Tag Archives: Berklee Online

Orchestration 2

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

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

Here is the material we went over.

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

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

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

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

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

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

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

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

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

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

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

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

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

Thanks for another great class, Berklee!

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


Contemporary Techniques in Music Composition 1

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

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

Here’s what we covered during the twelve weeks.

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

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

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

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

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

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

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

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

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

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

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

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

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

CTMC1-Assignment-12-Glenn-Schoonmaker

Berklee Online – Term 7

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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!

Orchestration 1

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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:

Final_Assignment_Glenn_Schoonmaker

Music Video Editing with Final Cut Pro

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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”.

MTC4

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“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.

Schoonmaker_Final_Assignment
Schoonmaker_Assignment_11
Schoonmaker_Assignment_10
Schoonmaker-Ex-10
Schoonmaker_Assignment_9
Schoonmaker-Exercise-9.1
Schoonmaker_Assignment-7
Schoonmaker-Assignment-6
Schoonmaker-MTC4-Exercise-6.1-UPDATED
Schoonmaker-Assignment-4
Schoonmaker-Ex-4_1-Score
Assignment3_Schoonmaker
Schoonmaker_Assignment_2
Schoonmaker_Assignment_1

MTC 2

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Much like MTC 1, Music Theory & Composition 2 was a very challenging course with a lot of material covered. At times, it felt like a bit too much information to absorb in 12 weeks’ time. That being said I did get a lot out of the class and am really glad that I took it.

I won’t go through listing all of the material covered, but some of the highlights for me were: further work with Modal Interchange, Composite Minor Scales & Chords (Minor/Melodic Minor/Harmonic Minor), writing in Compound & Odd Meters, Secondary Dominants & Chord Scales, Tensions, Related II Chords, Harmonic Rhythm, Deceptive Resolutions, Parallel Scales, African Polyrhythms, Indian Talas, Modulation, Pivot Modulation and Modal Interchange, Hybrid Chords, Guide Tone Lines, 3-Part Voice Leading, Binary/Rounded Binary/Ternary Forms, Rhythmic Augmentation & Diminution, Motifs and Transposition.

Thanks for another great class, Berklee!

Here are some of the pieces that I put together for this term’s assignments and exercises.

Mixing and Mastering for the Electronic Musician

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As mentioned in an earlier post, “Mixing and Mastering for the Electronic Musician” was my favorite class of Term 2. The course material was perfect for someone like me, a solo musician/composer/songwriter wanting to make their work sound a bit more polished and professional.

While the course material was very well thought out and presented I think the thing that I loved most about this class was the immediacy of being able to apply what I learned to my own music. Just what I learned about EQ, compression and limiting made a huge difference in the clarity and power of my mixes.

Other subjects that I found really helpuful were: “Developing Relationships in a Mix” via external keying and side-chaining (particularly helpful for dynamically ducking tracks under other tracks); Direction Mixer plugin on stereo tracks; using Distortion to color and shape EQ of tracks like hi-hats and vocals; using Noise Gates to shape output of audio tracks; using Side-chain/External Keying on Reverb and Delays to dynamically control output; Reshaping Transients (a bit like synthesis on audio tracks); Dotted 1/8 & 1/4 note delays; Ping Pong Delays; Pre-Fader Metering (to help control gain staging); Subgrouping; Parallel Compression (on individual tracks, subgroups and global tracks); Flex-Pitch; Auto-Filter (to help tracks stand out); using Sample Delays to pan; VCAs (to control volumes of subgroups); and how Mastering really is all about making small, subtle changes in EQ, Compression and Limiting.

As usual with a number of Berklee Online classes I’ve taken already, there was a lot of ground covered in 12 weeks. Here are the subjects, by week.

Week 1 – Getting Ready to Mix
Logic Pro Skills & Preferences, Plug-In Latency & Track Meters, Logic Pro X Interface, Screensets, Mixing and the Electronic Musician, Composing & Mixing Simultaneously, Working with Software Instrument Tracks, Rendering Software Instruments to Audio Tracks, Mixing Workspace Ergonomics and You, Monitors & Walls, The Mix Position, Monitor Loudness Levels, Using Reference Material, Getting Ready to Mix, Organizing Tracks & Assets, Setting Up a Listening Mix, Gain Structure & Digital Meters, Mixing Balance & Panning, Panning Stereo Tracks, Panning & the Direction Mixer, Working with Automation, Volume Automation & the Dynamic Mix, Real Time Automation, Automation Modes, Automation and Sculpting the Mix, Discussion 1.3: Automated Mix Example, Why We’re Starting Here, Assignment 1: Levels, Panning and Automation Mix

Week 2 – Shaping Your Sounds: EQ and Compression
Prepping the Mix Project, Working with Logic Pro X Markers, Introduction to EQ, EQ Bands, Shelving EQ, Filters, A Word About Q-Couple, EQ in Mixing, Kick Drum EQ, Snare Drum EQ, Bass and Vocals EQ, EQ in a Sample Project, Doing More with EQ, EQ Means Endless Tweaking, EQ Tips, Boosting vs. Cutting, Controlling the Low End of Your Mix, Bracketing Sounds with Filters, EQing in Solo Mode, Plugin Presets, Introduction to Dynamics Processors, Dynamics Processor Block Diagram, Working with Compressors, Compression Curves and the Transfer Function, The Logic Pro Compressor, The Logic Pro Compressor Setup, Using Compression, Compression Gain and Make Up Gain, Classic Uses of Compression, Mix Analysis: Compression, Limiters in mixing, Using the Limiter in the Logic Pro X Compressor, The Logic Pro Limiter, Assignment 2: Begin the Mix Project

Week 3 – Doing More with Dynamics Processors
Where Are We?, Compressors Continued, Detection Mode, Sidechain Filtering, Distortion and “Color”, Other DAW Compressor Plugins, Pro Tools, Waves, Circuit Types in the Logic Pro X Compressor, Compressor Design, Transfer Functions, Changing Compressor Settings, Introduction to Noise Gates, Why We Use Gates in Mixing, De-Essers, The Logic Pro X De-Esser, Why We Use De-Essers, Exercise: Listening to the Mix So Far, External Keying and “Sidechaining”, Setting Up Sends as Key Signals, Sidechaining and “The Pump”, Developing Relationships in a Mix, Externally Keyed Compressors, Externally Keyed Gates, Ghost Keys, Ghost Tracks, External Keying Vs. Automation, Discussion 3.1: Mix Analysis, Assignment 3: Dynamics Processors

Week 4 – Reverb and Delays in Mixing
Reverberation, Creating Reverb in the Studio, The Reverb Event, Algorithmic Reverbs, PlatinumVerb, Setting Up Reverb Plugins, PlatinumVerb and Reverbs on Individual Tracks, Making Reverb Decisions, Exercise: Reverb, Reverbs in Mixing, Setting Up Reverbs on Aux Tracks, Reverb Modification, Reverbs on Track Inserts, Reverb Tips, “Come to Me” Mix with Reverb, Introduction to Delays, Delay Effects, Introduction to Tape Delay and Stereo Delay, Stereo Delay, Delay Parameters, Delays in Mixing, Slap Delays, Ping-Pong Delay, Processing Delays, Delay Tips, Working With Automation: Sends Automation, Mix Limiters: An Introduction, Final Mix of “Come to Me”, Assignment 4: Finishing Project 2

Week 5 – More with Dynamics and Mixing
Working with a Large-Scale Mix Project, Strategies for Project Organization, Screensets and Markers, Marker Sets, Developing a Vision for the Mix, Discussion 5.1: Developing a Vision for the Mix due Tuesday, Arrangement Editing, Editing vs. Mute Automation, Creating and Working with Track Groups, Track Groups and Workflow, NOW Where Are We?, Reshaping Transients, Upward Expanders and the Logic Pro X Expander Plug-in, Multiband Compression Techniques, Logic Pro X Multipressor, A Sidetrip About Expanders, Noise Gates vs. Downward Expanders, Mixing, Gain Structure, and Headroom, Pre-Fader/Post-Fader Metering, Getting Off the Ground!, Assignment 5: Dynamics and Mixing

Week 6 – Doing More with Mixing
A Starting Point, Creating and Working with Audio Subgroups, Setting Up Audio Subgroups, Deciding When to use Subgroups in a Mix, Vocal Tuning, Fixing Pitch Problems, Going Deeper with Flex Pitch, Flex Pitch in the Track Editor, Tuning Other Instruments, Exercise: Exploring Vocal Tuning, The Big Freeze!, Parallel Compression Techniques, Setting Up Parallel Compression, Parallel Compression for Multiple Tracks, Parallel Compression Guidelines, Exercise: Parallel Compression, Adding Color and Character to the Mix, Filters, AutoFilter, Distortion Effects, Clip Distortion, Re-Amping, Enhancing the Low End, Exercise: Distortion, Assignment 6: Adding Character to the Mix

Week 7 – Working with Delays
Short Delay Effects, Delays and the Stereo Image, Using a Short Delay for Panning, Modulation Delay Effects: Flanging, Hands-On Tweaking, Modulation Delay Effects: Chorusing and Doubling, Chorusing, Ensemble, Exercise: Mix Example, Convolution Reverb and Space Designer, Tweaking Space Designer, Using Convolution Reverbs, Exercise: Mix Analysis, More Mixing Ideas with Delays and Reverbs, More with Processing Effect Sends and Returns, Exercise: Putting it all Together, Assignment 7: Working with Delays

Week 8 – More Mix Techniques Automation 1
Checking Up on Our Mix of “Please Baby”, The Dynamic Mix, Manipulating the Sounds, Splitting Regions to Tracks, Making Sounds Bigger: Stereo Width Ideas, Pitch Effects in Mixing, Discussion 8.1: Pitch Manipulation, Vocal Transformer, SFX, Ear Candy, and Transitions, Delay Designer, Exercise: “Please Baby” Mix, Assignment 8: Mix Techniques

Week 9 – Shaping the Mix Automation 2
Checking Up on Our Mix of “Please Baby”, Where We Are, Global Parallel Compression, VCA Tracks and Mixing, VCA Usage, Mix Bus Compression, More With Mix Automation, Working with Mix Automation, Final Touches: Mix Limiters, Final Touches: Mix Limiters – Mix Fade Out, Bouncing the Mix, Exercise: “Please Baby” Mix, Assignment 9: Automation

Week 10 – Mastering 1
What is Mastering?, The Creative Side of Mastering, Discussion 10.1: Original vs. Mastered Versions, The Technical Side of Mastering, Discussion 10.2: Top Mastering Engineers, Mastering in the Project Studio, Tweaking Your Studio Space, Installing Ozone, Mastering with Logic Pro X: an Overview, Intro to Ozone, Exercise: EQ, Corrective and Creative, The Ozone EQ Module, Exercise: Mastering EQ, Discussion 10.2: Ozone History, Ozone Digital EQ Mode, Exercise: Analog and Digital Mode, The Digital EQ Surgical Mode, Some Tips on EQ and Mastering, Limiting in Mastering, Assignment 10: Project 4

Week 11 – Mastering 2
The Mastering Process, Compression in Mastering, Using the Dynamics Module, Exercise: Compression, Multiband Compression with Ozone, Exercise: Multiband Compression, Multiband Compression Considerations, Discussion 11.1: Multiband Compression, The Dynamic EQ, Mastering, Loudness, and the “Loudness War”, Loudness and CD Mastering, Discussion 11.2: Loudness and CD Mastering, The Ozone Maximizer, Exercise: Ozone’s Maximizer module, Daily Assignment Practice, Assignment 11: Project 5

Week 12 – Mastering 3
Image Manipulation in Mastering, The Ozone Imager Module, Exercise: The Imager Module, Multiband Image Adjustment, Exercise: More With the Imager Module
The Vintage Limiter, Mastering Workflow, Making a Mastering Chain, Workflow Tips, Bouncing Your Mastered Audio, Mastering for Digital Delivery, CD Delivery Masters, Exercise: Truncation vs. Dither, Creating a CD Master, Loudness, Audio CDs, and Streaming Audio, QC = Quality Control!, Discussion 12.1: Project 6

Here are a couple screenshots of an assignment mix that I submitted. Check out the number of tracks and plug-ins. This was a pretty massive project. Took two screenshots to get all the tracks shown!

Here’s a mix that I did using many of the techniques that I learned in this class for my final project in MTC2 (Music Theory & Composition 2).