String bending and ear training go hand in hand.
A framework for further study on chord families.
Loudness's iconic tune "Crazy Nights" uses the F# Phrygian scale in the opening riff.
This book could occupy all of your time if you wished. It is an essential read for every composer, containing the manual that nearly all great classical composers learned from. Contemporary composers still use it today both as a way to learn and a tool for teaching their students.
This set of canons is remarkable and charming. The counterpoint in them is quite advanced for a young composer (see the program note about when the first movement was written). Yet, there is still an artistic purpose in each movement and note choice.
P.M. Joyce's work "Fairytale" is a well-polished work that would work well in a film score.
Koti Jaddu's submission to the Young Composer Score call reads right out of a book of preludes
Firmly rooted in the American Mavericks tradition, this work fuses hymns with polytonality and misalignment, a la Charles Ives.
Mitch Weakley's piece "Keys, Strings, Clothespins" investigates a C pentatonic scale with a flattened sixth step (Ab) through the lens of a prepared piano, and its consequent timbres.
Matthew Kennedy's "Until I Say 'When'" is a breathtaking exposure of space, timbre, and mood, that is both playful and hypnotic.
"STRING II was made with “real” sounds - sounds that I recorded both in my studio and in the field. I used only the oddest bits of these recordings to go ahead and represent something else. Something that EVERYONE hears differently - its interpretation is up for grabs. I feel that’s important."
Dale Osterman's piece Ouroboros depicts the serpent that devours its own tail. #analysis #contemporaryclassical
There are times when musical notation simply does not suffice to both technically manifest, nor artistically describe, the music that is heard. This is the case with Diogo Carvalho's piece Reveal.
David T. Bridges's work This Fragmented Old Man fuses the energy of Elliott Carter, the rhythmic drive of Bela Bartok, and the harmonic fluidity of Igor Stravinsky to create an energetic, wild, slightly senile, and charming work based on the children's counting song "This Old Man"
Chad Powers's work "A Blade Within" has simple program notes: "A Blade Within is constructed with raw, as well as manipulated sound sources. Before the work was composed electronically I notated it on paper. In a meta fashion, I used the recorded pencil and paper sound files to act as a catalyst to drive the …
Brianna Drevlow's piece "David's Run" is a soundscape-turned-nightmare, depicting a recurring dream she has: "Named after the Operation Lifesaver film I watched as a young child about train safety, “David’s Run” depicts a recurring nightmare I experience where I am being hit by a slow moving train, but I wake up before impact. This piece …
Heather Stebbins's work "minim" is a recollection and reimagination of sonic elements from prior works. From her program notes: "minim (2014) is an exercise in excavation. I recently began going through old files and recordings from early projects and happily discovered that many of the sounds captivated me in both new and nostalgic ways. I felt …
Brian Riordan is a composer well-versed in an eclectic mix of styles, contexts, and media. His piece "The Moon Is Drifting Away from the Earth, Don't Think About It" unifies his many influences. In particular, the work fuses electronic and acoustic sound worlds and contexts in a unique way. The overall effect is of the …
Hi All, Here is another image from Steven Maheu's Elements of Creative Force. This explains how different elements can be contrasting or complementary to one another. We use the relationships between each number and another number to define if the two numbers are contrasting, or complementary. This only applies when using the same color. (We …
Aya Shimano-Bardai's notes in the abstract for the piece "Coalescence": "Coalescence (2016) is a seven minutes and thirty seconds long acousmatic stereo piece. The compositional structure delves into the transitions between contrasted sonic spaces – open and clustered, distant and close, sharp and mild, etc – by underlining its varied acoustic elements. Mainly based on …