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.
Before the term started I didn’t know what to expect from the Math class and was a bit apprehensive as it had been so long since I did any formal study of math. Turned out to be a really enjoyable yet challenging class that I did really well with. To be completely honest though, I was glad when it was over. Let’s just say “It’s a nice place to visit but I wouldn’t want to live there.” After all, I’m not in this program to be a math major, I’m in it to become a better musician and composer.
As for MTC3 it was similar to the MTC1 and MTC2 classes I took earlier in the year. Great courses with _a lot_ of information. And like the other classes, at times it felt like a bit too much information for just 12 weeks. I go into the specifics about this class in a separate post.
All that being said, I still feel that this is a really well designed and thought out program with great content and fantastic teachers. Thanks, Berklee!
As mentioned before, I really enjoyed the Counterpoint class I took during my third term with Berklee Online. The course materials, assignments and instructor were all great.
As with every other Berklee Online class I’ve taken so far, there was a lot of information covered in the 12 weeks. Some of the highlights were: Consonance & Dissonance, Ratios (1:1, 2:1, 3:1, 4:1 and Syncopation), Vertical Harmonic Analysis, Types of Cadences (Authentic, Deceptive, Half & Plagal), Chord Tones & Non-Chord Tones, Motivic Manipulation, Canons (Simple, Accompanied, Crab), Two Voice Counterpoint with Simple Canon, Three-Part Imitative Counterpoint, Ground Bass, Canons at intervals other than the octave, Double Counterpoint, Prolation & Mensuration (rhythmic relationships between melodic lines) and Augmentation & Diminution.
Here are some of the pieces that I put together for this term’s assignments and exercises.
I was really looking forward to taking this class as it’s the introduction to my major. Unfortunately I didn’t enjoy it as much as I had hoped. I think I might have taken it too soon. Perhaps this feeling is due to my (currently) limited vocabulary in orchestral/symphonic music and not feeling up to speed as a “film composer”. Even though I did really well in the class, I imagine that it would have been much more enjoyable being able to do more in terms of orchestration and arrangements.
That being said there was plenty that I learned from this course. The key things for me were: Spotting, Cue Motifs, Thematic development, Sketches to Timings, Timecode Offsets, Cue Layouts, Free Timing, Bar/Beat layouts for sync, Sync Points/Dead Cues, Overlap of Cues, Segues, Underscore, and Source Music.
Funny thing is that I have found myself using a number of things from this course in assignments for other classes. Particularly Bar/Beat layouts for syncing when writing pieces for video clips. The idea here is to find a tempo that fits while in a meter of 1/4, identify relevant events and sync/beats and see if they fall on down or upbeats (on the 1 or on the +). Then count the number of beats between sync points to determine meter of each section and you are set to start writing the cue(s).
Although I mentioned that I didn’t enjoy this class as much as I hoped, I did get a lot out of it in terms of knowledge and experience. Thanks Berklee!
I took two classes during term 3: Counterpoint and Film Scoring 101. While I learned quite a bit in each course it was Counterpoint that I really enjoyed. Perhaps it was due to the fact that I had some vague notions of Counterpoint was/is but never had any formal exposure to it. Or maybe it was because I hadn’t written much classical music before and it was fun to learn about and write in that style. As with previous quarters I’ll make separate blog entries for each class.
All in all it was a really good term that I got a lot out of. Thanks Berklee!
