I just wrapped up another term with Berklee Online last week. At this point I’m just past 1/2 way through the program and I have to say that overall it’s really great. Fortunately the classes that I haven’t cared for have been largely overshadowed by the classes that I enjoyed and really mattered to me. Classes I took this time were Orchestration 2 and Contemporary Techniques in Music Composition 1.
Orchestration 2 was the follow on to the Orchestration 1 class that I took last term and it was just as good, if not better, that its predecessor. These two classes were my favorite of the entire program so far. If you get a chance to study with Ben Newhouse you should take it. He is fantastic!
I will go into detail on each class in separate blog posts.
This was the class that I had been looking forward to taking ever since I was accepted into Berklee Online’s “Music Composition for Film, TV, and Games Degree” program. It took me five terms to complete the prerequisite courses in order to take this class. The best part is that this was my favorite class so far.
Everything about it was as good or better than I had hoped for in a class. The teacher, Ben Newhouse, who is also the author of the course, was fantastic in every regard. He gave really helpful, useful and timely feedback on all assignments and communications, and was very inspiring as an instructor. The course materials were clear, coordinated and well thought out. Each week built logically on the previous and everything made sense to me. I can’t say enough good things about this class and feel very fortunate to have studied with Professor Newhouse.
Here’s what we covered during these twelve weeks.
Week 1 – “Technological Considerations” Course Structure, Samples, Samplers, MIDI, and Sequencers, Signal Flow in a MIDI Orchestration Studio, Signal Flow in a MIDI Orchestration Studio, How Sampling Patches Are Constructed, Trumpet Patch, Bass Drum Patch, Sequencing with Patches, Creating Dynamics in Your Sequence, On-Velocity, Beethoven Passage, Volume, Lyrical Melody, Expression, Separating Mixing and Dynamics, Dynamic Layers and Modulation, Workshop: Working with Dynamics, The Two Rules of MIDI Orchestration, Samples as Performers, Listening Exercise, Assignment 1: Technical Considerations
Week 2 – “Musical Considerations”, Jan 16th – Jan 22nd Orchestral Sizes, Woodwinds and Percussion, The String Section, Historical Use of Orchestral Resources, Mozart Symphony, Tchaikovsky Symphony, Mahler Symphony, Movie Score, The String Section, Listening Exercise, Clefs, The Percussion Clef, Transposition, Transposition, Common Instruments and Transpositions, Title Page, Instrumentation Page, The Score, An Orchestral Score Page, Transposed and C Scores, Equivalent Scores, Multiple Parts on a Single Staff, The Part, Notation Programs, The Overtone Series, Checklist for Notated Scores, Assignment 2: A Notated Score
Week 3 – “String Writing I”, Jan 23rd – Jan 29th String Instruments and Their Ranges, The Violin, The Viola, The Cello, Double Bass, Open Strings, Notating String Preferences, Strings and Key Signatures, Double-Stops, Effective Double-Stops, Shostakovich Symphony, Viable Triple-Stop Triads, Viable Quadruple-Stop Triads, Sample Types: Sustained, Using Sustained Samples, Sample Types: Tremolo, Sample Types: Staccato, Sample Types: Pizzicato, Sample Types: Crescendo and Diminuendo, Sample Types: Trill, Sample Types: Runs, Sample Types: Articulations, Transition Sounds, Repeated Notes, Sample Types: Additional Samples, Long and Short Samples, Phrase Samples, Sample Types: Conclusion, Combining Samples: Alternating, The Violin I Part, Combining Samples: Key Switches, Combining Samples: Layering, Acoustic Bowing Techniques, String Notation, Slur, Detache, and Staccato, Spiccato and Slurred Staccato, Bowing and Dynamics, Choosing Bowings, Sequencing Implications, Additional Playing Techniques, Jete and Sul Tasto, Sul Ponticello, Col Legno, Con Sordino and Trills, Tremolo, Natural Harmonics, Artificial Harmonics, Reconciling Acoustic Playing Techniques and Sample Types, Listening Exercise, Assignment 3: String Writing I
Week 4 – “String Writing II”, Jan 30th – Feb 5th String Writing II, Jan 30th – Feb 5th, Introduction, 4-Part Writing, Haydn Symphony, Tchaikovsky Symphony, Five-Part Writing, Brahm’s Symphony, Doubling and Divisi Writing, Doubling and Divisi Example, Sequencing Divisi Parts, Presenting Melody, Presenting Melody: Violin, Presenting Melody: Viola, Presenting Melody: Cello, Presenting Melody: Bass, Presenting Melody: Octave Doublings, Voicing Chords, Key Points, Harmonic Treatment, String Movement, Harmonic Treatment Guidelines, Incorporating Solo Strings, Text Requirements in String Notation, Listening Exercise, Assignment 4: String Orchestration
Week 5 – “Brass Writing I”, Feb 6th – Feb 12th Brass Section Introductions, Brass Instruments and Their Ranges, The Horn, The Trumpet, The Trombone, The Bass Trombone, The Tuba, Sample Types, Sample Type: Sustained, Sample Type: Staccato, Sample Types: Crescendo and Diminuendo, Sample Types: Articulations, Trombone Repetition Samples, Sample Types: Additional Samples, Common Phrase Samples, Combining Samples: Alternation, Combining Samples: Layering, Dynamics, Workshop: Sequencing Dynamics, Brass Melodic Presentation, Horn Melody, Trumpet Melody, Trombone Melody, Brass Mutes, Trumpet and Trombone Mutes, Cup and Harmon Mutes, Tuba and Horn Mutes, Stopped Horn Passages, The Cuivre Technique, Listening Exercise, Assignment 5: Brass Arrangement
Week 6 – “Brass Writing II”, Feb 13th – Feb 19th Brass Section Size, Subgrouping, Acoustic Articulations, Workshop: Brass Articulations, Glissandi, Less Effective Glissandi, Horn, Trumpet, and Tuba, Chordal Voicings, Voicing Major Triads, Other Brass Voicings, Chordal Voicing Inversions, Bad Voicings, Chordal Voicings Wrapup, Using Brass for Harmonic Support, Using Brass to Support Strings, Exercise 6.1: Harmonic Support, Using Brass to Create a Climax, The Brass Fanfare, Brass and String Combinations, Text Requirements in Brass Notation, Listening Exercise, Assignment 6: Brass Writing II
Week 7 – “Woodwind Writing I”, Feb 20th – Feb 26th Woodwind Background, Instrument Structure, Instrument Categorization, Woodwind Instruments and Their Ranges, The Piccolo, The Flute, The Oboe, The English Horn, The Bassoon, The Contrabassoon, The Clarinet, The Bass Clarinet, Common Sample Types, Sample Type: Staccato, Sample Type: Trills, Sample Type: Runs, Sample Types: Crescendo and Diminuendo, Sample Types: Legato Articulations, Sample Types: Repetition Articulations, Additional Sample Types, Acoustic Articulations, Woodwind Solos, The Flute, The Oboe, The English Horn, The Bassoon, The Clarinet, Listening Exercise, Assignment 7: Woodwind Solos
Week 8 – “Woodwind Writing II”, Feb 27th – Mar 5th Woodwind Doublings, Possible Doublings, Doubling to Create a Unique Tone Color, Doubling to Create Growth, Doubling to Create a Climax, Doubling Woodwinds with Brass and Strings, Woodwind Chordal Voicings, Enclosure and Overlap, Creating Blend, Chord Tone Spacing, Counterlines, Textural Flourishes, Runs, Exercise 8.1: Using Woodwind Runs, estatement, Harmonic Arpeggiation, Harmonic Support, Listening Exercise, Text Requirements in Woodwind Notation, Assignment 8: Melody, Countermelody
Week 10 – “Percussion Writing II”, Mar 13th – Mar 19th Notation Considerations, Staff Types, Mallet Types, Workshop: Notating a Snare Drum Part, Percussion Uses, Accent Highlights, Harmonic Support, Exercise 10.1: Short Percussion Sequence, Reply , Builds and Climaxes, Dynamic Extremes, Solo Statements, Doubling for Color, Listening Exercise, Assignment 10: Final Project
Week 11 – “Expansions of the Orchestral Sound”, Mar 20th – Mar 26th Expanding the Orchestra with Choir and Ethnic Instruments, Using Choir Samples to Create Grandeur, Choir Parts, Ethnic Instruments, Drum Loops, Saxophones, Guitar, Overdubbing Soloists, Listening Exercise, Review of Key Points, Woodwinds and Percussion, Assignment 11: Final Project
Week 12 – “Full Ensemble Orchestration”, Mar 27th – Apr 2nd Foreground, Middleground, Background I, Mahler Example, Orchestrating for a Larger Ensemble, Foreground, Middleground, and Background Material II, Mahler Example, Foreground, Middleground, and Background Material III, Full Piece Listening and Analysis 1, Full Piece Listening and Analysis 2, Full Piece Listening and Analysis 3, Full Piece Listening and Analysis 4, Assignment 12: Final Project, Final Exam
This was one of two classes that I took during the 2021 Winter Term at Berklee Online. Overall I really enjoyed this class and got a lot out of it. The teacher, Mehdi Hassine, was also the creator of the course and I feel he did a great job in making this a really enjoyable and informative class.
Perhaps the most helpful thing I got from this class was practice doing straight cut editing of footage that wasn’t my own, which was super useful. Also, I really enjoyed the watching the teacher’s workflow and work style during his weekly live class. It was great seeing a professional do the work quickly and efficiently.
Here’s what we covered during the twelve week term:
Week 1: Basic layout of FCP and it’s interface; getting set up to use with FCP; working with and organizing source material; working within the browser; creating a program and working with the timeline.
Week 2: This week was all about “Video Editing Essentials”. We covered insert/append/overwrite/insert edits, three-point editing, four-point editing, modifying positions of /deleting/replacing clips in the timeline and editing to music and promo narration.
Week 3: Focus this week was mainly on the various types of trim editing that are possible in FCP: Single & Double-Roll Trimming, trimming via numeric input, J & L cuts, using the Trim Edit window, slipping and sliding clips via the Slip & Slide Tools. Other topics included: Flipping video clips, changing the speed of clips, freeze frames (via the “Hold” in the Retime Editor), reversing clips, Speed Ramps (to/from 0%), Instant Replay, Rewind, Video Quality & Preserving Pitch on retiming of clips, as well as basic aesthetics to consider when making transitions.
Week 4: This was the “Capturing and Transferring Footage” week. Topics included: “Preparing for Capture Footage”, “FCPX Supported Cameras/Devices and Hardware Setup”, “Transcoding Preferences”, “Capturing Footage From Tape”, “Importing from a Supported Camera”, “Organizing Tape Footage”, “Rating Selections”, “Transferring Media”, “Transferring Media into Final Cut Pro X”, “Workshop: Capturing and Transferring Techniques and Workflows” and “Assignment 4: Scripted Short”.
Week 5: We focused on transition effects during this week. “Selecting and Applying a Transition Effect”, “Transition Preferences”, “Audio Transitions”, “Modifying and Saving Transition Effects”, “The Inspector Window”, “Copying and Deleting Transitions”, “Rendering Effects”, “Rendering Preferences”, “Background Tasks”, “Clearing Unused Render Files”, “Workshop: Real-Time Settings and Effects Rendering”, “Assignment 5: B-Roll Editing and Transitions” were the topics we covered.
Week 6: This week we went over “Editing with Multiple Tracks and Camera Angles”. Main topics for this week were: “Synchronizing Camera Angles”, “Synchronization Techniques”, “Discussion 6.1: Multiple Angles and Synchronisation”, “Multi-Camera Editing with Multicam Clips”, “Creating Multicam Clips”, “Using Multicam Clips”, “Editing Across Multiple Connected Storylines”, “Connected Storylines”, “Compound Clips”, “Auditions”, “Synchronizing in Final Cut Pro X”, “Troubleshooting and Fixing Sync”, “Workshop: Fixing Sync”, “Discussion 6.2: Multi-Angle Music Video Examples” and “Assignment 6: Multi-Camera Music Performance”.
Week 7: This was “Video Effects” week. We went over: “Choosing, Applying, and Modifying Effects”, “Previewing Effects”, “Applying Effects”, “Modifying and Customizing Effects”, “Bypassing and Deleting Effects”, “Built-In Effects”, “Transform”, “Crop”, “Distort”, “Stabilization and Rolling Shutter”, “Spatial Conform”, “Compositing”, “Keyframing”, “Applying Keyframes”, “Adding Additional Keyframes”, “Deleting Keyframes”, “In-between Frames”, “The Video Animation Editor”, “Managing Effects”, “Advanced Rendering”, “Discussion 7.1: Video Effects”, and “Assignment 7: Student Choice”.
Week 8: This week was all about “Titles and Graphics”. Topics included: “Title Safe and Action Safe Areas”, “Titles”, “Customizing Titles”, “Title Tab”, “Text Tab”, “Themes”, “Video Formats”, “Frame Sizes and Screen Resolutions”, “Progressive vs. Interlaced Video Frames”, “Frame Rates”, “Aspect Ratios”, “Workshop: Video Formats”, “Graphics”, “Generators”, “Importing Graphics”, “Discussion 8.1: Titles and Graphics” and “Assignment 8: Credit Sequence with Music”.
Week 9: “Audio” week. We covered: “Audio Levels and Pans”, “Adjusting Audio Levels”, “Audio Meters”, “Clipping”, “Mixing Strategies”, “Setting Audio Levels”, “Panning”, “Soloing Clips”, “Resetting Levels and Pans”, “Audio Fades and Automation”, “Audio Level Automation”, “Pan Automation”, “Audio Fades”, “Fade Shapes and Modifications”, “Audio Enhancements and Effects”, “Audio Enhancements”, “Equalization”, “Channel Configuration”, “Audio Effects”, “Workshop: Audio Editing and Processing”, “Discussion 9.1: A History of the Title Sequence” and “Assignment 9: Music Video with Sound Effects”.
Week 10: This was the week I was looking forward to the most as it was about “Color Correction and Project Finalizing”. It’s a deep subject that I’ve spent some time learning about in the past but feel that I could use a lot more work understanding and doing better. Topics included: “Color Correction within Final Cut Pro”, “Automatic Color Balance”, “Match Color”, “Manual Color Correction”, “Color Tab”, “Saturation Tab”, “Exposure Tab”, “Using Color Correction Presets”, “Secondary Color Correction: Color and Shape Masks”, “Managing Color Corrections”, “Markers”, “Finalizing the Edit and Rendering”, “Video Scopes”, “Waveform Monitor”, “Histogram”, “Vectorscope”, “Troubleshooting Video Level Issues”, “Color Bars and Tone”, “Workshop: Color Correction and Project Finalizing”, “Discussion 10.1: Color Correction Techniques” and “Assignment 10: Music Video”.
Week 11: This week was “Outputting and Encoding”. We went over: “Outputting a Final Master Movie File”, “Video Encoding Essentials”, “Export Using Compressor Settings”, “Workshop: Video Encoding”, “Encoding Video with Compressor”, “Compressor User Interface”, “Compressor Workflow”, “Discussion 11.1: Video Compression and Quality” and “Assignment 11: Student Choice”.
Week 12: Our final week of the course was about “Creating DVD and Blu-Ray Discs”. Topics included: “Uploading Video for Internet Streaming”, “Method 1: Uploading Straight from FCPX”, “Uploading to YouTube”, “Uploading to Facebook”, “Uploading to Vimeo”, “Method 2: Converting in Compressor”, “Uploading via the YouTube Compressor Template”, “Uploading to YouTube”, “Uploading to Facebook and Vimeo”, “DVD and Blu-ray Authoring”, “DVD Authoring in FCPX”, “Blu-ray Authoring in FCPX” and “Exercise 12.1: Authoring a DVD or Blu-ray with Final Cut Pro X”.
I just completed my sixth term with Berklee Online during the Winter of 2021. Classes that I took this time were “Orchestration 1” and “Music Video Editing with Final Cut Pro”. While I really enjoyed both classes “Orchestration 1” was the class that I had been looking forward to taking since I was accepted into the “Music Composition for Film, TV and Video Games” degree program at Berklee. There were many pre-requisite classes that I needed to take before I could start this course and 15 months later I’m really happy to report that it did not disappoint!
I will go into detail on each class in separate blog posts.
In early January 2021 a classmate of mine from Berklee Online, Richard Kahn, reached out and asked if I would like to collaborate on a project he was thinking of doing. He had a musical fragment of an idea to use as the basis of a soundtrack for a short ice skating film he wanted to make. I loved what he came up with and wanted to see what he had in mind.
We met over FaceTime and started to brainstorm what we might do. A short time later we had a Logic file that had everything mapped out and we started to build the piece up. Each of us would work on the parts that we had talked about and over the next few weeks it started to take shape. To share the file we used “Splice” as file management and sync/version control. Overall the project went really well and we got a lot done in a relatively short amount of time stretched out over January and February.
Unfortunately, the lake that Richard was hoping to shoot the film on had already started to thaw by the time that the piece was complete. So that part of the project will have to wait. Nonetheless, I really like what we came up with and wanted to chronicle the experience.
Here is “Ice” as a standalone audio piece. Perhaps someday it will be fully realized as a music video/ice skating film.
Thanks for reaching out to and collaborating with me on this, Richard!
Recently it occurred to me that I should have a checklist to remind me of the things that I need to do when putting together notated scores. I’ll add more as I think of them, but this is a good start.
Title & composer name
Font type
BPM/Tempo
Measure #’s
Correct Time Signatures
Expressions
Dynamics
Chord symbols
Harmonic Analysis
Position of systems on/across pages
Spacing between staves & systems
Spacing between notes/chord symbols/measure #’s
Zoom level
Rehearsal Letters
Double Bars for each new section
Synth patch used
Drum key/Berklee drum notation rules
Use 2 layers for drum parts for correct direction of stems (upward for parts played with the hands, downwards for parts played with the feet)
“Music Theory and Composition 4” was another course that I took during my fifth term with Berklee Online. This was the final class of a four-semester curriculum. As was the case with each of the other MTC classes, this was super challenging and packed with a ton of information. We covered a _lot_ of ground in just twelve weeks.
Just as with the previous MTC classes we started off with a review of previously covered concepts. Things like Polychord Voicings, Non-Chord Tones (Passing Tone, Neighbor Tone, Anticipation, Suspension, Retardation Suspension, Double Neighbor, Appoggiatura, Escape Tone & Free Tone), Approach Tones (Passing, Neighbor, Unprepared Approach Tones, Indirect Resolution Tones and Double Chromatic Passing Tones), Classical & Contemporary Harmonic Analysis Techniques and a review of different rhythmic grooves from Indian, African and Latin Music.
The second week was mainly about music written in minor modes (Aeolian, Dorian, Hypodorian, Phygian, Hypophrgian) culminating with us writing a composition in either Phrygian or Dorian. Key concepts for modal melodies: reference the tonic frequently; sparingly use the characteristic tone as an embellishment; use strong melodic cadences. Characteristic tones for these modes are: Aeolian = b6th, Dorian = 6 and Phyrgian = b2. Essentials for modal chord progressions: alternate the tonic chord with modal cadence chords (IV-/bVI/bVII for Aeolian, II-/IV7/bVIIma7 for Dorian and bII/bVII-7 for Phrygian); modal cadence chords contain the characteristic note; only use the relative tonic as an approach chord on a weak metrical stress; and use other diatonic chords as approach chords to the cadence chords. We also learned about nested tuplets.
In week three we went over writing in major modes (Lydian and Mixolydian), proper notation of sixteenth notes and the Fibonacci Series applied to music. For the assignment we needed to come up with a piece that utilized either the Lydian or Mixolydian modes. As with the Minor Modes the key concepts for writing in Major Modes: reference the tonic frequently; sparingly use the characteristic tone as an embellishment; use strong melodic cadences. Characteristic tones were: Ionian = 4th, Lydian = #4 and Mixolydian = b7. Main points for major modal chord progressions: alternate the tonic chord with modal cadence chords (V-/bVII for Mixolydian and II/VII-7 for Lydian), modal cadence chords contain the characteristic note, only use the relative tonic as an approach chord on a weak metrical stress and use other diatonic chords as approach chords to the cadence chords.
During the fourth week we focused on various types of exotic scales. These included Lydian Augmented, the Acoustic Scale (aka Lydian b7), Spanish Phrygian, Whole-tone and the Octotonic scales. We also went over using Metric Modulation as a compositional technique. For the assignment we needed to come up with a piece that used at least three of the different exotic scales we learned about this week.
For week five we went over Deceptive Resolutions using Secondary and Substitute Dominant chords and how to use them for extending phrases. We also covered Chromatic Mediants and Symmetrical Divisions of the Octave. Additionally, we looked at some advanced level drum grooves, with a particular emphasis on the Cascara pattern. For this week’s assignment we needed to write and record a piece for a movie clip based on Chromatic 3rds.
Week six focused on different types of harmonization using Quartal (in fourths) and Quintal (in fifths) chord voicings, Layered Ostinatos, modal interchange within compositions and using Hemiolas in compositions.
Over seven we covered Hybrid Chord Voicings, Polytonal Harmony and Phase Music. For the assignment we wrote a piece for a video clip that utilized Hybrid Harmony.
For the eighth week it was all about Reharmonization, taking a given melody and finding new chords to use with it. I really enjoyed this topic as it showed how one can create a completely different and unique sounding piece by introducing new harmonization to an existing melody. You can use Diatonic Harmony, Modal Interchange chords, Secondary Dominants and related II chords, Substitute Dominant chords, Extended Tertian Harmony with Chord Tensions, Qunital/Quartal harmony, or even chords created from the Octatonic or Whole-tone scales for reharmonization. In major keys the Tonic family includes the I, II- and VI- chords, the Subdominant family has the II- and IV chords while the Dominant family has the V chord. The VII-7b5 chord can be in either the Dominant or as part of a Secondary Dominant as the related II chord of the V7/VI. We also did further work with advanced drum grooves using odd time signatures.
Week nine’s focus was on Parallelism in chord progressions. We learned how some progressions have chords that don’t function as secondary dominants or modal interchange chords while other progressions utilized Contiguous Motion and Constant Structure. We also went over analysis of parallel structures Debussy used in some of his music and learned about Jhalas (drone notes used in Indian Ragas). For the assignment we needed to write a piece for a video clip that used parallel harmony in the way of constant structure.
For week ten we learned about Serial Techniques. This was a really interesting and challenging week as there are very specific rules to Serial music that need to be followed. First you need to come up with a 12 tone row of non-repeating pitches created from the chromatic scale. Then assign rhythmic values to the notes. From there you can only play a pitch once until the entire row has been played. Notes can be in any octave but leaping from a note to the same note an octave higher or lower is not allowed. Now the order of the row doesn’t need to always go from left to right (Prime), it can also go from right to left (Retrograde). Another option is to invert the sequence by going the same number of intervallic steps in the opposite direction (Inversion). This inverted sequence can also be reversed (Retrograde Inversion). All of this can be extended out by having each sequence start on each of the twelve pitches. This is best displayed through the use of a 12×12 matrix. Things get quite interesting when you start combining different types of rows with one another, and/or from different starting points in a row, to create harmony and melody. Much of the serial music I listened to or came up with was quite dissonant and unusual to me, yet I found there was a power and beauty to the organized chaos.
During week eleven we went deeper into Modal Interchange, found out how Dominant 7th chords can function as tonic or subdominant or modal cadence chords and got our first exposure to minimalism and additive rhythms. This was also the week we started our final assignment.
We wrapped things up in week twelve by doing a survey of music from different parts of Asia (Indonesia, China, Japan and Thailand) and completing our final projects.
Even though this blog post is rather long it in no way accurately reflects the breadth and depth of the material covered in this course. I highly recommend the MTC classes for anyone interested in getting a full dose of music theory. The entire series is really well designed and thought out. But be forewarned, it is a lot of work.
Special thanks to Professor Kari Juusela. He was my teacher for MTC4 as well as the author of the entire series. He’s a fantastic and inspiring teacher who really knows this stuff inside and out. I feel very fortunate to have been able to study with him. Plus, I have the upmost respect for his ability to put the entire MTC series together. It is a massive achievement. Thanks Professor Juusela and Berklee!
Here are some of the pieces I put together for various assignments and exercises during the term.
Even though some of the content could use updating, I really enjoyed this class. The instructor, the course materials and assignments were all great. I really liked how one topic would build on another, with everything leading to the final project. It was very clear, logical and methodical. I feel fortunate that the instructor I had was also the course author. It was obvious that he is a subject matter expert and seems to really enjoy teaching the class.
The course started out with the basics of sampling with “What is a Sampler” and then went through essential operations and editing, creating single and multi-sample programs, then onto offset tunings, group settings, pitch shifting and sample synthesis through MOD & Amplifier Envelopes/LFOs/FIltering, etc.
The class then started getting into specifics on the primary application we were working with, “Reason”. I had never used Reason much before this class but found that I really liked working with it. In this section we learned about the various samplers in Reason like the NN-XT, Dr. OctoRex, Redrum, the Kong Drum Designer, NN-Nano, Nurse REX player, as well as working with REX files.
The course then focused on Digital Signal Processing techniques and file based processing with normalization, time compression/expansion, time stretch/compression, pitch shifting, fade in/out, time warping as well as a number of plug-ins in another app we worked with Audacity (be sure to check out Paulstrectch).
Next we started creating and modifying our own samples, using some of the techniques we learned about in previous weeks. This is when things started getting really interesting, custom tailored sound libraries, purpose made for specific projects. This is also about the time we started learning about other features in Reason, like the Mixer, re-sampling within Reason as well as some of it’s real time effect processors like the Alligator Triple Filtered Gate, The Echo, The Sweeper, The Pulverizer and the Audiomatic. All really fantastic plug-ins.
Then, in the last few weeks of the semester we learned how automation works with various instruments within Reason to start preparing for the audio mix of our final project. We also learned a bit about my favorite sampler in Reason, The Grain.
All in all this was a great course and I would recommend it to anyone that wants to learn about creating their own custom instruments and/or sound design in their productions.
I feel that I had the most fun working on the final project for the “Sampling and Audio Production” class, while I got the most out of “Music Theory and Composition 4”. I’ll go into a bit more detail in separate posts.
Five terms in, I’m still a fan and love what Berklee Online has to offer. Onto Term 6!
As mentioned previously, I took Music Theory and Composition 3 in my fourth term with Berklee Online. It was another really dense and challenging course with a ton of information in it. Each week either had something completely new or was building on information from the earlier MTC courses.
The term started with a review of material covered in MTC2: Major key harmony applied to chords, voice leading, modes and tensions; Minor key harmony applied to chords and voice leading with composite scales; Figured Bass; Borrowed chords (modal interchange); Secondary Dominant chords; Hybrid chords; 12-bar blues form; Bass and drum grooves in various styles and meters; and identifying simple musical forms.
In the following 11 weeks we covered: Extended Dominant Series, Deceptive Resolution of Secondary Dominants and Voice Leading; Substitute Dominants, Related II chords and Extended Substitute Dominants; Augmented 6th Chords, Advanced Figured Bass, and Four-Part Voice Leading; Diminished 7th chords and how they function in different contexts; Non-Chord Tones (classical analysis) and Approach Tones (contemporary analysis); Upper Structure Triads and Polychord Voicings; Modulation and it’s various applications; Different styles of music from South America and the Caribbean (The Chaconne, The Samba, The Chord, Clave and Son, Salsa, Timba, the “Hocket”, Marroons, Mentos, Ska, Rocksteady, Toasting and Reggae); More musical forms introduced (Rondo, Sonata Allegro, ABAC as well as Theme and Variations); Further work with Minor keys (Natural, Harmonic, Melodic and Composite Minor); and additional focus on the Blues.
As with the other MTC classes, time management was key to getting through it all. I was still implementing my “Plan A” (best case scenario) and “Plan B” (worst case scenario) approach to assignments. Usually this was in the form of two questions that I would detail on my whiteboard before starting work: “If I could do this the way I really wanted what would that look like and mean in terms of time? Alternatively, what is the minimum I need to do to meet the requirements of the assignment?”
Most often I would start with Plan B and still be able to get much of what I wanted in Plan A done as well. I think this was attributed to two things. 1. Getting through the coursework as early in the week as possible so that I could focus exclusively on the assignment. 2. Once I got momentum going and knew that I had the minimum covered I could also get the other stuff incorporated before the due date.
Here’s a playlist of some of the pieces that I put together for this term’s assignments.
