Monthly news items, video links and blog on the Frans Absil Music website

News Archive

August 2024: Chromatic Harmonization of a Chromatic Melody tutorial series.

Watch the set of two video tutorials on Schillinger Chromatic Harmonization of a Chromatic Melody (Book 6, Chapter 3 from his System of Musical Composition): Part 1 The Fundamentals (21:11), and Part 2 Orchestral Composition Example (23:58). Learn this specific harmonization approach for a given melody. In Part 1 you'll see an overview of the essential elements of the chromatic system of harmony and a demonstration of the two-step harmonization process. Part 2 is an application example: a four-minute orchestral composition.

You'll find this and more video tutorials on the YouTube channel. See the list of YouTube videos here (descriptions and links). Since the tutorial set on the Schillinger System of Musical Composition has been growing significantly, I do get questions about where to start watching. There now is a PDF document in the website Document Library that will help you answer this question.

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June 2024: SWAM Solo Strings and TouchOSC Controllers

Audio Modeling released the v3.7.3 update of the SWAM instruments in April 2024. Therefore, the time was right to replace my earlier Solo Strings YouTube video from April 2021. In SWAM instruments playing Mozart, Schubert, Brahms and Ravel string quartet excerpts (20:20) you'll hear how these model-based virtual instruments perform in well-known classical music string quartet phrases. I recorded these with Akai EWI and MIDI controller keyboard. The details and performance evaluation are in the video.

The Hexler TouchOSC app was used to develop more MIDI controllers for my virtual instrument and sample library collection. There was a bug in the VSL Synchronised Dimension Strings controller; correcting the error implied an opportunity to improve this controller and make it more complete. On my to-do list was the replacement of the old Lemur controller for the Ample Sound guitar collection. It is nearly finished and now also includes the three bass instruments.

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April 2024: Harmonization of a Diatonic Melody tutorial series completed

The YouTube tutorial series on Schillinger Harmonization of a Diatonic Melody (Book 6, Chapter 3 from his System of Musical Composition) is complete with two more episodes. These are successors to the two first episodes on the diatonic melody and the diatonic harmonization technique, respectively. In Part 3 Chromatic Harmonization (37:50) you'll learn about the single chromatic alteration operation, the parallel double operations, overlapping and coincidental chord groups, and how to modify an existing diatonic chord progression.

In the final episode, Part 4 Symmetric Harmonization (31:32), we use members from the S13 chord structure family (chords in thirds) to harmonise the melody and evaluate the result. You'll find examples in various musical styles. The companion document with text, diagrams and score fragments for my Patreon supporters is ready and available (PDF, 70 pages).

You'll find this video in the YouTube music composition techniques playlist. See the list of YouTube video tutorials (descriptions and links).

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January 2024: Schillinger Harmonization of a Diatonic Melody tutorials

Happy New Year! I wish everyone a healthy, prosperous and creative year 2024. Hopefully there is a more peaceful year ahead of us. We could do with that, as the condition of the planet requires more attention to a set of long term and very serious problems. Thank you for the support for my music education efforts over the last years.

I started a four-part YouTube tutorial series on Schillinger Harmonization of a Diatonic Melody, a subject presented in his System of Musical Composition, Book 6, Chapter 3, on the correlation of harmony and melody. In my series I discuss the three alternative harmonization approaches: diatonic, chromatic and symmetric. Thus far I have finished and uploaded Part 1 The Melody (20:55), and Part 2 Diatonic Harmonization (36:27). These tutorials cover the fundamentals and contain a set of examples.

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November 2023: Ruminations on the Brian Eno A#$!-hole chord

The YouTube video tutorial 'Ruminations on the Brian Eno arsehole chord: Alternative Voicings' (20:31) is based on a conversation between James Blake and Brian Eno, where they discuss 'the arsehole chord'. Voicing the chord structure as an incomplete extended chord in thirds or, equivalently, a form of tetrachord Pitch-Class Set 4-18 may yield an exposed minor 9th interval. Orchestration affects the perceived chord tension level. Alternatively, one may close the highly dissonant interval by inserting a new pitch-class and obtain extended chords in thirds, pentachord sets and two-layer polychords. Various options are illustrated with short musical examples.

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September 2023: Now is the month of maintenance

There are three things to report that you might be interested in:

1. A video tutorial on 'Polychords with Major and Minor Triads: Application Example' (35:23). It is based on a chapter from the Vincent Persichetti book on Twentieth Century Harmony. You'll see two-layer polychords with trichord units. From two building blocks, a set of major triads with symmetrically distributed roots and two hexatonic triad pairs we create polychord continuities. Then we derive several musical elements (melody, ascending bass, pedal point, etc.) and apply these in an orchestral example composition. For my Patrons there is a companion document (A4, PDF, 34 pp.) and access to the source material.
2. Musician and producer Nate Hendrix invited me for his YouTube Trillionaire Meeting interview series. We discussed my background and experience with the Schillinger System of Musical Composition. Also we talked about learning music theory and composition techniques, what sources to use, and orchestration aspects. You'll find the video interview here >>

3. As the video tutorial collection on my YouTube channel grows steadily, I've received comments on how to improve finding specific videos. Until now all tutorials were published in the single Music Composition Techniques playlist. This month I've created an additional set of playlists, based on subject categories. I did my best to split the list of tutorials unambiguously, but you will also find one-to-many mapping of videos into playlists. Let me know how you feel about this structured approach.

   The same aspect holds for my Patreon posts. I did tag all my posts and uploads in the past. Now I've implemented the recent Patreon Collections option. Here I also used subject categories for labeling collections. Hopefully that will lead to a better search experience for my Patrons.

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July 2023: Strata Harmony with Polychords in Seconds tutorials

Watch the series 'Strata Harmony with Polychords in Seconds: Combining Persichetti and Schillinger' Part 1 (24:46) and Part 2 (18:45). Polychords are built from chords in seconds, as discussed by Vincent Persichetti. Trichord structures contain major and minor seconds. Hexachords are obtained through stacking in two layers. Polychord characteristics are interpreted in terms of the equivalent Pitch-Class Sets. Multi-layer chord continuities are set as Schillinger System Strata Harmony. These continuities are illustrated with five examples in different musical styles: woodwind trio chamber music, sectional harmony for saxophones or brass, string section background, and synthesizer texture. For my Patrons there is a companion document (A4, PDF, 37 pp.) and access to the source material.

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May 2023: Music sketching tutorial 'Layered Hexachords'

The music sketching video tutorial 'Layered Hexachords: Combining PC-Set and Schillinger System Composition Techniques' is another answer to the request for more detailed videos on composing music with the Schillinger System of Musical Composition. Two six-element pitch-class sets, 6-Z12 and 6-Z49, are the building blocks for a piece for synthesizers and orchestral instruments. Set theory and the Schillinger System composition techniques are applied to obtain (strata) harmony and melody. Rhythm is partially based on the Euclidean rhythm rE(7,32). For more information see: 'Layered Hexachords' (project details, links to video episodes and full score). Patrons have access to the companion document (A4, PDF, 30 pp.).

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February 2023: the Patreon Companion Document 2023 Catalogue

Over the years I've created numerous video tutorials on the Frans Absil Music YouTube channel. You'll find these in the music composition techniques playlist. In 2020 I started to create companion documents that have been uploaded to Patreon. The Patreon Companion Document Catalogue presents an overview of all PDF documents published for my Patrons over the years 2020-2023. Currently you'll find 19 such PDF documents with a total of more than 450 pages, to which all membership tier Patrons have access.

I still feel somewhat exhausted from creating the four-part tutorial series 'Sketching with Schillinger: Orchestral Cue (Part 1)' plus the companion document over the holiday period. That series is well-received. Other projects are keeping me busy at the moment. So you may have to be a bit patient before there is fresh YouTube content.

For higher tier patrons, there is DropBox access to source material such as diagrams, images, score and audio fragments, or online teaching sessions (ask me almost anything). Most of my content is free but I do welcome support, either through a PayPal donation (see the Donate button at the top of the Document Library page), or by becoming a regular supporter as a Patron (push the button to go there).

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January 2023: Four-part video tutorial series 'Sketching with Schilinger'

In the YouTube music composition techniques playlist the four-part video tutorial series 'Sketching with Schillinger: Orchestral Cue (Part 1)' was created after receiving viewer requests to demonstrate working with the Schillinger System of Musical Composition in more detail. I'll show how an orchestral composition can be created from a basic element, the three-pitch 'melodic cell' C-D-Eb. You'll see sketches with techniques applied in the melody, rhythm, harmony and orchestration domain. Ideas will be rejected or accepted and processed to achieve a final version, ready for orchestration and implementing instrumental forms. Patrons have access to the companion document (A4, PDF, 79 pp.). For more information see: 'Sketching with Schillinger' (project details, links to video episodes and full score).

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September 2022: Starting tinnitus treatment

Suffering from tinnitus symptoms and hypersensitivity to noise I will start a therapy. This treatment, developed by Maastricht University, consists of cognitive behavioural therapy, which combines psychological components and elements from audiology. The therapy is aimed at reducing negative fear responses with regard to tinnitus symptoms. It consists of 17 training sessions over a three-month period (Sep-Nov 2022). I will report my findings and hopefully my progress in a blog on the Patreon page.

On the YouTube channel watch the video tutorial Combining Riemannian Harmony with Polychords and Arpeggio Melody (22:44). In a short piece for synthesizers and orchestral instruments the starting point is a set of chord progressions, including a Riemannian hexatonic pair. Using a limited set of techniques we create extended harmony with pedal point, or polychords. From these chord structures we derive melody and arpeggio motifs. Patrons have access to the companion document (A4, PDF, 25 pp.). For more information see: 'The Midnight Dance Begins' (performance notes and link to full score).

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August 2022: Has 'Peak Popularity' been reached?

Spitfire Audio Scoring Competition 2022. Click the image on the right to watch my competition entry with a new score for the video clip from 'Bridgerton' Season 1, Episode 5. The instrumentation for this historical-romance series (Netflix 2020) set in Regency era London is a late Baroque, Classical period chamber music ensemble, with a concertante clavichord, a wind quintet, brass section, timpani and string quintet. For more information see: 'The Whistledown Wedding Announcement' (performance notes and link to full score).

On July 30, 2022 my YouTube Channel analytics page reported the number of 3,333 Subscribers. To me this number nicely represents the current state of the channel. Being aware that the channel content is for a niche interest group, it is an impressive number that has grown continually over the last years. On the other hand the growth rate has decreased significantly over the first half of 2022. The current number is more or less static. So I am wondering about where the channel is going. Has the target viewer group been saturated, in other words, has Peak Popularity been reached? Have the tutorial subjects become irrelevant? Are video structure, level and tempo suboptimal? I feel I put maximum effort in script and source material preparation, and I don't want to change my presentation style and become the next YouTube clown. So currently I am puzzled and doubt whether I will live to see the next higher fascinating subscriber number. Just a thought I wanted to share with my readers and viewers.

Over the last three months I uploaded a number of YouTube video tutorials:

• Combining Techniques: Theme Imitation, Diminution, Hocket and Harmonization (17:43). This short example orchestral composition demonstrates various techniques for setting a musical theme or motif;
• Hoquetus Technique: From Isorhythmic Motet to Tchaikovsky and Michel Legrand (16:58). Hocket is the distribution of melody notes over multiple, alternating instruments. The video looks at the Medieval isorhythmic motet Alpha Vibrans Monumentum (c. 1390), the Finale, Mvt. 4 from the Tchaikovsky 6th Symphony (1893), and a Michel Legrand arrangement (1974);
• Composition With Melody and Harmony Derived From Pitch-Class Set 6-7 (20:22). Interpreting PCS 6-7 as a symmetric pitch-scale, we derive Schillinger Melodic Forms, chained into a continuity. From set properties we obtain harmony and chords structures. These elements are combined in a synthesizer orchestral composition example;
• Read more about these and other YouTube videos (descriptions and links).

For these tutorials there are companion documents on Patreon. Becoming a Patron is a convenient and rewarding option for supporting my educational video production efforts.

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May 2022: New YouTube videos and content for Patrons

This is an update of YouTube channel and Patreon page content creation over the last two months:

• Watch the video tutorial Schillinger Rhythm: Binary Synchronization Fundamentals (20:54). It is an introduction to the Theory of Rhythm from the Schillinger System of Musical Composition. It presents the first three chapters from the book, explaining interference of periodicities, binary synchronization and the grouping technique. These are demonstrated with instrumental form examples. On Patreon find the companion booklet (A4, PDF, 20 pp.).
• There is also an instruction video on Articulation Keyswitch Selector Design with Hexler TouchOSC: Generic Template and Application Examples (12:48). Usage for sample library and virtual instrument keyswitching is demonstrated in Logic Pro and Cubase. The relevant files are available for my Patrons.
• I would like thank the new members to the Patreon page. Your support of my educational activities in the field of music and the sharing of musician tools on the YouTube channel and this website is greatly appreciated.

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February 2022: Combining Two Harmony Systems tutorial

In the first month of the year:

• I produced and uploaded a tutorial to the YouTube channel. The video All-Interval Tetrachord Meets The Riemannians: Combining Two Harmony Systems (24:10) discusses the combination of Riemannian Transformation chord progressions and Pitch-Class Set (PCS) harmony. The Riemannian chord progression is centered around C minor, the PCS sections are based on the all-interval tetrachords 4-Z15 and 4-Z29. A short example orchestral piece demonstrates techniques for obtaining a smooth connection between the two systems. Find more information and links to the full score (A3, PDF, 11 pp.) and a companion booklet (A4, PDF, 23 pp.) on the Tetrachordeal Information Page >>
• The YouTube channel has reached the 3,000 subscribers milestone. That is quite an achievement for the set of in-depth videos on the channel and I thank all subscribers for their genuine interest in the content and sincere comments. Thanks, your support is encouraging! Read more about these and other YouTube videos (descriptions and links).
• The companion booklets have moved to the new Patreon page. A lot of effort goes into the making of the tutorials. Since about a year in addition I have been producing PDF companion booklets for most of the tutorials. These documents contain diagrams, score fragments and a voiceover summary or transcript. Also for most episodes there is a free full score download on this website. This additional material makes understanding the in-depth and concise video tutorials easier. So if you would like to demonstrate your appreciation for the tutorials and the free content and tools on this Website, consider becoming a Patron.

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January 2022: Westwood Instruments Scoring Competition and looking back

Final activities in and looking back on the year 2021:

• On the YouTube channel there are two videos about the Westwood Instruments Scoring Competition 2021. One is the competition entry, the soundtrack for The Lost Piano (3:49) short film by director Rob Hill. The other is a tutorial 'Dies Irae, two hexachords and a pedal point: The Lost Piano score' (22:03), a kind of "making of", discussing the musical elements in the score and excerpts from the soundtrack.
• There is a full score of this film music cue (A3, PDF, 11 pp.) on this website, plus a companion booklet with text, diagrams and score fragments (A4, PDF, 17 pp.). You'll find more information on The Lost Piano Score Information Page >>. The companion booklet is also listed in the Document Library and is available as PDF download on Patreon.
• In October 2021 I finished a composition, with music video and SoundCloud audio: Frankie Fret Could Not Forget His Online Gig With The Roulettes (4:47). This composition is for studio orchestra, with ternary form ABA. The basic tempo is 124 BPM, time signature 4/4. There is a full score and more information on this Frankie Fret Composition Information Page >>. Or go to the full List of Compositions >>
• Looking back on another Covid pandemic year implies contemplating the tragic fate of so many independent and creative musicians and artists. These are in need of all public and private support they can get, and desperate to return to the performing stage. The pandemic fortunately has not affected my online activities. The YouTube channel audience is growing steadily, as is the number of requests for online teaching. Earlier in the year I reported my move to a second music computer: a powerful PC next to the existing Mac. Has it been worth the effort? Yes, in the sense that the new machine does handle larger projects and quickly loads huge sample libraries. But the transition to PC, involving software installation, preset and personal settings transfer, took many, many hours (hundreds). Yes, I am a nerd, and log all installation and update steps, keep track of where everything gets installed, and create text files with problem solving tricks and tips. But, unfortunately I am still faced with regular hanging and crashing music software (no significant difference between PC and Mac). I guess my problem solving time fraction has increased to 50%. Maintenance of two music computers with different operating systems is a pain, and I would now strongly advise against it. Looking forward: stay safe, I wholeheartedly wish you all a healthy, creative, prosperous and Happy New Year!

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December 2021: Schillinger Instrumental Forms Introduction

Recently there was a request for a YouTube channel tutorial:

• My answer is the video tutorial Schillinger Instrumental Forms: An Introduction (22:40) with an overview of Book 8 from the Schillinger System of Musical Composition. The creation of instrumental forms and arpeggio patterns is demonstrated for melody and harmony layers. There is a companion booklet with the overview diagram and score examples: Schillinger Instrumental Forms: An Introduction. Available on my Patreon page (A4, PDF, 11 pp.).

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October 2021: Voice Leading in Schillinger Strata Harmony

Two new videos on the YouTube channel:

• The video tutorial Schillinger Strata Harmony: Voice Leading (25:30) has a focus on creating new, independent parts from the chordal functions in the existing chord structure layers. Doubling and coupling options are demonstrated in the diatonic and symmetric Schillinger Systems of Harmony. I've expanded the companion booklet with additional diagrams and score examples: Schillinger Strata Harmony and Orchestration: An Example and Voice Leading. Available on my Patreon page (A4, PDF, 33 pp.).
• After reporting last month about the installation of the Metagrid app I created a video about Metagrid and Cubase Project Logical Editor Scene Presets: Installation and Editing (6:06). I had some problems getting these to work, so decided to show how to enable these tools for track visibility control in Cubase.

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September 2021: SWAM Brass Sextet and using new apps

There's a virtual instrument review on the YouTube channel and first impressions of new apps:

• The video Audio Modeling SWAM Solo Brass V1.6.4 performing Mvt. 3 Jack of All Spades for Brass Sextet (3:41) is a testcase for the July 2021 update of these solo brass instruments, based on physical modeling. The jazz waltz from my brass sextet (trumpet 1 and 2, horn in F, trombone, euphonium and bass tuba) was recorded with an Akai EWI 5000, then edited in Cubase 11. This performance uses modified SWAM instrument presets and MIDI mappings. Read along with the annotated score and find my comments and experience report.
• I've been a Mac user for years, but recently decided to use a Windows PC in parallel, with Cubase 11 (C11) and Vienna Ensemble Pro (VEP). Migrating from Mac to PC is a most laborious task. Since folder paths are different, this required careful software installation monitoring, editing all VEP instances and C11 track presets from the MAC. This is a procedure not to be recommended and should be done once in a lifetime only!

  I'm in the middle of creating an orchestral template in Cubase, another tedious and demanding task. Since track numbers are running in the hundreds, the foreseeable next step is C11 project management and automation. To that end I started dipping my toes into the Hexler TouchOSC and the Metasystem Metagrid apps. Both iOS apps work for Mac and PC (one of my requirements) and undergo continuous development. The former will replace the Liine Lemur app, that seems to have come to total stasis. I'm happy to report that I managed to install the apps and servers, and did first succesful tests controlling the music software on both operating systems (not completely straightforward, and always scares me to death). Next on the agenda is the redesign of my tens of instrument MIDI controller layouts, learning the Lua scripting language (the umptieth) along the way. Another clever way of putting creative work on hold!

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August 2021: Schillinger Strata Harmony technique and Website migration

New content on the YouTube channel and Website migration news:

• Learn about Schillinger Strata Harmony in the video tutorial Schillinger Strata Harmony and Orchestration: An Example (32:44) This is a great technique for writing dense orchestral and electronic music settings and textures, e.g., for film or games. The ternary form example orchestral piece demonstrates continuities in the various harmony systems. The orchestration process and the design of instrumental forms is discused in detail. There is a full score Exploring Stratospheres PDF Score (A3, 10 pp.) and a companion booklet Schillinger Strata Harmony and Orchestration: An Example. Available on my Patreon page (A4, PDF, 33 pp.).
• Also on YouTube there's my entry to the Spitfire Audio Stargirl Scoring Competition 2021 (2:01) with a score for the school bus scene from this DC Entertainment series. This track features 2 harps, 2 bass guitars, electric guitar, woodwinds, brass and synthesizers.

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July 2021: Music analysis of Schumann's Vogel als Prophet for piano

Watch the new music analysis video on the YouTube channel:

• In his piano composition Vogel als Prophet, No.7 from Waldscenen Op. 82 Robert Schumann made masterly use of arpeggio with appoggiatura patterns in the outer sections of this ternary piece. In the video Schumann's Vogel als Prophet: Appoggiatura Abundance (18:17) I discuss these patterns in great detail, listing and classifying the various appoggiatura types, At the end there is a short composition with application of Riemannian Transformations and appoggiatura patterns. I created a companion booklet Schumann's Vogel als Prophet: Appoggiatura Abundance. Available on my Patreon page (A4, PDF, 10 pp.).

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June 2021: Two composition technique tutorials, one instrument review

The recent uploads to the YouTube channel are:

• The composition techniques video tutorial Musical Pattern Design With the Dragon Curve Fractal (20:17) looks at its properties and application potential in the time, pitch and harmony domain. Percussion beating patterns and rhythms are derived from the turn sequence and may also be used in synthesizer sound design. The application in multiple domains in parallel is illustrated with an orchestral example, that combines two Schillinger harmony systems, a melody and countermelody. The examples demonstrate the development character equivalent of the fractal self-similar scaling property.
• The video Audio Modeling SWAM Solo Strings V3: First Impressions and EWI Performance (15:02) presents first results for this physical modeling virtual instrument bundle, released in March 2021. Playing an AKAI EWI 5000 wind controller a number of etude and string quartet phrases demonstrate dynamics, articulation and expressivity.
• I completed the 2-part series on the Claude Debussy composition Nocturnes No. 2 Fêtes with its remarkable middle section, with continuous bass pedal point (pitch Ab), ternary form and two layers with harmony and modal scales. In the tutorial Nocturnal Party at Debussy's: Part 2 Metamorphosis, composing with the Fêtes middle section musical elements (28:47) these musical elements are used in a generalisation approach to create two new example compositions, an ambient texture and a funk idiom phrase.
• Find companion booklets Musical Pattern Design With the Dragon Curve Fractal. (A4, PDF, 8 pp.), and Nocturnal Party at Debussy's: Part 1 and 2 Fêtes middle section analysis and metamorphosis. Available on my Patreon page (A4, PDF, 33 pp.).

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April 2021: Analysing the Debussy Fêtes middle section

A fresh video on the YouTube channel looks at an orchestral piece from the impressionist period.

• The Claude Debussy composition Nocturnes No. 2 Fêtes has a fascinating middle section. The tutorial Nocturnal Party at Debussy's: Part 1 Fêtes middle section analysis (27:05) is about the ternary form, the two harmony layers above the bass pedal point, the use of modal scales and the detailed orchestration. These aspects are illustrated with Midi mockup audio fragments, and in Part 2 these techniques will be used to create new example compositions through generalisation.

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March 2021: Tutorial on Schillinger's Second Group of Pitch-Scales

Here's the new content on the YouTube channel and in the Document Library.

• The video tutorial Schillinger's Theory of Pitch-Scales: Second Group Properties and Application Examples (29:52) is the 4th episode in the series on scales. It covers the Method of Tonal Expansion for generating scales with a range exceeding the octave, the use of Melodic Forms and Modal Derivative Scales, and the creation of a Melodic Continuity. These techniques are applied in three short composition examples, an orchestral piece, a synthesizer texture and a bossa nova phrase.
• As promised last month, you may now find a memorandum (PDF, A4, 3 pp.) that describes the setup and configuration of the Arturia KeyLab mkii 61 as a DAW controller in Cubase in detail. Here's the link: Using the Arturia KeyLab Mk2 61 in Cubase: The Bermuda Triangle of Software Configuration. It has been added to the Document Library.

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February 2021: The use of harmony in the Rosenkavalier Waltz

The main contribution this month is an upload to the YouTube channel.

• The waltz section from the Richard Strauss opera 'Der Rosenkavalier' has form ABABC, with remarkable harmony in the B-sections. In the video tutorial Rosenkavalier: Waltzing with Giant Steps (23:58) you'll find an analysis of this waltz. The A-sections use diatonic harmony, while the B-phrases are based on symmetric harmony systems (see the Schillinger System of Musical Composition), not unlike the chord changes in the John Coltrane composition 'GIant Steps'. Chord progressions are depicted as trajectories in the triad Tonnetz diagram. A similar harmony approach has been used in the short example composition, 'Waltzing with R'. For more details on this composition and a video tutorial companion booklet (PDF, A4, 23 pp.) visit the 'Waltzing with R' documentation page >>
• At the start of 2021 I was struck with fresh Cubase disaster. It started with Drum Maps being invisible, then later the Arturia KeyLab Mk2 DAW controller became inactive and finally the DAW software itself behaved erratic. It took many hours to identify the culprit, and a probably unnecessary full Cubase re-install (plus the then inevitable restoring of preferences, presets, settings, etc.). Turns out that the MacOS Audio-Midi setup also played a part in this trio, probably after an Arturia firmware update. I will soon report my experience in a short document, that may help others with the same phenomenon (searching the Internet I noticed similar partial problems, but this combination and solution I did not find). Update March 2021: Here's the link to the PDF memorandum: Using the Arturia KeyLab Mk2 61 in Cubase: The Bermuda Triangle of Software Configuration.

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January 2021: The Spitfire Audio Westworld Scoring competition entry revisited

The past year (2020) was concluded with a making of video on the YouTube channel.

• The episode Composing with Twelvetone Triads: The HBO Westworld Car Chase Scene (33:23) revisits my Spitfire Audio Scoring Competition 2020 entry. It discusses the film music composition process with a single set of 12-tone triads (CM, Ebm, Db+ and G#o) in detail. Learn how hexachords from pairwise triad combinations were used to create harmony, melody and counterpoint, and how a consistent atonal idiom with chord tension control was achieved. This tutorial contains reduced score, audio and movie excerpts. For a companion booklet (PDF, A4, 25 pp.) visit the 'The Rough Lady Rides Again' documentation page >>
• I have been mentioning problems with the Arturia controller software, virtual instruments and the Midi mapping (see Mar 2020, Sep 2019 and May 2019). I am happy to report that with the recent KeyLab Mk2 firmware V1.2.4, the Midi Control Center V1.12.1 (Oct 2020) and the V Collection 7 update with improved GUI and Midi editing capabilities (Dec 2020) many shortcomings have been removed. Read more on the updated Arturia V Collection Default Midi Controller Configuration page.

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December 2020: Tutorial series on Schillinger First Group Pitch-Scales complete

Visit the YouTube channel where the series on Schillinger First Group of Pitch-Scales is complete with two new episodes:

• Book 2 in the Schillinger System of Musical Composition is about pitch-scales. Group 1 scales have a single root, a one octave range, and include the familiar diatonic scales. In Part 2 (25:01) you'll learn several approaches to the evolution of pitch-scale styles, including pitch-scale families, derivative and modal scales through circular pitch and interval permutation, and the creation of partial scales through either pitch-unit or interval subset selection.
• The final episode is Part 3 (26:19). In this tutorial we discuss the primary axis of a melodic continuity, the four possible axis-relations (for constant or changing tonality and modality), and the three techniques for melodic modulation. All episodes (Part 1 was published in September 2020 >>) contain application examples.

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November 2020: Two Bars, I Owe You Two Chocolate Bars

On the YouTube channel watch the music video of a new piece:

• The composition 'Two Bars, I Owe You Two Chocolate Bars' (6:10) for band and orchestra has bridge form ABCBA, with lively A-sections featuring guitars, slow B-sections in 4/4 and 3/4 meter and a more orchestral texture, and the agitato middle section. The harmony combines regular chord changes with pantriadic phrases and polychords. This video contains an annotated reduced score with audio rendering. For more information and the full score go to Two Bars,... information page >>

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October 2020: Model-based Virtual Brass Instrument Comparison

In my quest for model-based virtual brass instruments I published more comparison videos on my YouTube channel:

• Solo trumpet video, Audio Modeling SWAM Brass 1.5.1 vs. Sample Modeling Trumpet V3: A Comparison (8:59). This video compares the classical music trumpet sound of the Audio Modeling SWAM Solo Brass Bundle (V1.5.1, rel. August 2020) with the Sample Modeling Trumpet V3 instrument plugin. Examples are performed with an AKAI EWI 5000 wind controller: Ravel, Ferling.
• French Horn (Horn in F) video, Audio Modeling SWAM Brass 1.5.1 vs. Sample Modeling Horn in F V3: A Comparison (8:09). Same approach as in the video on the solo trumpet. Classical music examples (symphonic repertoire themes and etudes) from Brahms, Tchaikovsky, Strawinsky, Ferling.
• Tenor Trombone video, Audio Modeling SWAM Brass 1.5.1 vs. Sample Modeling Trombone V3: A Comparison (11:27). Same approach as for the solo trumpet. Classical music examples (symphonic repertoire themes and etudes) from Mozart, Wagner, Karg-Elert.
• Tuba (Contrabass Tuba) video, Audio Modeling SWAM Brass 1.5.1 vs. Sample Modeling Tuba V3: A Comparison (7:50). Same approach as for the solo trumpet. Classical music examples (symphonic repertoire themes and etudes) from Wagner, Strawinsky, Karg-Elert.

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September 2020: Schillinger's Theory of Pitch-Scales

Here are some video tutorial tips:

• In the Schillinger System of Musical Composition, Book 2 is about pitch-scales. Watch the video tutorial Schillinger's Theory of Pitch-Scales: First Group Part 1 and learn about the characteristics of single root scales with a one-octave range limit. The Schillinger generalization approach shows all options when combining interval-units, how to create a melodic continuity, the synchronisation with a rhythm pattern, and the tetrachord framework for diatonic 7-pitch scales. You'll also find three application examples.
• If, like me, you like to design your own presets for the ARP 2600 V3 software synthesizer in the Arturia V Collection then on this YouTube channel you will find a great set of tutorials: One Man And His Songs. These are essential companion material to the limited documentation in the Arturia manual.

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August 2020: The Retrograde-Inversion Chain

The Retrograde-Inversion Chain (RICH) is a transformation in the pitch domain, that creates a longer melody from a short ordered note series motif. There's a tutorial on this subject on my YouTube channel:

• Watch the video tutorial on the RICH Transformation, entitled The Retrograde-Inversion Chain: "If I were a RICH man!" It discusses RICH fundamentals, properties and application. After presenting a number of classical music examples in great detail this technique is applied to the creation of three melodic phrases and three (modulating) transitions.
• Visit the companion HTML page, with an overview of the subject and a link to a Retrograde-Inversion Chain PDF booklet at Retrograde-Inversion Chain introduction page >>

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July 2020: Longer chord progressions with Riemannian Transformations

There is fresh content on the website and on my YouTube channel:

• You may watch the final tutorial on Neo-Riemannian Theory, an episode called Riemannian Transformations: Part 4 The Long and Winding Tonnetz Threads (20:17). It presents two longer chord progression examples in the Tonnetz diagram, with multiple Riemannian transformation types and Schillinger diatonic and symmetric harmony system root cycles. Applying Instrumental Forms, these progressions have been developed into composition examples. This tutorial is in the Music Composition Techniques playlist.
• Viewers of earlier episodes have requested template Tonnetz diagrams that can be used in the design of chord progressions. Therefore I've created a companion HTML page, with an overview of the subject and links to the template PDF diagrams and tutorials. I will add more content here, such as the complete and condensed score examples from the video tutorials. Visit the Tonnetz Diagram and Neo-Riemannian Theory page >>

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June 2020: Spitfire Audio Westworld Scoring Competition 2020

• For the Spitfire Audio Westworld Scoring Competition 2020 the assignment was to rescore the car chase scene in Episode 5, HBO Westworld Season 3. My entry is a score with a combination of virtual orchestral and electronic instruments. Watch this cue, called 'The Rough Lady Rides Again' (4:20). Below are some production details.
• The source material was sketched on paper. I created the Midi mockup in Steinberg Cubase 10, synchronising the score with the hitpoint markers in the video. Each day I created a fresh project copy, since files may get corrupted and refuse to open (which happened indeed). The orchestral instruments (woodwinds, brass and strings) were loaded as three instances in Vienna Ensemble Pro 7. The audio mixdown was combined with the video and original sound in ScreenFlow, then uploaded to my YouTube channel.
• Also I created a full orchestral score in Steinberg Dorico 3.1. The score was prepared in Cubase, quantizing Midi events, setting up staff presets, and exporting as MusicXML. However, the Horns in F parts were corrupted upon import in Dorico, somehow caused by the staff preset settings. Since I could not identify the cause, I used the workaround by first importing into MakeMusic Finale (no errors here) and export the score from there. Tempo track and video marker transfer from Cubase to Dorico went smooth.
• For more information, such as instrumentation details and the full PDF score, visit the 'The Rough Lady Rides Again' documentation page >>

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May 2020: Third order compound Riemannian Transformations

Watch the new episode on the YouTube channel:

• The tutorial series on Riemannian Transformations has been extended. In the episode Riemannian Transformations: Part 3 "Order, order, order!" (26:08) the focus is on 3rd order compound Riemannian transformations. These paths with 3 moves (combinations of the simple P, R and L transformations) in the Tonnetz diagram yield 6 options for a major or minor triad. The options are classified using the corresponding Schillinger diatonic and symmetric system root cycle patterns. Application is demonstrated in two chord progressions and example compositions. I will probably publish full scores later (see below). This tutorial is in the Music Composition Techniques playlist.
• Preparing the graphics for this month's episode I had a not so great time when exporting a MusicXML score from Logic Pro X and then seeing the resulting raw score in the Steinberg Dorico 3.1 music notation software. I am still learning the latter program, but was forced to spend hours on creating a decent full orchestral score and then convert this to a reduced score for the YouTube video. The problem lies in the source file, that has the two cues in 4/4 and 9/8 as a single project file. Instrument names were not transferred (I love the 20 or so Grand Pianos), and Midi regions were all over the place, with numerous redundant clefs and time signature signposts (see the piece of abstract art in the image below). So I had to play the detective in order to reconstruct the score as separate Flows in Dorico. I will do some experimentation next month and then publish a detailed workflow report on this website, with hopefully a more positive outcome (read about similar struggles in July 2019 >>)

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April 2020: Riemannian Transformations and SWAM Solo Brass testing

There is additional content on the YouTube channel:

• Watch the application of Riemannian Transformations, the 2nd episode in a series of video tutorials. In Riemannian Transformations: Part 2 Five Paths to Domination (18:06) the simple and compound Riemannian transformations are applied to a Schillinger Dominant Pedal Point chord progression framework. Paths through the Tonnetz diagram are illustrated with short orchestral examples. This tutorial is in the Music Composition Techniques playlist.
• I am a strong believer in the potential of modeled virtual instruments, such as those in the Sample Modeling Brass and Solo and Ensemble Strings, and the Audio Modeling SWAM Woodwinds and SWAM Solo Strings collections. At the end of February 2020 the latter company released the SWAM Solo Brass bundle. So I took my Akai EWI 5000 wind controller in order to test and compare these modeled instruments with the Spitfire Audio Symphonic Library samples. In two videos you'll find the performance results of examples for solo brass and brass ensemble from the classical music repertoire. These videos may help evaluate the current potential of these instruments. Click on the links or images: Comparing the Audio Modeling, Spitfire Audio Symphonic and Sample Modeling Brass Sections (12:23), and Wind Controller playing Audio Modeling and Sample Modeling virtual solo brass instruments (15:10).

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March 2020: Neo-Riemannian Theory and Arturia V Collection Midi Mapping

The additional content on this website and on the YouTube channel is:

• In case you would like to get an introduction to or learn about how to apply Neo-Riemannian Theory watch the first episode in a new series of YouTube video tutorials. The episode Riemannian Transformations: Part 1 Schillinger Caught in the Tonnetz (26:59) presents the 3 elementary transformations (Parallel, Relative and Leading-tone exchange) and the compound transformations (PL, LP, PR, RP). Each of these is shown for major and minor triads in the Tonnetz diagram and staff notation. Transformations are interpreted in terms of the equivalent Schillinger Symmetric Harmony System Root Cycle, and demonstrated with a very short musical application example. This tutorial is in the Music Composition Techniques playlist.
• If, like me, you create music with the Arturia V Collection and you want to design and implement Midi controllers for these virtual instruments, you might be interested in the overview of the Default Midi Controller Configuration. I created an overview table in PDF format that shows the Midi CC mapping for all synthesizers, samplers and other keyboard instruments in the collection. For a link to the table and an analysis of the results, visit the page Arturia V Collection Default Midi Controller Configuration.
• There is a fairly recent reference to my Film Music Tempo Calculator, which finds the best BPM fit for a fixed tempo cue with multiple hit points. Read the article on Finding the Perfect Tempo for a Film Score on the DIY Film Composer Website (published September 4, 2018). For more information and using the tool go to the Film Music Tempo Calculation Tool >>

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February 2020: Twelvetone triads with modal triad polychords, Part 3

The YouTube series on Twelvetone Triads and Hexachords is complete with Episode 3.

• Watch the 3rd tutorial about Twelvetone Triads in the Music Composition Techniques playlist. In Twelvetone Triads and Hexachords: Part 3, Modal Triad Polychords (23:25) we study twelvetone triad sets from combinations of regular triads in 3rds (major, minor, diminished,) and modal trichords (sus2, sus4, Lydian and Phrygian trichord). This video presents 4 modal triad sets with an analysis of hexachord combinations and polychord voicing in terms of Pitch-Class Sets and chord tension level classification. These triad sets are applied in music composition through juxtaposition of hexachord combinations and polychord permutations, transposition with pivot chords and overlapping pitches, variable density and strata harmony, and combining different diatonic and atonal harmony systems.
• Another major job on the YouTube channel was to provide all Music Composition and Arranging Technique tutorials with Timestamp Links in the description. Now watching parts of a video or specific techniques and examples will be much easier; no need for fast forward, rewind and endless search. This will improve the viewer experience.

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January 2020: Twelvetone triads with regular triad polychords, Part 2

New video tutorial on the YouTube channel and new SoundCloud audio demo.

• The 2nd video tutorial about Twelvetone Triads has been added to the Music Composition Techniques playlist. The episode Twelvetone Triads and Hexachords: Part 2, Regular Triad Polychords (28:54) discusses the options for creating twelvetone triad sets from regular triads in thirds, i.e., the major, minor, augmented and diminished triad. For each 12-tone triad set the hexachord combination properties and polychord stacking permutations are analysed in terms of corresponding Pitch-Class set, Interval-Class Vector, Hindemith chord group and Ulehla tension level. You'll find example chord progressions and application of Instrumental Forms in short composition examples in various styles.
• The piece 'Chasing da Capo' (3:04) is a 128 BPM chase music cue for orchestra and electronic instruments (synths, electric guitar). Extensive use of the Z-related all-interval Pitch-Class sets 4-Z15 and 4-Z29. Obligatory staccato strings, piano and low string runs, and brass stabs included. Sample Modeling strings and brass, Audio Modeling woodwinds, Ample Sound guitar, NI Grandeur piano, Cubase synths. This is the first result of my Cubase 10 relearning effort.

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December 2019: Tutorial about composing with 12-tone triads and Arranging Technique video series completed

New composition and arranging technique videos on the YouTube channel.

• In the Music Composition Techniques playlist I started a tutorial series about composing with 12-tone triads, that is, sets of four triads that together cover all chromatic pitch-classes. The first episode is called Twelvetone Triads and Hexachords: Part 1 Polychord Structures and Properties (24:12) and discusses the pairwise combination of triads into hexachords. These have a corresponding Pitch-Class Set prime form label and a Hindemith Chord Group classification. Triad pairs are stacked as polychords with a Ulehla Chord Tension Level, depending on the dissonance distribution over the chord structure. The video contains polychord voicing, chord progression and two composition examples.
• The Arranging Techniques video tutorial series for 2019 has been completed with Episodes 19 and 20 about writing Percussive Ensemble phrases for a jazz big band. The final episodes focus on chordal function assignment in percussive big band tutti phrases over the saxophone, trumpet and trombone section. Watch: Ensemble Techniques [6/6]: Percussive Voicing for Full Big Band Part 2 (15:51). Ensemble Techniques [5/6]: Percussive Voicing for Full Big Band Part 1 (12:09). You'll find these episodes in the Arranging Techniques playlist. This tutorial series is companion material to the book "Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging, 3rd Edition."

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November 2019: Arranging video tutorial and a new composition

New content on the YouTube channel, a fresh composition for big band and more music software 'surprises'.

• In the Ensemble Techniques tutorial series we focus once more on percussive tutti settings with Episode [4/6] Rhythmic Background for Brass Section (13;24). You'll find the episode with a set of brass section example voicings in various registers in the Arranging Techniques playlist. This series is companion material to the book "Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging, 3rd Edition."
• The composition 'Route l'amour perdu' is a moderate tempo piece for big band in contemporary jazz style. It has the saxophone section doubling on woodwinds, various brass mutes, contemporary harmonies (bitonal, polychord, cluster voicings) and features the keyboard player (piano, synth), lead trombone and 2nd trumpet. There's a full score in PDF format, an audio demo on SoundCloud and a YouTube movie with production details and road travel imagery. Read more >>
• Creating the audio demo for my new big band composition generated additional music software surprises (see the previous months).
  • I prepared a big band template in Logic Pro X 10.4.4 (LPX) with all instruments loaded in a Vienna Ensemble Pro 6 (VEP6) project (5 instances). I defined Articulation Sets for the SWAM Woodwinds and Saxes, and Sample Modeling Brass. Unfortunately, including brass mutes (CC100) in such sets prevents the use of CC100 in LPX Automation Lanes. So I removed those and used Note-on Keyswitches only. The next surprise was the default selection of the first articulation until there is a note with articulation specified. This makes these sets impractical for control of SM Brass special playing techniques. Bug for Brass!
  • After weeks of template development, testing, and Midi programming, another stroke of bad luck happened when finally bouncing the composition to stereo out in LPX Offline bouncing mode. This triggered random hanging brass notes, most often in tutti sections. Never happened with the familiar LPX Track Stack approach, but now my racehorse MacBook Pro 2018 could not cope for mysterious reasons. The Midi data flow in this setup is rather complex: LPX Midi -> VEP6 server plugin -> VEP instance -> Midi Port -> Midi Channel -> Instrument. There are continuous flows of CC1, 11, 19, 26, 27 and Pitchbend data for more realism. Could be Midi data overload; I gave up after 2 hours of detective work. The workaround is Realtime Bouncing. Since reading threads on Logic Pro Help (logicprohelp.com) and VI-Control (vi-control.net) it is clear that I am not the only person having gone down this rabbit hole. Thank you, Apple, for yet another amazing experience.

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October 2019: Arranging video tutorials 'Ensemble Techniques'

New content on the YouTube channel and an update on my music software struggles.

• I started working on the Ensemble Techniques tutorial series in the Arranging Techniques playlist. Three episodes have been finished: Episode [1/6] Distribution of 4-Part Sectional Harmony (14:26), Episode [2/6] Brass Section Voicing for Extended Chords (16:15), and Episode [3/6] Percussive Brass Voicings (9:04). Watch examples with part distribution of sectional harmony settings and extended chords over the saxophone, trumpet and trombone section.
• In the September 2019 news I wrote about the incorrect rendering of chromatic pitches when exporting from Logic Pro X (LPX) 10.4.4 as MusicXML and then importing into Finale 25 (Fin). Well, I found another workaround, doing a basic test with a quarter note chromatic scale. The key signature in LPX is C Major. The Finale import shows correct durations, but pitches are displayed as diatonic: c-c-d-e-e-f-f-g-a-a-b-b. The solution was to open the Key Signature tool window, set the key to C Major and tick the box for Hold Notes to Original Pitches [Enharmonically]! Then the flat/sharp alteration symbols will appear. So apparently the key signature export in LPX (my suspect) somehow confuses Finale. I will not delve into the MusicXML standard, and investigate further. Instead, I find it ridiculous to even have to do such a basic test with 2019 professional music software.
• I investigated sound design for the unique Buchla Easel V synthesizer from the Arturia V Collection of virtual instruments. In order to minimize computer mouse RSI risk, I designed an iPad Lemur Midi Controller with the default Buchla Midi CC number configuration. Testing this controller revealed peculiar behaviour of the 7 rotary knobs on the Buchla GUI. Some of them respond linearly to Midi CC input (as expected), but others have a sigmoid response curve (no change at extreme controller values, strong changes in the range 55-75). This occurs for both the standalone and the AU/VST plugin versions. After another period of extensive error checking and testing of this established product with numerous users, I reported the problem to Arturia. They will correct this response behaviour. There's never a dull moment in music software usage.

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September 2019: Video tutorial 'Harmony Dissonance Control with Ulehla Chord Tension Level'

New content on my YouTube channel and fresh music software woes.

• In her book on contemporary harmony Ludmila Ulehla discusses dissonance control and proposes a chord tension level scheme. In the Music Composition Techniques playlist I've prepared a video tutorial with chord structure examples for all nine tension levels and a mapping on the six Hindemith chord groups. Watch Harmony Dissonance Control: Ulehla Chord Tension Level and Hindemith Chord Groups (29:40). Tension control is demonstrated in Schillinger chord progressions, discussing root movement, tension curve, voice leading and dissonant chordal function handling. Two of these progressions are used in musical composition examples.
• Over the past month I experienced more music software woes. In the search for a better workflow I turned to the 2018 MacBook Pro with Logic Pro X (LPX) 10.4.4 installed, the most stable version before the disastrous 10.4.5 release and the 10.4.6 quick-fix follow-up. Music notation is done with Finale 25 (Fin25), the same version as on the MacPro 2009 workhorse. Preparing the YouTube video tutorial about the Ulehla chord tension classification scheme I exported MusicXML scores from LPX. Importing this format into Fin25 is reliable on the MacPro with LPX 10.3.2, but now there was another big surprise. Importing MusicXML from LPX 10.4.4 made all accidentals disappear! So I had to spend hours on switching between LPX and Fin25 to meticulously inspect each part and correct accidentals. Fortunately the composition examples were less than 30 measures long. Imagine this disaster for an extended composition. After an online search I found a limited solution in a 2018 forum post. The culprit software could not be pinpointed but the workaround is to use the Fin25 Midi/Audio > Retranscribe command. This restores the accidentals, but obviously may ruin the note durations, depending on the Quantization Settings. Well, I stick with the estimate that I spend about half of my time on repairing operating system and software installation problems and identifying application bug workarounds, instead of being creative.
• After reporting a non-working controller object naming issue to Arturia a while ago (see May 2019), with the release of the Midi Control Center V 1.9.1 software one may finally start to use the Arturia KeyLab 61 Mk2 as a generic Midi CC controller. Oh, and I had the audacity to report my first Logic Pro bug to Apple. Feels like telling God that His Creation is not perfect. Probably I will be banned to music software hell forever.

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August 2019: Video tutorial series on 5-part Sectional Harmony

New video tutorials for my YouTube channel and workflow optimisation update.

• The Sectional Harmony in Five Parts tutorial series in the Arranging Techniques playlist consists of three episodes: Episode [1/3] Extended 4-Part Sectional Harmony (7:16), Episode [2/3] Chords in Fourths (8:23), and Episode [3/3] Combining Techniques (6:34). In general this arranging technique yields a more modern idiom in jazz, studio and pop orchestra writing. In each episode find annotated score and audio examples, discussing voicing aspects and playing the full section plus the individual parts. This is companion material to the book "Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging, 3rd Edition."
• Last month I wrote about my disappointing software experience when creating video tutorials and the efforts at workflow optimisation. There was most useful and friendly reader feedback, sharing similar frustration and with suggestions for improvement. This encouraged me to do a fresh test, linking the Finale music notation software as a ReWire slave to the Logic Pro X (LPX) DAW master. I had tried several approaches in October 2017, which were supposed to work, but always turned out erratic when applied to a realistic example composition. After verifying up-to-date software installation, I ran an orchestral test scenario. This time both programs stayed in sync (playhead position), while editing the tempo track in Logic. I tested tempo steps, linear gradients and curves (acc., rit.). Then I confirmed that ScreenFlow captured the Finale movie and Logic audio simultaneously. So there may be light at the end of the tunnel, and I no longer have to present fixed tempo examples only.
• Another optimisation step is the combination of Finale, Logic or Cubase 10 (CB10) as Midi source with sample library and virtual instrument audio playback from multiple Vienna Ensemble Pro (VEP) instances. In order to create a fresh Logic orchestral template, that sends to Midi Multiports on the VEP server I used the LPX and VEP connection approach presented by media composer Alex Cap on his YouTube channel. A great time saver that works flawlessly. (I am aware of the Multiport option as part of the AU3 standard; that will affect future setups.) This also required lots of learning, testing, creating multi-instruments in Native Instruments Kontakt, developing instances in VEP with balanced multichannel stereo output and some local audio FX processing. Currently I am tuning the template. Another most laborious job was writing down all instrument Midi key ranges, key switches and controller numbers. I need those to implement Articulation ID sets in LPX and Expression Maps in CB10 in the near future.

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July 2019: More Youtube tutorials and workflow optimisation search

Producing video tutorials for my YouTube channel has its ups and downs:

• The Sectional Harmony in Four Parts tutorial series in the Arranging Techniques playlist is completed with Episode [11]: Combining Techniques (7:34). Various techniques are illustrated in a swing jazz/blues example, serving as companion material for the book "Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging, 3rd Edition." Next there will be a series on 5-part sectional harmony.
• Also the 2-episode series on Hybrid Four-Part Harmony is completed. Watch Schillinger Hybrid Four-Part Harmony: Chord Progressions and Examples, Part 2 (23:36). There are more examples of writing progressions with higher tension, extended chords in the diatonic and symmetric harmony systems. Voice leading aspects are demonstrated with alternative transformations and the use of parallelism when connecting chords. You will find this movie in the Music Composition Techniques playlist.
• Publishing these YT video tutorials involves considerable reviewing. In fact, the many revisions take too much of my time. Some of these errors are mine, but poor software quality and reliability is maddening. Believe me, I have sufficient software user and programming mileage, I do read manuals and consult online information. Here are a few of my worst experiences:
  • Although I am an experienced user of and admire the flexibility in the Finale music notation software, the audio rendering is horrible and too complicated. Set-up for good quality sample playback is a disaster. In user forums, one reads regular complaints about output volume differences for various libraries (where is the clarinet, can't hear the snare drum, Kontakt player not selected, etc.).
  • Anything about the Schillinger System of Musical Composition meets controversy. I am not a blind follower, but when identifying a useful technique I like to illustrate its potential and hopefully inspire viewers with a realistic and well-produced composition example. For that I use Logic, combined with Finale movies of condensed, annotated scores. However, transferring Midi or MusicXML between these programs is another source of frustration. Notwithstanding the key and tempo indications, the note alterations, even simple things such as Midi pitches get messed up, and I tediously have to check every part and region for errors. I tested Tempo Map copying, but each time using the procedure in a composition example with realistic tempo alterations, it ends up a horrible experience. Human Playback in Finale is a source of misery, tempo editing too cumbersome. So then the playhead cursor in my Finale movies is out of sync with the Logic audio export. That's the reason why my short compositions always have fixed tempo.
  • The video tutorials are created with ScreenFlow, a piece of software I first embraced with great enthousiasm. But, being quite a perfectionist, I prefer to edit the geometry of figure, movie and animation objects in the appropriate number value fields. That's another killer, since e.g. pressing Escape inevitably leads to error reporting. I need system audio capturing with my Finale chord progression movies (rendered with Spitfire Audio Symphonic String Ensemble samples). Well in almost 50% of cases there is an audio error (clicks, noise bursts) and I have to redo them. Requires careful listening and keep fingers crossed. One software update completely killed system audio capturing (on the old Mac Pro workhorse) and I had to re-install an earlier version. Timeline operations (moving, cutting, etc.) and the addition of annotations (arrows, lines, rectangle in the right colour and line thickness) need maximum concentration. Always manages to raise my aggression level considerably.
  So, occasionally I definitely feel like giving up. Before you get to watch these videos I on average have produced them in 2 to 3 revisions, and by the time I record the voiceover I am fed up. That's why I am currently investigating workflow alternatives. After a long pause I am re-learning the Cubase Pro 10 DAW, and will also start experimenting with Dorico music notation, hoping for a better exchange. My issues with ScreenFlow I will consider later. Sorry for venting these frustrations, but my experience may alert other music video tutorial producers. Maybe there will be responses with a few tips for workflow improvement. I might describe my workflow and bundle best practices in a separate webpage. Well, summer holiday season is near.

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June 2019: Composition and Arranging Technique movies

There's a set of new video tutorials on the YouTube Channel :

• Watch Schillinger Hybrid Four-Part Harmony: Chord Structures, Progressions and Examples, Part 1 (24:03). In the diatonic and symmetric harmony system series of higher tension and extended chords can be used when writing hybrid four-part harmony chord progressions. With this technique from the Schillinger System of Musical Composition, one may connect triads, sevenths, ninths, elevenths and thirteenth chords. Use the two-layer approach with root in the bass and 3-part upper chordal functions. Strict voice leading requirements are removed. This tutorial presents the fundamentals, the possible chord structures, progressions and examples. You will find this movie in the Music Composition Techniques playlist.
• In the Arranging Techniques playlist, presenting audio companion material for the book "Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging, 3rd Edition," there are two new episodes on Sectional Harmony in Four Parts: [9] Eliminating Repeated Notes (5:42), and [10] Extended and Altered Dominant Chord (7:34). This 11-episode series is nearing completion. Each episode presents detailed examples, with audio fragments of individual parts and the full section.

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May 2019: Arranging Technique movies and software debugging

• In the YouTube Channel Arranging Techniques playlist, with audio companion material for the book "Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging, 3rd Edition," there are two new episodes on Sectional Harmony in Four Parts: [6] The Subdominant Chord (3:53), and [7] Diatonic Parallel Chords (4:14). Listen to audio demos of individual parts and the full section.
• Considerable time was spent on software debugging. As you may know I am a frequent user of the Liine Lemur app on the iPad, a most useful Midi/OSC controller design tool. I created many controller interfaces for software instruments and sample libraries. It has some quirks though, and last month I tried the Arturia KeyLab 61 Mk2 and the V Collection 6 set of virtual instruments. The keyboard has physical controls (knobs, faders, push buttons, keypads). The Midi Control Center application allows controller configuration design with user Midi CC mappings, and uploading to the 10 user memory slots on the keyboard. However, I failed at designing multiple templates in parallel. This turned out to be a software error in the unique naming of the controller elements. Took me while, performing test scenarios and pinpointing the error, including creating a movie that demonstrates the problem. Glad I could help the Arturia company improving their products. The virtual instruments collection is impressive, and I took my first steps at learning sound design in the Modular V3. Why? Well, because it brings back memories of my keyboard idol Keith Emerson, freaking out at the impressive control panels of his miracle Moog synthesizer. Only recently I learned that the oscilloscope on the top right of his rig was a fake. But why blame a good show-off?
• While editing some HTML pages I corrupted the Pitch-Class Set analysis GUI tool. The Analyse Set button was inactive for about a week, a problem kindly reported by an attentive user. I apologise to all users that may have been affected by this inconvenience.

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April 2019: YouTube Music Composition and Arranging Techniques movies

There's new content on my YouTube video channel:

• In February 2019 I created the Arranging Techniques playlist, presenting audio companion material for the book "Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging, 3rd Edition." Last month I added two more episodes on Sectional Harmony in Four Parts: [4] The Exact Parallel Chord (4:58), [5] The Minor 7th Chord (5:07).
• Watch Harmony Tension Level Control: Schillinger, Hindemith and Pitch-Class Sets, Part 5 (25:33). This is the final episode in the series. After classifying PC-Sets with the Hindemith six chord groups scheme, these can be used in Schillinger Diatonic-Symmetric Harmony. Write modern harmony chord progressions with tension and dissonance level control. Part 5 discusses leading tone identification in chords with tritone intervals, the interval quality of the root movement in chord connections, balancing the outer parts, and extended tonality in cadences and longer progressions. The principles are demonstrated in chord progression and composition examples. You will find this movie in the Music Composition Techniques playlist.
• There's a short composition Aiba Kiln: Folk Tune from Brexitania for Small Orchestra (3:19). This orchestral piece with folk music character has a main melody with statements for solo trumpet, flute and solo violin. There are backgrounds for sustained strings and set as brass chorale, and a bridge section for electric guitar, electric piano and synthesizers with melodic fragments in imitation. The movie shows an annotated score.
• Read more about these and other YouTube videos. Descriptions and links.

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March 2019: YouTube Arranging Techniques playlist started

New content on my YouTube video channel:

• The book "Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging, 3rd Edition" encourages readers to play or enter the score examples with a keyboard. However, there have been requests for audio examples. Therefore I created the playlist Arranging Techniques, which now contains the first episodes on Sectional Harmony in Four Parts: [1] The Secondary Dominant Chord (4:54), [2] The Leading Tone Chord (3:24). [3] The Substitute Chord (6:10).
• Harmony Tension Level Control: Schillinger, Hindemith and Pitch-Class Sets, Part 4 (15:57). Another look at PC-Sets, to be used in the Schillinger Diatonic-Symmetric harmony system after mapping on the Hindemith chord classification scheme. For various 6-element sets there are example voicings. Two examples, one for orchestra, the other for wind quintet, will be derived from chord progressions with these sets. You will find this movie in the Music Composition Techniques playlist.

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February 2019: Schillinger, Hindemith and Pitch-Class Sets, Part 3

Watch the YouTube video tutorial:

• Harmony Tension Level Control: Schillinger, Hindemith and Pitch-Class Sets, Part 3 (22:30). Use Pitch-Class Sets in Schillinger Diatonic-Symmetric Harmony after Hindemith Chord Group Classification. Control the harmony tension level in an extended tonality chord progression. The importance of the chord root and vertical dissonance distribution in the voicing. Fundamentals and examples. Part 3, 5-Element Sets. You will find this movie in the Music Composition Techniques playlist.

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January 2019: New document, YouTube channel subscribers and videos

New content:

• YouTube Channel 500 Subscribers (2:20). Milestone reached on December 24, 2018. Thanks for the views and subscriptions. Plans for next year, help this channel to grow. Happy New Year!
• Harmony Tension Level Control: Schillinger, Hindemith and Pitch-Class Sets, Part 2 Tetrachords (24:10). Merge Schillinger Diatonic-Symmetric Harmony with the classification of all possible Pitch-Class Sets using Hindemith’s Chord Groups. Harmony tension control within a chord progression with an expanded pool of structures, including 28 4-element PC Sets. Fundamentals, three progressions and three orchestral examples. You will find this movie in the Music Composition Techniques playlist.
• Guitar Harmonics: An Overview in Diagram. The natural harmonics of the 6-string guitar. The mechanism for generating natural harmonics on a fretted string. Guitar natural harmonics in standard tuning, and in ascending pitch order. Mechanism for generating artificial harmonics. Minimum fair price: € 3. (4 pp., 198 kb, December 2018). This is a new addition to the Document Library.
• ADAM Audio Soundtrack Competition 2018 (0:30). My competition entry. Soundtrack to the photo by Tobias Zielony, The Opening (2005). Orchestral-electronic texture. Two phrases of atonal music, based on sets of 12-tone triads.

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December 2018: Schillinger System Diatonic-Symmetric Harmony: The Bass Part

Watch the YouTube video tutorial:

• Schillinger System Diatonic-Symmetric Harmony: The Bass Part (22:20). This Schillinger harmony type by definition combines diatonic roots with independent chord structures. This normally yields a diatonic bass part, except when using the chord groups G6, G64, or a special case of chord inversion. This tutorial demonstrates these principles and the best approach to a bass part with altered notes. You will find this movie in the Music Composition Techniques playlist.

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November 2018: Harmony Tension Level Control Video Tutorial and New Composition

New content:

• Harmony Tension Level Control: Schillinger, Hindemith and Pitch-Class Sets, Part 1 Triads (27:38). Control the tension level curve in a chord progression, using the Schillinger Diatonic-Symmetric Harmony System, the chord classification scheme by Paul Hindemith and a Pitch-Class Set interval vector mapping. This episode shows the fundamentals for triads, presents three chord progressions and one orchestral music cue example. You will find it in the Music Composition Techniques playlist.
• Redo Or Undo Last Action >> is a composition for electric guitar and string orchestra. It is a tribute to a foreign friend who passed away recently. The piece was written after an extended period of computer stress, during which not only precious files were lost. (On this page there is a description of the piece, plus links to the PDF full score and the Soundcloud audio). The piece is also on YouTube: Audio and the making of 'Redo Or Undo Last Action' (9:32)

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September 2018: Dissonant Chords in the Schillinger Diatonic Harmony System: An Overview

Watch the YouTube video tutorial:

• Dissonant Chords in the Schillinger Diatonic Harmony System: An Overview (27:37). This episode summarizes the essentials from the separate tutorials on the Seventh, Ninth and Eleventh Chord. Aspects discussed are chord structure and position, preparation and resolution of the dissonant 7th, 9th and 11th, and root cycles. Two new example diatonic chord progressions are presented in detail. You will find these movies in the Music Composition Techniques playlist.

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August 2018: The Eleventh Chord in Diatonic Harmony video tutorial

Watch the YouTube video tutorial:

• The Eleventh Chord in the Schillinger Diatonic Harmony System (26:01). The 11th chord in diatonic harmony has three dissonant chordal functions 7, 9, and 11, that require preparation and resolution through careful voice leading. This tutorial discusses the S₁₁ chord structure and position, and dissonance preparation and resolution techniques through suspensions, descending and ascending stepwise motion. Usage of the 11th chord is demonstrated with chord progressions and an up-tempo rock music example. You will find these movies in the Music Composition Techniques playlist.

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July 2018: The Siege of Lemongrad

Last month I saw the movie The Death of Stalin (director: Armando Iannucci) with the wonderful score by Christopher Willis. The music is in period style, with a socialist realism idiom. At first I thought that the score was a compilation of musical quotes with new transitions. But then in an interview I read that Willis had spent months studying scores to identify the Shostakovich and Prokofiev style elements, before coming up with his amazing original score for large orchestra.

So I decided on a homework assignment and see how far I could get spending significantly less time over a period of weeks. I reread the Dover score of the Shostakovich symphonies No. 1 and 5, listing typical style elements. Then I spent a couple of days sketching a piece as a condensed score. After that I wrote the full score for symphony orchestra in Finale (find it in the composition list on this site), before moving to Logic Pro for a Midi mockup. As usual, creating a more or less realistic synthetic orchestra is a labour-intensive process, especially on my old 12 Gb Mac Pro. For pragmatic reasons, I limited myself to the Spitfire Symphonic Library, bounced regions with specific instrument articulations to audio, then did the mix.

In the YouTube video, there is the audio mixdown, with an annotated condensed score and cartoonesque graphics, telling a mockery story about the fictitious Siege of Lemongrad. I hope you'll enjoy watching this experiment. Happy summer holidays 2018!

• The Siege Of Lemongrad movie (7:46)
• For details see The Siege of Lemongrad Description page >>

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June 2018: Reusing Compositional Elements From the Tristan Act 3 Prelude

New content:

• Reusing compositional elements from Richard Wagner's opera 'Tristan und Isolde', Act 3 Prelude (20:25). Analysis of this slow introduction music reveals a multilevel ternary form, plus a number of harmonic, melodic, and instrumentation elements. These are used to create new, contemporary idiom example compositions. You will find it in the Music Composition Techniques playlist.
• Composition: Gloomy Night in Drizzly Downtown >> (On this page there is a description of the piece, plus links to the PDF full score and the Soundcloud audio).

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May 2018: Composing with a Pitch-Class Set: the Orchestral Score for the 'Nika Albi' Trailer

There's a fresh YouTube video tutorial and new audio demos on SoundCloud:

• Composing with a Pitch-Class Set: the Orchestral Score for the 'Nika Albi' Trailer (12:25). PC-Set 5-Z17 (Allen Forte prime form numbering) is used as the unifying source in the atonal orchestral score for the Spitfire Audio Albion ONE 10th Anniversary trailer scoring competition. PC Set properties, derived chord structures and melody are demonstrated. Form and set application shown in an annotated condensed score. You will find it in the Music Composition Techniques playlist.
• New ambient and film music audio demos on SoundCloud. Here's the link:
• The EU General Data Protection Regulation (GDPR) takes effect from 25 May 2018. In compliance with the GDPR there is a statement that applies to the website and webshop. Read my GDPR Compliant Privacy Notice >>

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April 2018: Ninth Chords in Diatonic Harmony video tutorials

Watch the YouTube video tutorials about 'Ninth Chords in the Schillinger Diatonic Harmony System':

• Part 1: Fundamentals (21:02). Using the 9th chord in diatonic harmony requires careful treatment of the dissonant chordal functions 7 and 9. Part 1 presents the fundamentals: the S9 chord structure in root position, the stepwise descending resolution and the three preparation options.
• Part 2: Progressions (21:43). This episode discusses three diatonic chord progressions with the ninth chord S9, and a short piece of mood music. You will find these movies in the Music Composition Techniques playlist.
• Read more about these and other YouTube videos. Descriptions and links.

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February 2018: Euclidean Rhythm in Police Precinct Five movie

After reading the Godfried Toussaint 2017 paper I applied an Euclidean rhythm in a thrill music cue. This composition uses various rhythm and orchestral techniques. In the example there is a combination of fandango, Euclidean and cross-rhythm. A YouTube video discusses this piece in detail:

• Euclidean Rhythm in Police Precinct Five (13:51, YouTube). You will find it in the Music Composition Techniques playlist.

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January 2018: Two Videos and One Copyright Claim

I decided to participate in the January 2018 Spitfire Audio scoring competition. My entry is an orchestral score for the Albion ONE 10th Anniversary trailer movie. The short piece in atonal style is called 'Nika Albi' and here's the media: Albion ONE trailer movie with soundtrack >> | Description >> | PDF Full Score >>

Two videos were added to the YouTube channel and there is a disappointing start of 2018:

• Multilevel Harmonic Sequence and how the Valse Triste became a saddening experience (Modified Version) (14:30). The introduction to this waltz by Jean Sibelius contains harmonic sequences at the global and local level. At the turn of the year the copyright bug hit me. Through artificial intelligence software or a human reviewer from AdShare there was a copyright claim message, that forced me to edit the original video and upload a modified version with the story in the voiceover. Apparently my Midi mockup of a score fragment was of such outstanding quality that it triggered the alarm. The dispute is in process; please leave a comment.
  Multilevel Harmonic Sequence in the Introduction to the Valse Triste Op 44 by Jean Sibelius (Original version) (13:30). Update: The copyright claim was lifted by February 2018. So here is the link to the original video tutorial. You will find this episode in the Music Composition Techniques playlist.
• Modal Meetup between Persichetti and Schillinger: Composing with Modal Triads (21:50). Modal harmony derived from 7-pitch diatonic scales. Generalisation of root movement using the root cycle approach. Classification of modal triads as primary and secondary. Writing chord progressions in minor modes. Modification of the diminished triad. Example with a melodic and harmonic continuity in quasi-ancient, late Renaissance style. You will find it in the Music Composition Techniques playlist.
• Read more about these and other YouTube videos. Descriptions and links. Or,
  Go to my YouTube video channel >>

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December 2017: Lemur Script for Articulation Keyswitching and Drumpad Playing

A new YouTube video episode discusses a specific Midi controller Liine Lemur script:

• Liine Lemur Script for Articulation Keyswitch Selection and Drumpad Playing (13:41, YouTube). You will find it in the 'Website Musician Tools' playlist.
• New compositions. For a description and links to score and audio, see 'Reminiscing Our Unfathomable Liaison Amoureuse' >> (melancholic waltz for symphony orchestra), 'Police Precinct Five' >> (thrill music cue).
  Or go to the full List of Compositions >>
• There's a first set of audio demos on SoundCloud. Gradually, more audio content will be moved there. Here's the link:
• In the Document Library (Docs), there is a page about my experiences with the Liine Lemur Midi/OSC Controller software. Read more >>

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