Star Trek Theme B, Harmony in Star Trek Theme B, Melody in Star Trek Theme B, Tempo and Rhythm in Star Trek Theme B, Orchestration in Star Trek Theme B, Exercise 8.2: Orchestrate a Lyrical 8-bar Phrase, Action Adventure Template Theme A, Action Adventure Template Theme B, Quiz 8.1: Action Adventure, Assignment 8: Score an Adventure Scene, Recap
Week 9 “Practical Logistics in Film Scoring”, Nov 20th – Nov 26th
Introduction, Responsibilities of the Composer and Orchestrator, Examples of a Composer’s Sketch, The MIDI Orchestrator, Exercise 9.1: From a Composer’s Sketch to an Orchestrated Score, Music Supervisors and Music Editors, Exercise 9.2: Music Supervision and Editing, The Recording Session: The Musician, The Recording Session: The Engineer, The Recording Session: The Conductor, Exercise 9.3: Music Preparation, Timelines, Quiz 9.1: Practical Logistics, Assignment 9: Scoring Cops, Recap
Week 10 – “Long Term Form in Jurassic Park”, Nov 27th – Dec 3rd
Introduction, Leitmotifs in Film Scoring, Jurassic Park: Positive Action Adventure Theme, Positive Action Adventure Theme: Statement 1, Positive Action Adventure Theme: Statement 2, Positive Action Adventure Theme: Statement 3, Positive Action Adventure Theme: Statement 4, Positive Action Adventure Theme: Statement 5, Positive Action Adventure Theme Summary, Exercise 10.1: Theme and Variation I, Jurassic Park: Hymn Theme, Hymn Theme: Statement 1, Hymn Theme: Statement 2, Hymn Theme: Statement 3, Hymn Theme Summary, Exercise 10.2: Theme and Variation II, Jurassic Park: Moderate-Intensity Action Theme, Moderate Intensity Action Theme: Statement 1, Moderate Intensity Action Theme: Statement, Moderate Intensity Action Theme: Summary, Jurassic Park: Velociraptor Motive, Velociraptor Motive: Statement 1, Velociraptor Motive: Statement 2, Velociraptor Motive: Statement 3, Velociraptor Motive: Statement 4, Velociraptor Motive Summary, Discussion 10.1: Find a Leitmotif Statement, Recurring Musical Templates, Recurring Musical Template: Slow Drama, Slow Drama: Example 1, Slow Drama: Example 2, Slow Drama: Example 3, Slow Drama Summary, Recurring Musical Template: Mystery and Awe, Mystery and Awe: Example 1, Mystery and Awe: Example 2, Mystery and Awe: Example 3, Mystery and Awe Summary, Discussion 10.2: The End Credits, Recurring Musical Template: High-Intensity Action/Chase, High-Intensity Action: Example 1, High-Intensity Action: Example 2, High-Intensity Action: Example 3, High-Intensity Action: Example 4, High-Intensity Action Summary, Discussion 10.3: Additional Music for Special Circumstances, Jurassic Park: Long-term Form Summary, Assignment 10: Scoring Cops, Recap
Week 11 – “Long Term Form in Atlantis”, Dec 4th – Dec 10th
Introduction, Atlantis: Positive Action Adventure Leitmotif, Starting the Journey, Progressing on the Journey, Moments of Triumph, Emotional Triumph, Positive Action Adventure Leitmotif Summary, Exercise 11.1: Theme and Variation I, Atlantis: Awe Leitmotif—City of Atlantis, Discovering Atlantis, Learning the History of Atlantis, Atlantis Finale, Atlantis Leitmotif Summary, Atlantis: Awe Leitmotif—The Crystal, Crystal Leitmotif Scene 1, Crystal Leitmotif Scene 2, Crystal Leitmotif Scene 3, Crystal Leitmotif Summary, Exercise 11.2: Theme and Variation II, Recurring Musical Template: Playful Comedy and Mickey Mousing, Playful Comedy and Mickey Mousing – Example 1, Playful Comedy and Mickey Mousing – Example 2, Discussion 11.1: Listening, Mickey Mousing, Recurring Musical Template: Gamelan/Orchestra Hybrid, Gamelan/Orchestra Hybrid – Example 1, Gamelan/Orchestra Hybrid – Example 2, Exercise 11.3: Blending World and Film Music, Recurring Musical Template: High-Intensity Action Chase, High-Intensity Action – Example 1, High-Intensity Action – Example 2, Discussion 11.2: The End Credits, Atlantis: Long-term Form Summary, Assignment 11: Scoring Cops, Recap
Week 12 – “Long Term Form in Back to the Future”, Dec 11th – Dec 17th
Introduction, Back to the Future: Action Adventure Leitmotif, Action Adventure Scene 1 – First Time Travel Trip, Action Adventure Scene 2 – Escaping the Barn, Action Adventure Scene 3 – Return Trip, Action Adventure Summary, Discussion 12.1: Listening, Action Adventure Final Scene, Back to the Future: Action Chase Music, Action Chase Scene 1 – The Terrorists, Action Chase Scene 2 – The Terrorists Revisited, Action Chase Scene 3 – Skate Board Chase, Action Chase Scene 4 – Return Trip, Action Chase Summary, Exercise 12.1: Theme and Variation I, Back to the Future: Mystery Suspense, Mystery Suspense Scene 1 – Past Neighborhood, Mystery Suspense Scene 2 – In the Barn, Mystery Suspense Scene 3 – Town Square, Mystery Suspense Scene 4 – Uncovering the Car, Mystery Suspense Summary, Discussion 12.2: Additional Mystery+Leitmotif Cues, Back to the Future: Moderate Action, Moderate Action Scene 1 – Preparing for Time Travel, Moderate Action Scene 2 – Preparing for the Trip Home, Moderate Action Summary, Discussion 12.3: Listening. The Picture Motif, Back to the Future: Intimate Ballad Theme A, Intimate Theme A Scene 1, Intimate Theme A Scene 2, Intimate Theme A Scene 3, Intimate Theme A Summary, Back to the Future: Intimate Ballad Theme B, Intimate Theme B Scene 1, Intimate Theme B Scene 2, Intimate Theme B Scene 3, Exercise 12.2: Theme and Variation II, Back to the Future: Source Music and Songs, Source Music and Popular Songs – Example 1, Source Music and Popular Songs – Example 2, Source Music and Popular Songs – Example 3, Source Music and Popular Songs – Example 4, Source Music and Popular Songs – Example 5, Source Music and Popular Songs – Example 6, Source Music and Popular Songs – Example 7, Source Music and Popular Songs – Example 8, Discussion 12.4: The End Credits, Back to the Future Summary, Long-Term Planning in Film and TV Scoring: Tools and Techniques, Assignment 12: Scoring Cops, Recap
Art of Mixing
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
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
“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
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.
Thanks Berklee!
Berklee Online – Term 8
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!
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:
Score
I watched this documentary a little while back and was blown away. It’s beautifully produced, with so many well known and influential people associated with film scoring featured. I think it’s a must see for anyone that is even remotely interested in music for film.
“Watch The Sound”
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.
