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” 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!
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!
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!
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.
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.
This was the second class that I took with Ben Newhouse. It is the follow-on course to Orchestration 1 and I enjoyed it just as much, if not more than its predecessor. There was a lot of information covered in just 12 weeks. And just like the previous class, everything was clear, logical, laid out really well, with each subject building on the previous. In fact, he mentioned in a live class that he designed these two classes to be two halves of one large 24 week course.
I feel very fortunate to have been able to experience Professor Newhouse’s classes and to have him as an instructor. He might be the best teacher I’ve ever had, on any topic. Just fantastic. As I said in a previous post, if you get a chance to study with him you should take it. He’s that good.
Here is the material we went over.
Week 1 – “Color Choices”, Apr 3 – Apr 9
Introduction, Course Structure, Group Instruments by Color, not by Range, Approaching Color Choices Systematically, Alternative Organization – Instrument Structure, Waveform Structure, Color Choices in Appalachian Spring, Treatment 1, Treatment 2, Treatment 3, Treatment 4, Treatment 5, Simple Gifts Summary, Doubling and Its Effect on Tone Color, Orchestral Mockups: The Two Circles, Assignment 1: Tone Color Orchestration
Week 2 – “Orchestrating Dynamics”, Apr 10th – Apr 16th
Introduction, A General Framework for Dynamics, Orchestrating Accents I, Orchestrating Accents II (Part 1), Orchestrating Accents II (Part 2), Orchestrating a Crescendo or a Diminuendo, Orchestral Mockups: Battling Computing Limitations, Computers, Using Multiple Hard Drives, Incorporating Hardware, Adding a Hardware Sampler, Adding a Second Computer for Sampling, Using MIDI Over Ethernet, Purging Unused Samples, Audio Interface Buffer Size, Latency Compensation, Freezing Tracks, Sample Rates and Bit Depths, Bypassing Reverbs, Checklist for Notated Scores, Assignment 2: Orchestrate a Diminuendo
Week 3 -“Orchestrating Lines”, Apr 17th – Apr 23rd
Introduction, Dovetailing Dictated by Range, “Mercury” by Gustav Holst, “Fireworks” by Igor Stravinsky, Dovetailing Dictated by Playing Limitations, Lines for Single Instruments and Doublings, Single Instrument Treatment, Doubling, Segmenting a Melodic Line, Line Segmentation, Pointillism, Note Segmentation, Orchestral Mockups: Note Transitions, Sustained Chord Progression, Sustain Common Tones, Overlapping Notes, Humanizing Note Starts, Add Automation, Assignment 3: Orchestrating a Line
Week 4 -“Orchestrating Harmonic Material”, Apr 24th – Apr 30th
Introduction, Voicing Chords for Full Orchestra, Combining the Families, E.T. Strings and Percussion, E.T. Families Combined, Combining Wind and String Chords, Additional Examples of Chord Voicings, First Inversion, Second Inversion, Unconventional Voicings, Dense Voicing in the Low Register, Sustained Harmonic Accompaniment, Rhythmic Harmonic Patterns, Rhythmically Repeating Chords, Combining Sustained and Rhythmic Harmonies, Extended Harmonic Passages, Orchestral Mockups: Combining Samples, Assignment 4: Orchestrating a Harmonic Progression
Week 5 -“Orchestrating Single-Layered Textures”, May 1st – May 7th
Introduction, Tutti Statements, Variety in Tutti Statements, Homophonic Statements, Inexact Doubling, Orchestral Mockups: On-Velocity, On-Velocity, Fixed Decay Instruments, Assignment 5: Homophonic Writing
Week 6 -“Orchestration in a Two-Layered Environment”, May 8th – May 14th
Introduction, Creating Separation, Maintaining Balance, Focus – Guiding the Listener’s Attention, Separation, Balance, and Focus in a Two-Layer Texture (Part 1), Separation, Balance, and Focus in a Two-Layer Texture (Part 2), Orchestral Mockups: Continuous Controllers and Dynamics, Dynamic Samples, Volume, Expression, Modulation, Assignment 6: Foreground and Background Writing
Week 7 -“Orchestration in a Three-Layered Environment”, May 15th – May 21st
Introduction, Foreground, Middleground, and Background Material in Tannhauser, Wagner Treatment 1, Wagner Treatment 2, Foreground, Middleground, and Background Material in Bolero, Ravel Treatment 1, Ravel Treatment 2, Ravel Treatment 3, Ravel Treatment 4, Ravel Treatment 5, Foreground, Middleground, Background in Tchaikovsky 4: Treatment 1, Foreground, Middleground, Background in Tchaikovsky 4: Treatment 2, Tchaikovsky Example Summary, Orchestral Mockups: Quantizing, Quantizing – Choosing the Rhythmic Interval, Quantizing – Additional Options, Flexible Tempo Maps, Workshop: Quantizing, Assignment 7: Foreground, Middleground, and Background Writing
Week 8 -“Complex Textures of Four or More Layers”, May 22nd – May 28th
Introduction, Limits to Human Perception, Stravinsky’s Fireworks (Part 1), Stravinsky’s Fireworks (Part 2), Extreme Complexity: The Rite of Spring I (Part 1), Extreme Complexity: The Rite of Spring I (Part 2), Extreme Complexity: The Rite of Spring I (Part 3), Extreme Complexity: The Rite of Spring I (Part 4), Extreme Complexity: The Rite of Spring 2 (Part 1), Extreme Complexity: The Rite of Spring 2 (Part 2), Extreme Complexity: The Rite of Spring 2 (Part 3), Controlled Chaos Textures, Orchestral Mockups: Horizontal Placement, Orchestral Mockups: Spread, Orchestral Mockups: Sampling Implications, Assignment 8: Sequencing Chaos
Week 9 -“Horizontal Relationships I”, May 29th – Jun 4th
Introduction, Horizontal Relationships, Horizontal Relationships in Tchaikovsky 5, Part I, Horizontal Relationships in Tchaikovsky, Part II, Horizontal Relationships in Tchaikovsky 4, Part I (Treatment 1 and 2), Horizontal Relationships in Tchaikovsky 4, Part I (Treatment 3 and 4), Horizontal Relationships in Tchaikovsky 4, Part I (Treatment 5), Horizontal Relationships in Tchaikovsky 4, Part II, Orchestral Mockups: Reverb Background, Digital Reverb, Convolution Reverb, Sampling Considerations
Week 10 -“Horizontal Relationships II”, Jun 5th – Jun 11th
Introduction, Horizontal Balance, Horizontal Balance in Beethoven (Part 1), Horizontal Balance in Beethoven (Part 2), Horizontal Balance in Orff (Part 1), Horizontal Balance in Orff (Part 2), Horizontal Balance in Tchaikovsky, Orchestral Mockups: Reverb Routing, Individual Patches, Sampler Instances, Reverb on Converted Audio Tracks, Using Sends, Busses and Aux Tracks, Multiple Outs From Your Sampling Software, Review of Key Concepts: Global Considerations, Review of Key Concepts: Single-Layer Considerations, Review of Key Concepts: Multi-Layer Considerations, Review of Key Concepts: Horizontal Relationships
Week 11 -“Hollywood Textures I”, Jun 12th – Jun 18th
Introduction, Sustained String Cues (Part 1), Sustained String Cues (Part 2), Mystery and Magic Cues, Theme Cues I, Orchestral Mockups: Vertical Placement, Delay, To Delay or Not to Delay?, Predelay, Assignment 11: Final Project Continued
Week 12 -“Hollywood Textures II”, Jun 19th – Jun 25th
Introduction, Theme Cues II: Treatment 1, Theme Cues II: Treatment 2, Bouncy Comedy Cues, Action Cue 1, Action Cue 2, Action Cue 3, Orchestral Mock-Ups: Mastering, Compression, Compression Considerations, Limiting and Multiband Compression, Assignment 12: Final Project Continued
I’ve posted the score and audio for my final project below.
Thanks for another great class, Berklee!
This was the other class that I took during Berklee Online’s Spring 2021 term. There was a huge amount of really dense material with lots of exercises and discussion topics. In many ways this course was outside of my comfort zone as it challenged most of what we had studied in the Music Theory & Composition 1-4 classes and pretty much everything I had done with music throughout my entire life. This class spent a lot of time focused on atonal and chromatic music by composers from the early to mid 20th century.
While I admire and respect the cerebral/intellectual acuity of the composers doing this type of work, it isn’t my favorite music to listen to. I’m glad that I had some exposure to these concepts as they are often utilized in current films and television, but I’m glad this class is over.
Here’s what we covered during the twelve weeks.
Week 1 – “New Scales”, Apr 3rd – Apr 9th
Introduction, Meet and Greet, Whole Tone Scales, Exercise 1.1: Whole Tone Scale Melody, Pentatonic Scales, Exercise 1.2: Pentatonic Scale Melody, Octatonic Scales, Exercise 1.3: Octatonic Scale Melody, Invented Scales, Exercise 1.4: Invented Scale Melody, Discussion 1.1: New Scales, Assignment 1: Music for Solo Instrument or Voice
Week 2 – “New Modes”, Apr 10th – Apr 16th
Introduction, Modes of Limited Transposition, Practice Exercise: Modes of Limited Transposition Analysis, Exercise 2.1: “Abîme des Oiseaux” Analysis, Mode Mixture, Folk Influences, Quiz 2.1: “Romanian Dances” by Bela Bartok, Igor Stravinsky, Discussion 2.1: Harmonic Implications, Assignment 2: Composition, Recap
Week 3 – “Interval Structures”, Apr 17th – Apr 23rd
Introduction, Interval Sets, Practice Exercise: “Abîme des Oiseaux” Analysis, Exercise 3.1: Interval Set, Arnold Schoenberg’s Early Works, Exercise 3.2: “Sechs Kleine Klavierstücke” Analysis, Exercise 3.3: Interval Sets for Two Instruments, Pre-Serialism, Exercise 3.4: Pre-Serialism Analysis, Reply , Discussion 3.1: Defining Pitch Language, Assignment 3: Piece for Two Melodic Instruments , Recap
Week 4 – “Triadic Extensions”, Apr 24th – Apr 30th
Introduction, Tertian Harmonies in Non-Functional Relationships, Exercise 4.1: “La Cathedrale Engloutie” Analysis, Exercise 4.2: Tertian, Chordal Language, Triad Voicings and Voice Leading, Triad Layering, Exercise 4.3: Triad Layering, Discussion 4.1: Triad Layering, Assignment 4: Composition , Recap
Week 5 – “Other Intervallic Structures”, May 1st – May 7th
Introduction, Quartal Harmony, Charles Ives, Exercise 5.1: Analysis of “The Cage” by Ives, Exercise 5.2: Quartal Harmony, Quintal Harmony, Exercise 5.3: Quintal Harmony, Secondal Harmony and Clusters, Exercise 5.4: Composing with Chord Clusters, Interval Mixture, Discussion 5.1: Intervallic Structures, Assignment 5: 20-30 bar piano piece, Recap
Week 6 – “Harmonic Motion”, May 8th – May 14th
Introduction, Parallelism and Other Types of Harmonic Motion, Exercise 6.1: Planing and Parallelism, Exercise 6.2: Harmonic Movement, Harmonic Stasis, Cadential Devices, Exercise 6.3: Cadential Devices, Discussion 6.1: Resolutions, Assignment 6: Project 2, Recap
Week 7 – “Rhythmic Devices”, May 15th – May 21st
Introduction, Mixed Meter and Odd Meter, Exercise 7.1: Using Mixed and Odd Meters, Rhythmic Complexity, Ties and Tuplets, Exercise 7.2: 7 against 8, Additive Techniques: Non-Retrogradeable Rhythms, Exercise 7.3: Rhythmic Techniques, No Meter, Exercise 7.4: No Meter, Discussion 7.1: Rhythmic Perception, Assignment 7: Rhythmic Devices, Recap
Week 8 – “Formal Devices”, May 22nd – May 28th
Introduction, Fibonacci Series, Discussion 8.1: Fibonacci Series, Mosaic/Moment Form, Exercise 8.1: Mosaic Form, Cagean Rhythmic Structures, Discussion 8.2: Formal Devices, Assignment 8: Composing Using Formal Devices, Recap
Week 9 – “Aleatory”, May 29th – Jun 4th
Introduction, Chance, Discussion 9.1: “Music of Changes”, Exercise 9.1: Chance Operations, Indeterminacy, Discussion 9.2: Indeterminacy, Proportional Notation, Exercise 9.2: Proportional Notation, Graphic Notation, Discussion 9.3: Notation Style, Assignment 9: Aleatory, Recap
Week 10 – “Percussion and Found Instruments”, Jun 5th – Jun 11th
Introduction, Standard Percussion Instruments, Discussion 10.1: Percussion Use Examples, Exercise 10.1: Piece for Snare Drum, What’s in Your Kitchen?, Percussion is All Around You!, Discussion 10.2: Found Percussion, Assignment 10: Composing with Percussion in Mind, Recap
Week 11 – “Prepared Piano”, Jun 12th – Jun 18th
Introduction, Inside the Piano, Prepared Piano, Exercise 11.1: Prepared Piano, Other Effects, Discussion 11.1: You and Prepared Piano, Assignment 11: Prepared Piano Composing, Recap
Week 12 – “Other Extended Techniques”, Jun 19th – Jun 25th
Introduction, Harmonics, Exercise 12.1: Harmonics Analysis, Artificial Harmonics, Exercise 12.2: Artificial Harmonics, Other String Effects, Multiphonics, Other Wind Instrument Techniques, Putting it Together, Discussion 12.1: Other Extended Techniques, Assignment 12: Final Project, Recap
I’ve posted the score and audio for my final project below.
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.
Thanks Berklee!
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 9 – “Percussion Writing I”, Mar 6th – Mar 12th
Percussion Categories, Pitched and Non-Pitched Percussion, Non-Pitched Membranophones: Snare Drum, Bass Drum, Tambourine, Additional Non-Pitched Membranophones, Non-Pitched Idiophones: Crash Cymbal, Suspended Cymbal, Tam Tam, Wind Chimes, Triangle, Woodblocks, Additional Non-Pitched Idiophones, tched Membranophones: Timpani, Impossible Timpani Passages, Reasonable Timpani Passages, Timpani Sample Types, Pitched Idiophones: Xylophone, Marimba, Glockenspiel, Tubular Bells, Pitched Chordaphones: Harp, Harp Pedal Positions, Notating Pedal Positions, Notating a Pedal Change, Enharmonic Spellings, Unorthodox Chord Spellings, Glissandi, Harmonics, Pitched Chordaphones: Keyboards, Celesta, Additional Pitched Percussion Instruments, Listening Exercise, Exercise 9.1: Percussion Arrangement, Assignment 9: Final Project
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
Here’s the notated score: