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Video Tutorials about music composition, synthesizer sound design and programming on the Frans Absil YouTube channel

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Links to movies and video episodes in the following categories:

Composition Techniques: YouTube playlist.
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Composition aTechniques

The links below refer to the Music Composition Techniques playlist on my YouTube channel. Most subjects in these video tutorials are also covered in PDF articles and e-books on this website. The episode list is in reverse chronological order:

Orchestral Continuity from Melodic Form and Polychord Harmony (20:36).
In this music composition tutorial an orchestral continuity is created from two elements: melodic motifs and a polychord progression. A string of various melodic forms in various transformations yields the melodic continuity. The minor and major triad, two-layer polychords with opening contrary motion are used as standalone harmony or as a background for the melody phrases. The almost four-minute long full composition is in five sections that demonstrate melody variations and different instrumental forms.
Schillinger Chromatic Harmonization of a Chromatic Melody: Part 2 Orchestral Composition Example (23:58).
This is Episode 2 in a two-part series where you'll learn the Schillinger System approach to harmonising a chromatic melody with chromatic harmony, as discussed in Book 6 in his musical composition system. In Part 1 you'll see the fundamentals, an overview of the essential elements of the chromatic system of harmony and a demonstration of the two-step harmonization process. In Part 2 we will look at an example application: a four-minute orchestral composition based on the chromatic harmonization technique, and incorporates additional Schillinger techniques for writing music.
Schillinger Chromatic Harmonization of a Chromatic Melody: Part 1 The Fundamentals (21:11).
This is Episode 1 in a two-part series where you'll learn the Schillinger System approach to harmonising a chromatic melody with chromatic harmony, as discussed in Book 6 in his musical composition system. In Part 1 you'll see the fundamentals, an overview of the essential elements of the chromatic system of harmony and a demonstration of the two-step harmonization process. In Part 2 we will look at an example application: a four-minute orchestral composition based on the chromatic harmonization technique, and incorporates additional Schillinger techniques for writing music.
Schillinger Harmonization of a Diatonic Melody, Part 4/4 Symmetric Harmonization (31:32).
This is Part 4 in the series on Harmonization of a Diatonic Melody, as discussed in Book 6 (The Correlation of Harmony and Melody), Chapter 3 from the Schillinger System of Musical Composition. In the final episode you'll learn about the symmetric harmonization approach. The basic elements are extended chords in thirds from the S13 families. Choose a specific musical style and harmonise a melodic phrase with one or two such chords. This episode presents symmetric harmonization examples with four to seven part settings in various styles and we discuss the chord root selection, root movement, chord voicing ad voice leading.
Schillinger Harmonization of a Diatonic Melody, Part 3/4 Chromatic Harmonization (37:50).
This is Part 3 in a series on Harmonization of a Diatonic Melody, as discussed in Book 6 (The Correlation of Harmony and Melody), Chapter 3 from the Schillinger System of Musical Composition. This episode is about the chromatic harmonization approach. From the chromatic system of harmony we discuss essential elements, such as the single chromatic alteration operation, the parallel double operations, overlapping and coincidental chord groups. These techniques are demonstrated for the Part 1 diatonic melody opening measures. Then Part 2 diatonic harmonizations will be turned into chromatic harmony chord progressions in different keys and instrumental forms in various musical styles.
Schillinger Harmonization of a Diatonic Melody, Part2/4 Diatonic Harmonization (36:27).
This is Part 2 in a series on Harmonization of a Diatonic Melody, as discussed in Book 6 (The Correlation of Harmony and Melody), Chapter 3 from the Schillinger System of Musical Composition. We focus on the diatonic harmonization approach. Fundamental aspects, such as chord density, melody chordal functions and tension range, the selection of chord type, diatonic root cycles and voice leading are illustrated with ten short examples. Then five diatonic harmonizations of the full melody are shown as chord progressions in different modes and instrumental forms in various musical styles.
Schillinger Harmonization of a Diatonic Melody, Part 1/4 The Melody (20:55).
This is Part 1 in a series on Harmonization of a Diatonic Melody, as discussed in Book 6 (The Correlation of Harmony and Melody), Chapter 3 from the Schillinger System of Musical Composition. Three approaches can be used to write a chord progression for an existing melody: diatonic, chromatic and symmetric harmony. This episode is about the diatonic melody source material and various characteristics that affect the melodic quality are studied in detail. A subset of three example chord progressions and instrumental forms is presented at the end.
Ruminations on the Brian Eno arsehole chord: Alternative Voicings (20:31).
A conversation between musicians James Blake and Brian Eno triggered this episode on what the latter calls 'the arsehole chord'. This video discusses the chord structure: an incomplete extended chord in thirds, or, equivalently a form of tetrachord Pitch-Class Set 4-18. A voicing with an exposed open minor 9th interval yields a highly dissonant chord. Orchestration, timbre and register affect the perceived chord tension level. Alternatively close the minor 9th interval by inserting a new pitch-class and obtain extended chords in thirds, pentachord sets and two-layer polychords. These alternative voicing options are illustrated with short musical examples.
Polychords with Major and Minor Triads: Application Example (35:23).

The chapter on polychords from the Vincent Persichetti book on Twentieth Century Harmony is the basis for this video on composing music with S(6p) polychords with two triadic units (major/minor triads). From stacking combinations of two building blocks, a set of major triads with symmetrically distributed roots SMR_4i and two hexatonic triad pairs HTP we create two-layer polychord continuities. From these we derive melody, single layer options with chromatically ascending bass or pedal point, and other modifications. Various options are applied in an orchestral example composition with ternary form.
Strata Harmony with Polychords in Seconds: Combining Persichetti and Schillinger Part 1 (24:46) and Part 2 (18:45).

This is a two-part series on writing music with polychords, that is, stacked three-note chords in seconds as presented in the Vincent Persichetti book, and setting multi-layer chord continuities with a Schillinger System Strata Harmony approach. Use four trichord structures built from major and minor seconds, then stack these in two layers. Interpret polychord characteristics and properties in terms of the equivalent 3- to 6-element Pitch-Class Sets. Consider hexachord voicing and note doubling. Create chord continuities with polychords in seconds and apply strata harmony voice leading. The sketching process is demonstrated with five examples in different musical styles: woodwind trio chamber music, sectional harmony for saxophones or brass, string section background, and synthesizer texture.
Layered Hexachords: Combining PC-Set and Schillinger System Composition Techniques (33:59).

This example composition is used for a YouTube tutorial on sketching with hexachords using techniques from set theory and the Schillinger System of Musical Composition. Two pitch-class sets, 6-Z12 with maximum dissonance and 6-Z49 with maximum consonance are the building blocks. Harmony is based on subsets, such as major and minor triads, the 4-25, 4-26 and 4-27 tetrachords, and continuities with the hexachords in original and inverted form. The composition demonstrates voicing alternatives in variable density and strata harmony setting, pedal point, and progressions with chromatically moving middle parts. Melodic material is based on various expansions and melodic axes. Rhythm is partially based on a Euclidean rhythm rE(7,32). The instrumentation uses many synthesizers and a limited set of orchestral instruments.
Sketching with Schillinger: Orchestral Cue Part 4 Melodic Figuration (24:33).

The series 'Sketching with Schillinger' was created after receiving tutorial 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 'melodic cell' C-D-Eb. Part 4 brings together melody and harmony in the final section of the example orchestral composition. The closing main theme combines melodic and harmony aspects through the application of thematic melodic figuration with variable chordal functions. You'll see the return of other forms of melodic continuity within a strata harmony setting. The full 4-minute composition is played in Part 1. Part 2 has the details about the melodic elements, while in Part 3 you'll see the derivation of diatonic and atonal harmony from the source melodic cell.
Sketching with Schillinger: Orchestral Cue Part 3 Harmony (38:55).

The series 'Sketching with Schillinger' was created after receiving tutorial 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 'melodic cell'. In Part 3 the focus is on sketching with harmony derived from the melodic cell source material C-D-Eb. There is both the diatonic and atonal (Pitch-Class Set) interpretation. You'll see extended chords in thirds, progressions with cadential character, pedal point, chromatic mediants and strata harmony. The latter is based on 5- and 6-part structures, using parallel chords in 5ths (coupling) with counterpoint and contrary motion setting, and extended chromatic mediant chords. Use Part 1 with the full composition in reduced score as a reference. Watch Part 2 for a discussion of the sketching process in the melody and rhythm domain. The combination of melody and harmony in the closing section is discussed in Part 4.
Sketching with Schillinger: Orchestral Cue Part 2 Melody and Rhythm (23:25).

The series 'Sketching with Schillinger' was created after receiving tutorial 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 'melodic cell'. Part 2 demonstrates the application of Schillinger System techniques in the melody and rhythm domain in the example orchestral composition. You'll see the development of a melodic continuity (MC) with rhythm overlay from the permutation set of melodic forms, based on the cell C-D-Eb. The rhythmic attack-duration pattern is obtained through binary synchronization, using the fractioning Rf(4,3) pattern, and modified with split-unit groups, augmentation and diminution. The melodic form is varied through inversion and the combination with inverted and transposed melodic forms. The full composition is presented in Part 1 (reduced score and audio), the harmony aspects are discussed in Part 3, and the combination in the closing section in Part 4.
Sketching with Schillinger: Orchestral Cue Part 1 Composition Overview (12:14).

The series 'Sketching with Schillinger' was created after receiving tutorial 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 'melodic cell'. In Part 1 you'll find the full score and audio of the four-minute example orchestral composition created from the melodic cell C-D-Eb. This tutorial illustrates the sketching process, when applying various techniques from the Schillinger System. There is an overview diagram of the techniques used in the melody, rhythm, harmony and orchestration domain. The composition has form A-B-C-D (slow-fast-slow-finale). Use the annotated reduced score in this episode as reference for the detailed breakdown in Part 2 (Melody and Rhythm), 3 (Harmony), and 4 (Melodic Figuration).
Combining Riemannian Harmony with Polychords and Arpeggio Melody (22:44).

In this short mood piece 'The Midnight Dance Begins' 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 construct extended harmony with pedal point, or polychords. From these chord structures we derive melody and arpeggio motifs. These musical elements are discussed in detail and you'll hear the full composition. There is companion material on Patreon.
Combining Techniques: Theme Imitation, Diminution, Hocket and Harmonization (17:42).

There are various approaches to setting a musical theme. In this video a short example orchestral composition demonstrates the combination of motif imitation, rhythmic diminution and augmentation, hocket technique and harmonization. The theme consists of three short motifs, M1 to M3. Harmonization is based on Schillinger variable tension chords in thirds, creating a tension curve pattern, with mostly non-functional character. Subsections from this composition are discussed in detail. There is companion material on Patreon.
Hoquetus Technique: From Isorhythmic Motet to Tchaikovsky and Michel Legrand (16:58).

Hoquetus technique, or hocket, is the distribution of melody note groups or single notes over multiple, alternating instruments. Its origin lies in Medieval polyphonic music from the Ars Antiqua period. The example in this video is the French isorhythmic motet Alpha Vibrans Monumentum (c. 1390). The opening measures in the Finale, Movement 4 from the 6th Symphony by Tchaikovsky (1893), may be interpreted as another hoquetus example, yielding a fascinating stereo effect. Finally, we study a contemporary example, the Michel Legrand arrangement of Malagueña by Albeniz, on the album Twenty Songs of the Century (1974), with an outspoken, extreme alternating instrument pattern.
Composition With Melody and Harmony Derived From Pitch-Class Set 6-7 (20:22).

Using Pitch-Class Set (PCS) 6-7, create a composition with melody and harmony derived from this source material. Interpreting PCS 6-7 as a symmetric pitch-scale, we derive Schillinger Melodic Forms, chained into a continuity through transposition and rhythm superimposition. Pedal point technique establishes a Primary Axis and rootedness on pitch-class C. Using set properties such as the interval vector and the set complement we obtain harmony with incomplete 7th chords, subsets with chord tension level control based on Hindemith chord group classification, and polychords with stacked triads. All techniques are combined in a synthesizer orchestral composition example.
Schillinger Rhythm: Binary Synchronization Fundamentals (20:54).

This video tutorial 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 the techniques of interference of periodicities, binary synchronization and grouping. There are various options for notating the resultant rhythmical patterns, i.e., the attack-duration series when two generators, two ticking clocks, are synchronized until recurrence is achieved. Rhythms are demonstrated for various generator combinations and time signature overlay, all with instrumental form examples in different musical styles.
Combining Schillinger Hybrid Harmony with Pitch-Class Sets (28:11).

This tutorial is about the combination of 4-part Schillinger Hybrid Harmony with atonal harmony using Pitch-Class Set (PCS) 5-9. The hybrid harmony has variable tension, extended chords in 3rds, derived from a 7-pitch scale, a C minor mode. The PCS continuity uses original, transposed and inverted forms, with common notes for different forms. A melodic phrase is based on sequence of all elements from the PCS interval vector. The final diatonic hybrid harmony statement uses a strata harmony approach. There's a returning rhythmic pattern in 16th notes, based on a Schillinger rhythm with a linear growth series (1-2-3-4) in various permutations. The example composition uses a mix of orchestral and ethnic (percussion) instruments.
All-Interval Tetrachord Meets The Riemannians: Combining Two Harmony Systems (24:11).

Create a chord progression that combines Pitch-Class Set (PCS) harmonies with a Riemannian Transformation (RT) triadic progression. The RT progression includes chromatic mediant pairs, the SLIDE transformation and the symmetric scale hexachordal triad pair. The PCS is based on the all-interval tetrachord 4-Z15 and its Z-related companion 4-Z29. The harmony uses various PCS properties such as the original, transposed and inverted form, common notes for different forms, voicings that focus on specific intervals or dissonance distribution. This technique is demonstrated with an example orchestral composition.
Dies Irae, two hexachords and a pedal point: The Lost Piano score (22:03).

The scoring competition entry for the Westwood Instruments "The Lost Piano" short film is based on three musical elements. There are several quotes from the well-known Dies Irae melody. Two pairs of triads form hexachords which are used for an extended ascending melody and harmonically as block chords. Finally, there is an Ab bass pedal point. The musical mood fits the three acts in this short movie. Excerpts from the score are discussed in detail.
Schillinger Instrumental Forms: An Introduction (22:40).

This video is about Book 8, Instrumental Forms, in the Schillinger System of Musical Composition. Create instrumental parts from a given melody or harmony layer. Attack multiplication in the time domain yields rhythmic and arpeggio patterns, with shorter durations. Pitch domain multiplication implies melody coupling and harmony layer doubling. Various approaches are demonstrated in an example.
Schillinger Strata Harmony: Voice Leading (25:30).

Strata Harmony is a generalization approach to writing continuities (chord progressions) with parts in multiple simultaneous layers in the Schillinger System of Musical Composition. Create multipart layers with doubled and coupled parts. Independent parts require careful voice leading, preventing parallel octaves through selection of appropriate transformations. For this there are more options as the number of parts in the layer increases. This video presents 13 examples in the various diatonic and symmetric systems of harmony.
Schillinger Strata Harmony and Orchestration: An Example (32:44).

The Schillinger System of Musical Composition presents a General Theory of Harmony. Strata Harmony is a generalization approach to writing continuities (chord progressions) with parts in multiple simultaneous layers. Each stratum has independent voice leading from the others. It is a great technique for writing dense orchestral and electronic music settings and textures, e.g., for film or games. The ternary form orchestral piece in this tutorial demonstrates continuities in the various harmony systems: diatonic-symmetric for a given 4-part chord progression, symmetric with a constant extended polychord structure, and diatonic with chords in fourths. The example is discussed in detail and demonstrates various strata harmony aspects.
Schumann's Vogel als Prophet: Appoggiatura Abundance (18:17).

Robert Schumann completed the collection Waldscenen (Forest Scenes) Op. 82 for piano in 1849. The main composition element in No. 7 'Vogel als Prophet' is the set of appoggiaturas. This video first discusses the ternary form and harmony, then focuses on the usage of appoggiaturas. These downbeat non-chordal and dissonant notes occur as ascending / descending to any chordal function, mostly in right hand but also in the left hand, with the chordal function absent or present in other parts. Schumann demonstrates sublime control over the arpeggio patterns with appoggiaturas in the A-section. At the end of the video this composition element is re-used in a short composition example for band.
Musical Pattern Design With the Dragon Curve Fractal (20:17).

This composition techniques video tutorial looks at the Dragon Curve fractal properties and its application potential in the time, pitch and harmony domain. Percussion beating patterns and rhythms may be derived from the fractal turn sequence. These may also be used in synthesizer sound design. The application in time, melody and harmony domain is illustrated with an orchestral example, that combines both the Schillinger diatonic and diatonic-symmetric harmony system, a melody and countermelody. The examples demonstrate the development character equivalent of the fractal self-similar scaling property.
Nocturnal Party at Debussy's: Part 2 Metamorphosis, composing with the Fêtes middle section musical elements (28:47).

The Claude Debussy composition Fêtes (Nocturnes No. 2, 1900) contains a middle section with continuous bass pedal point (pitch Ab), ternary form and two layers with harmony. The upper layer triads yield extended chords and polychords, and may be interpreted as modal scales. In this tutorial the same musical elements will be used in a generalisation approach to create two new example compositions, an ambient texture and a funk idiom phrase.
Nocturnal Party at Debussy's: Part 1 Fêtes middle section analysis (27'05).

The Claude Debussy composition Fêtes (Nocturnes No. 2, 1900) has a remarkable middle section. There is continuous bass pedal point (pitch Ab), ternary form and two layers with harmony. The upper layer triads yield extended chords and polychords, and may be interpreted as modal scales. The video is a detailed analysis of the middle section, including orchestration aspects. In Part 2 the same musical elements will be used in a generalisation approach to create new example compositions.
Schillinger's Theory of Pitch-Scales: Second Group Properties and Application Examples (29:52).

Book 2 from the Schillinger System of Musical Composition Book 2 is about pitch-scales. The Second Group of scales has a single root and a range exceeding the octave. Create expansions from a diatonic scale with six or seven pitch-units. Implement melodic forms and octave adjustment. Create a melodic continuity with rhythm superimposition and a modulation section. These techniques are applied to three short composition examples.
Rosenkavalier: Waltzing with Giant Steps (23:58).

The waltz from the opera 'Der Rosenkavalier' by Richard Strauss (1910) at rehearsal number #101 has form ABABC. The use of harmony is fascinating: whereas the A-phrase is based on diatonic harmony (with occasional chromatism), the B-phrase uses (ii)-V-I cadences in a symmetric harmony system. Strauss uses both equal octave division into minor (R3i) and major thirds (R4i). The latter is similar to the chord changes in the John Coltrane composition 'Giant Steps' (1960). This video presents an analysis of this waltz and applies the same harmonic principles to an orchestral composition example.
Composing with Twelvetone Triads: The HBO Westworld Car Chase Scene (33:23).

This composition technique tutorial revisits the car chase scene from Episode 5, HBO Westworld Season 3, my entry for the Spitfire Audio Scoring Competition 2020. This cue "The Rough Lady Rides Again" is based on a set of twelvetone triads, four triads in thirds that cover all 12 chromatic pitch-classes. The composition approach is illustrated with reduced score, audio and video excerpts.
Schillinger's Theory of Pitch-Scales: First Group Part 3 (26:19).

In this tutorial we look at properties of Group 1 Pitch-scales (single root, range limited to one octave) and melodic continuities in the Schillinger System of Musical Composition. The Primary Axis is the maximum in the cumulative pitch-time distribution. A melodic continuity may have 4 axis-relations, depending on changes in tonality and modality. There are three methods for achieving melodic modulation. These concepts are illustrated with orchestral examples.
Schillinger's Theory of Pitch-Scales: First Group Part 2 (25:01).

Schillinger presents several approaches to the evolution of pitch-scale styles in his System of Musical Composition. In Chapter 3 of Book 2, The Theory of Pitch-Scales we find the generation of scale families, how to obtain derivative and modal scales through circular pitch and interval permutation and transposition, the method of summation and the creation of partial scales through either pitch-unit or interval selection. This video tutorial is an overview of these methods and demonstrates the application with a set of melodic continuities and phrases in various styles.
Schillinger's Theory of Pitch-Scales: First Group Part 1 (25:23).

In the Schillinger System of Musical Composition Book 2 is called Theory of Pitch-Scales. In the First Group we find the scales with a single root and a total range of less than one octave. The generalized approach finds all possible scales through combinations and permutations of interval-units. A scale is an ordered series of between 1 and 12 pitch-units, and this video looks at the characteristics of the First Group scales with 2, 3 and 5 pitch-units. The approach to diatonic 7-pitch scales is based on the combination of tetrachord types. Application examples demonstrate the construction of a melodic continuity from a series of melodic forms and the superimposition of an attack-duration rhythm pattern.
Retrograde-Inversion Chain: If I were a RICH man! (23:36).

The Retrograde-Inversion Chain (RICH) is a transformation technique in the pitch domain, that creates a longer melody from a short ordered note series motif. The RICH is discussed in the David Lewin book on Generalized Transformations and Joseph Straus shows a number of examples in Strawinsky's late music. This tutorial is about 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.
Riemannian Transformations: Part 4 The Long and Winding Tonnetz Threads (20:17).

In the final episode from the tutorial series on Neo-Riemannian Theory two longer chord progressions are presented as composition examples. These use multiple basic and compound Riemannian transformations in the Tonnetz diagram and various diatonic and symmetric system Schillinger root cycle patterns. The episode concludes with the limitations of, and alternatives and extensions to the Tonnetz.
Riemannian Transformations: Part 3 "Order, order, order!" (26:08).

In the tutorial series on Neo-Riemannian Theory this episode is about 3rd order compound Riemannian transformations. These are 3-element series of the basic transformations P, R and L, corresponding to a path with three moves in the triad Tonnetz diagram. We may identify 6 such transformations in major and minor, including 2 diatonic types, the SLIDE transformation (RPL/LPR) and 3 symmetric system types. We evaluate the Schillinger root cycle patterns and the equivalence between major and minor key transformations. Two chord progressions with 3rd order transformations only are turned into Instrumental Forms and example compositions in C major and minor.
Riemannian Transformations: Part 2 Five Paths to Domination (18:06).

In this tutorial the elementary P, R and L Riemannian Transformations and the compound transformations PR, RP, PL and LP are applied to a dominant pedal point chord progression framework. Alternative triad transformation paths are shown in the Tonnetz diagram and interpreted in terms of Schillinger diatonic and symmetric system root cycle patterns. Five alternative paths are demonstrated with short orchestral composition and instrumental form examples.
Riemannian Transformations: Part 1 Schillinger Caught in the Tonnetz (26:59).

An essential aspect of Neo-Riemannian Theory is chord transformation. This tutorial presents the 3 elementary Riemannian 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.
Twelvetone Triads and Hexachords: Part 3 Modal Triad Polychords (23:25).

We may create twelvetone triad sets from combinations of modal triads, including the major, minor, diminished, sus2, sus4, Lydian and Phrygian trichord. This video presents 4 modal triad sets, with an analysis in terms of the equivalent hexachord Pitch-Class Set, and dissonance classification into a Hindemith Chord Group. Polychord voicings and Ulehla tension level are demonstrated. Chord progressions are created with various approaches, such as juxtaposition of hexachord combinations, polychord permutations, transpositions with pivot chords and overlap, variable density and strata harmony, and mixing different harmony systems. Instrumental Form design yields composition examples in various styles. This episode completes the series on Twelvetone Triads.
Twelvetone Triads and Hexachords: Part 2 Regular Triad Polychords (28:54).

This video tutorial is the second in a series about 12-tone triads, that is, sets of four triads that together cover all chromatic pitch-classes. There are a number of options for creating twelvetone triad sets from regular triads in thirds, i.e., the major, minor, augmented and diminished triad. This tutorial presents the sets with either 4, 3, 2 or 1 triad types. For each 12-tone triad set the properties of the hexachord combinations and polychord stacking permutations are analysed in terms of corresponding Pitch-Class set label, Interval-Class Vector, Hindemith chord group and Ulehla tension level classifications. The creation of chord progressions (called continuities in the Schillinger System) and application of Instrumental Forms in short composition examples in various styles is demonstrated.
Twelvetone Triads and Hexachords: Part 1 Polychord Structures and Properties (24:12).

This video tutorial is the first in a series about 12-tone triads, that is, sets of four triads that together cover all chromatic pitch-classes. This episode discusses the pairwise combination of triads into hexachords. These receive 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 indication, depending on the distribution of dissonant intervals over the chord structure. The video contains polychord voicing, chord progression and two composition examples.
Harmony Dissonance Control: Ulehla Chord Tension Level and Hindemith Chord Groups (29:40).

In her book on contemporary harmony Ludmila Ulehla discusses dissonance control and proposes a chord tension level scheme. This tutorial presents chord structure examples for all nine tension levels and a mapping on the six Hindemith chord groups. Tension control is demonstrated in Schillinger diatonic and symmetric harmony chord progressions, considering aspects such as root movement, tension curve, voice leading and dissonant chordal function handling. Two of these progressions are used to develop musical composition examples: a rock synthesizer texture with lead soprano saxophone and an orchestral suspense cue.
Schillinger Hybrid Four-Part Harmony: Chord Progressions and Examples, Part 2 (23:36).

Compose music with series of higher tension chords, using hybrid four-part harmony in diatonic and symmetric harmony chord progressions. The two-layer approach with root in the bass and a fixed set of upper layer 3-part chord structures is demonstrated with example progressions for variable system of harmony, chord tension and type. New voice leading aspects are alternative transformations with complete or partial parallelism for chord connections and the avoidance of parallel dissonant intervals with the bass part. This technique is illustrated with two composition examples.
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.
Harmony Tension Level Control: Schillinger, Hindemith and Pitch-Class Sets, Part 5 (25:33).

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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Ninth Chords in the Schillinger Diatonic Harmony System, Part 1: Fundamentals (21:02), Part 2: Progressions (21:43).

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 discusses three diatonic chord progressions with the ninth chord S9, and a short piece of mood music.
Euclidean Rhythm in Police Precinct Five (13:51).

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.
Multilevel Harmonic Sequence in the Introduction to the Valse Triste Op 44 by Jean Sibelius (13:30).

The muted strings slow introduction to this waltz contains a chromatic harmonic sequence at the global level and two local diatonic sequences. Intermediate tonic chords present the main keys of the piece. Detailed analysis of the chord progression, voice leading and other musical elements. The copyright claim story (modified version): Multilevel Harmonic Sequence and how the Valse Triste became a saddening experience (14:30).
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.
Lost in Transition? Follow Schubert's Road Sign (13:51).

Franz Schubert’s song ‘Der Wegweiser’ from the song cycle ‘Die Winterreise’ (1827) contains a transition with a sophisticated chord progression. In this video find a detailed discussion of the harmony, with symmetric roots (equal division of the octave), secondary dominants, the augmented 6th and the Neapolitan 6th chord. This section returns as a bridge in a contemporary style adaptation.
The Return of the Tchaikovsky Pivot Pitch Chord Change (13:15).

Use common pitches as a pivot for connecting remotely related, non-diatonic triads. Starting with an example from a Tchaikovsky symphony, all twelve possible connections are discussed, and two new transitions are created. The pivot pitch chord change technique is demonstrated with a composition in contemporary funk-rock idiom.
Jazzy Chase Music Cue with Pitch-Class Sets and a Schillinger Rhythm (8:00).

Functional music in modern, atonal jazz idiom. Selection of a Pitch-Class set, transformations and complement, overlap and subset property. Creation of a rhythm family from the Schillinger System of Musical Composition. Annotated score example for an up-tempo swing piece with ternary form and rhythm section, brass, percussion and strings instrumentation.
Seventh Chord in the Schillinger Diatonic Harmony System (18:46).

Preparation and resolution of the dissonant 7th chordal function. Seventh chord and positive and negative diatonic root cycles in the Schillinger System of Musical Composition. Exchange of adjacent functions to improve the voice leading in chord progressions with 7th chords.
Symmetric Harmony Nomenclature in the Schillinger System of Musical Composition (32:03).

Definitions, terminology and symbols used. Equal division of the octave. Schillinger root number notation, alternative notation with semitone interval numbers: five symmetry options. Symmetric scales: multiple roots, expansion form. Symmetric system of harmony: root cycles and chord progressions. Chord structure, tension level, voice leading and part transformation. Instrumental forms and examples.
Diatonic Harmony Nomenclature in the Schillinger System of Musical Composition (29:35).

Definitions, terminology and symbols used. Diatonic scales: degree and expansion. Chord structure: density, chordal function and tension. Chord progression: positive and negative root cycles, harmony and bass in separate layers (strata), part voice leading. Application to various modal scales (Ionian, pentatonic, Dorian).
Twelve-tone Chords with Minimum Tension: Chord Structures and Progressions (24:30).

Four-part chords in thirds as building blocks. Distribution of chords and dissonant intervals over three layers. Six possible twelve-tone chords. Harmonic progression with tension curve and using common building blocks. Example with three instrumental forms.
Subharmonic Series: Sound Design and Application in Music (6:46).

Oscillator and pitch tuning settings for sound design with the subharmonic series. Creating typical sounds with the NI Reaktor Subharmonic ensemble. Application in three music examples (two canons, extended chord progression).
Pop Music Horn Section: Patterns and Riffs (9:10).

Approaches and techniques: riffs, syncopated accents, independent bass part, sustained harmonic background, imitation, pattern variation and permutation. These approaches are illustrated with 13 score and audio examples in various popular music styles (rock, funk, R&B, soul).
Quarter Tone Textures (6:52).

Create harmonic textures with eight monophonic synthesizers using quarter tone tuning and long portamento time. Examples demonstrate bell chords, variable density and chord structure. Tension curves through moving chords and clusters.
Layered Suspense Cue (7:40).

Create a layered game music cue with PC Set 3-5. Start from a main element with given chord progression and rhythm. Extract three layers with variable number of pitches. Combine the layers in thematic statements and connect these with transitions. Apply this technique to a suspense music cue.
Melodic Modulation (7:36).

This technique from the Schillinger System of Musical Composition, Theory of Pitch-Scales is used for creating a melodic continuity and modulating between keys. Interval-units from two diatonic source scales are used to generate the melodic continuity. Three modulation approaches are demonstrated in two examples: an orchestral score and a synthesizer texture.
Chase Cue with Pitch-Class Set 3-3 (6:58).

Functional music for film. Use the properties of PC Set 3-3, e.g., overlap under transposition and inversion, to generate chord progressions. Apply these to chase cue elements such as pedal point, dissonant cluster, ostinato riff, brass accents and climax. Combine these in an orchestral score example.
PC Set 6-33 and Strata Harmony (9:54).

Use a single Pitch-Class Set to compose music in various styles. Apply the Strata Harmony technique from the Schillinger System of Musical Composition, General Theory of Harmony. Create chord progressions and 4-layer voice leading schemes in classical and jazz music style. Demonstrate instrumental forms in 6 score examples.
The Passing 7th Generalized (7:18).

Use the passing 7th in diatonic and symmetric system chord progressions with positive and negative root cycles. This technique is discussed in the Schillinger System of Musical Composition, Special Theory of Harmony. Create a melody based on the passing 7th. Add chromatic passing tones to a diatonic chord progression. These approaches are combined in an orchestral score example.
Density Control of Strata Harmony (8:17).

This technique is from the Schillinger System of Musical Composition, General Theory of Harmony. The starting point is a set of progressions with extended chords in thirds. The chordal functions are distributed over four strata. Then a density mask is designed and applied to the strata harmony for an orchestral score example.
Symmetrically Distributed Triads and Transformations (7:29).

This episode demonstrates the voice leading options for connecting triads in the Schillinger System of Musical Composition, Special Theory of Harmony. Triad progressions are shown for positive and negative root cycles in the symmetric division of the octave system. All options are combined in an orchestral score example.
String Section Voicing (4:58).

Create moving parts in string section phrases, based on sustained harmony voicing approaches in classical music and jazz style. Instrumental forms and imitation are demonstrated with four examples for string orchestra and cello quartet. Read more about the 'Arranging by Examples' E-book >>
Hybrid 5-Part Harmony with Variable Tension (4:33).

This technique from the Schillinger System of Musical Composition, Special Theory of Harmony is demonstrated with five examples in various musical styles and types of chord progression. PDF article >>
Hybrid 5-Part Harmony with Constant Tension (5:05).

This technique from the Schillinger System of Musical Composition, Special Theory of Harmony is demonstrated with several examples in various musical styles and progression types. PDF article >>
Harmonic Structures in Perfect Fifths (2:02).

This episode is about creating harmonic textures with two layers of three-part chord structures in perfect fifths. In a counterpoint setting there is control of the dissonance and harmonic tension level. The technique is demonstrated with an example: the introduction from the studio orchestra arrangement of 'I'll Remember April'. PDF article >>
Composing with the Fibonacci number series (1:24).

In this example the Fibonacci number series (2,3,5,8,13) is applied in the time and pitch domain. The technique is demonstrated with 'Tension Cue 13', a short film music thrill cue. HTML description page >>
Introducing the Guide to Schillinger's Theory of Rhythm (4:57).

A set of demos and audio examples from this E-book, demonstrating techniques for rhythm generation, variation, development and style. Read more about the 'Theory of Rhythm' E-book >>

Arranging Techniques

The links below refer to the Arranging Techniques playlist on my YouTube channel. Most subjects in these video tutorials are also covered in PDF articles and e-books on this website.

Companion material for the 'Arranging by Examples' E-book. The episode list is in reverse chronological order:

Ensemble Techniques [6/6]: Percussive Voicing for Full Big Band Part 2 (15:51).

In the final part of this 20-episode arranging technique series planned for 2019, there are a more examples of percussive ensemble writing for full big band with five saxophones, four trumpets and four trombones. We'll study chordal function distribution and chord voicings in each section, and also see two examples with bitonal flavour for an intermediate size band with four saxophones and six brass players. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Ensemble Techniques [5/6]: Percussive Voicing for Full Big Band Part 1 (12:09).

We proceed with the percussive ensemble arranging technique. In this episode there are additional examples of writing rhythmic tutti block chords, adding a five-piece saxophone section to the eight brass in a full big band. In condensed score examples we see the voicing for the separate saxophone, trumpet and trombone section. The distribution of essential chordal functions and chord extensions over the parts is discussed. There is the interval relation quality check for pairs of lead and outer parts. Some examples show alternative saxophone section voicings for the same tutti phrase. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Ensemble Techniques [4/6]: Rhythmic Background for Brass Section (13:24).

A special type of percussive writing for brass section is the rhythmic background. This ensemble arranging technique uses phrases with brass stabs and detailed articulation markings. The examples are for 6-piece brass section (3 trumpets, 3 trombones) and demonstrate phrases in the high, middle and low register. Alternative voicings are shown, with diatonic and altered extensions, and with triad and cluster trumpet voicings. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Ensemble Techniques [3/6]: Percussive Brass Voicings (9:04).

Write brass section block chords in percussive style. This episode focuses on the voicing for trumpet and trombone section. The examples demonstrate extended chord voicing, triads for trumpets, bitonal voicing, lead part doubling, root position chords for trombones. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Ensemble Techniques [2/6]: Brass Section Voicing for Extended Chords (16:15).

This arranging technique video tutorial focuses on brass section voicing for extended chords. Chordal functions for various chord types will be distributed over a jazz big band trumpet and trombone section. Relevant aspects are internal balance, essential chordal functions and full chords in each group, and doublings. A special category are bitonal voicings of extended dominant chords. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Ensemble Techniques [1/6]: Distribution of 4-Part Sectional Harmony (14:26).

Writing a jazz big band tutti may be based on a 4-part sectional harmony setting and involves the distribution of the parts over the instruments in the saxophone, trumpet and trombone section. This ensemble arranging technique is demonstrated for a number of swing jazz phrases, for a full, medium and small size big band. Aspects discussed are the voicing diagram, close, mixed or open voicing, and the interval relation between pairs of lead and outer parts. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Sectional Harmony in Five Parts [3/3]: Combining Techniques (6:34).

When writing 5-part sectional harmony, a basic arranging technique, we may combine several approaches. In this episode the examples, with given phrase in the lead part and basic harmony in the rhythm, demonstrate the application of the extended 4-part sectional harmony technique, major chords in 4ths, and 5-part extended and altered dominant chords. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Sectional Harmony in Five Parts [2/3]: Chords in Fourths (8:23).

Major and minor 7th chords may be written in a voicing that favours the interval of the perfect 4th between neighbouring parts. Five-part sectional harmony setting may be based on these chords. This episode presents two examples that demonstrate closed, mixed and open position voicings and the use of exact parallel chords in 4ths. Writing 5-part sectional harmony is a basic arranging technique. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Sectional Harmony in Five Parts [1/3]: Extended 4-Part Sectional Harmony (7:16).

Create a five-part sectional harmony setting from a given 4-part sectional harmony voicing. In this approach the lead part is copied to a lower voice. The example demonstrates different alternative voicings, including the drop 2, the even wider drop 2 and 4, and a mixed voicing. Writing sectional harmony is a basic arranging technique. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Sectional Harmony in Four Parts [11/11]: Combining Techniques (11:15).

The final episode on 4-part sectional harmony is about combining various arranging techniques in a phrase. This is demonstrated with a swing jazz-blues example, using five alternative harmonisations. We see the return of earlier episode subjects such as the secondary dominant chord, diatonic parallel and leading tone chords, the substitute chord, preventing repeated notes and subdominant function chords. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Sectional Harmony in Four Parts [10/11]: Extended and Altered Dominant Chord (7:34).

In 4-part sectional harmony non-chordal and non-diatonic notes in the lead may be harmonised with extended and altered dominant chords. These intermediate dominant chords contain higher chordal functions such as the 9, 11 or 13, in either diatonic or altered form. This arranging technique is illustrated with a swing jazz phrase, using two different harmonisations. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Sectional Harmony in Four Parts [9/11]: Eliminating Repeated Notes (5:42).

In Four-Part Sectional Harmony repeated notes may be prevented or eliminated by swapping notes between neighbouring parts. At medium to fast tempo this exchange of notes makes sectional playing easier. Occasional repeated notes at the end of a phrase are acceptable. This arranging technique is illustrated with two examples in jazz swing style. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Sectional Harmony in Four Parts [8/11]: Drop 2 Voicing (6:10).

Create a more open voicing in 4-part Sectional Harmony by using the Drop 2 technique. Three examples demonstrate this arranging technique, the alternation between close and Drop 2 voicing and the fully open position setting with the Drop 2 and Drop 4 technique. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Sectional Harmony in Four Parts [7/11]: Diatonic Parallel Chords (4:14).

When writing 4-part sectional harmony for a given stepwise moving lead phrase we may use a series of diatonic parallel chord structures. This technique is illustrated with a jazz arranging phrase for trumpet section. This example presents a fully diatonic parallel setting and an alternative with modal variants and chromatic alterations. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Sectional Harmony in Four Parts [6/11]: The Subdominant Chord (3:53).

In 4-part sectional harmony we may use subdominant function chords as intermediate harmony. In this episode we apply the supertonic and subdominant degree chords for harmonisation of a given stepwise moving lead part in a short big band style phrase for saxophones. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Sectional Harmony in Four Parts [5/11]: The Minor 7th Chord (5:07).

The combination minor seventh chord on the supertonic (2nd), mediant (3rd) and submediant (6th) degrees of a diatonic major scale and a diatonic lead voice may pose a problem in writing sectional harmony. This episode shows the occasional failing of the standard approaches and demonstrates the technique of connecting minor 7th chords. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Sectional Harmony in Four Parts [4/11]: The Exact Parallel Chord (4:58).

Use a series of exact parallel chords for the harmonisation of non-chordal notes in 4-part sectional harmony. The score example in this episode uses secondary dominant chords, a leading tone chord and two options with exact parallel chords. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Sectional Harmony in Four Parts [3/11]: The Substitute Chord (6:10).

This video demonstrates music arranging examples with substitute chords, another approach to harmonisation of non-chordal notes in 4-part sectional harmony. Secondary dominant, leading tone and substitute chords in major and minor key chord changes. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Sectional Harmony in Four Parts [2/11]: The Leading Tone Chord (3:24).

Sectional harmony is a basic arranging technique. Write a parallel 4-part setting for given lead and basic harmony in the rhythm section. Use the leading tone chord of harmonisation of non-chordal notes. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.
Sectional Harmony in Four Parts [1/11]: The Secondary Dominant Chord (4:54).

Start of a series on this fundamental arranging technique. Parallel 4-part setting for given lead and basic harmony in the rhythm section. The use of intermediate secondary dominant and diminished 7th chords. Syncopations. The audio examples are discussed in detail in the book Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging.

Website Musician Tools

SWAM instruments playing Mozart, Schubert, Brahms and Ravel string quartet excerpts (20:20).

Audio Modeling SWAM solo string instrument plugins (version 3.7.3, April 2024) were used to record classical music string quartets. You will hear excerpts from Mozart (No. 19, KV 465, Mvt.1 'Dissonanzen', 1785), Schubert (No. 13 in A minor Op. 29, D804, Mvt. 2, 1824), Brahms (Nr. 1, Op. 51, Mvt. 1, 1873) and Ravel (Mvt. 2, 1903) quartets. Akai EWI and Arturia KeyLab 61 Mk2 plus iPad/TouchOSC were used as MIDI input devices, demonstrating playing techniques such as legato vs. détaché, staccato, double stops, pizzicato and tremolo. The mockup was made in Cubase 12, using FabFilter and LiquidSonics effect plugins.
Articulation Keyswitch Selector Design with Hexler TouchOSC: Generic Template and Application Examples (12:48).

This video is about the development of an articulation keyswitch selector for sample libraries and virtual instruments, using the Hexler TouchOSC application. Generic keyswitch template design and scripts are presented in detail. Then three application examples are shown and the functionality is tested in Logic Pro and Cubase.
Metagrid and Cubase Project Logical Editor Scene Presets: Installation and Editing (6:06).

The Metagrid app, a Metasystem product, is an iOS controller for software programs on both Mac and PC. Included are app-specific resources for DAWS such as Cubase, with hundreds of core program commands, Logical Editor macros and track visibility presets in the Project Logical Editor (PLE). This video talks you through the installation process, with a focus on the PLE Scene presets.
Audio Modeling SWAM Solo Brass V1.6.4 performing Mvt. 3 Jack of All Spades for Brass Sextet (3:41).

Mvt. 3 Jack of All Spades, the jazz waltz from my Brass Sextet, is a test case for the V1.6.4 update (July 2021) of the Audio Modeling SWAM Solo Brass instruments. The parts for trumpet 1 and 2, horn in F, trombone, euphonium and bass tuba are played with an Akai EWI 5000, then edited (MIDI notes and controllers) in Cubase. This performance uses modified SWAM instrument presets and MIDI mappings. Read along with the annotated score and find my comments and experience report.
Audio Modeling SWAM Solo Strings V3: First Impressions and EWI Performance (15:02).

This video presents the first results for the Audio Modeling SWAM Solo Strings V.3 release (March 2021), when played with an AKAI EWI 5000 wind controller. A number of etude and string quartet phrases demonstrate dynamics, articulation (staccato vs. legato, multi-tonguing) and expressivity. Listen to the impressive timbre and controllability improvements achieved, compared to the previous version.
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, when playing with an AKAI EWI 5000 wind controller. Listen to a number of example phrases with annotations and comments (Ravel, Ferling).
Audio Modeling SWAM Brass 1.5.1 vs. Sample Modeling Horn in F V3: A Comparison (8:09).

This video compares the classical music horn in F sound of the Audio Modeling SWAM Solo Brass Bundle (V1.5.1, rel. August 2020) with the Sample Modeling French Horn V3 instrument, when playing with an AKAI EWI 5000 wind controller. Listen to a number of example phrases with annotations and comments (Brahms, Tchaikovsky, Strawinsky, Ferling).
Audio Modeling SWAM Brass 1.5.1 vs. Sample Modeling Trombone V3: A Comparison (11:27).

This video compares the classical music trombone sound of the Audio Modeling SWAM Solo Brass Bundle (V1.5.1, rel. August 2020) with the Sample Modeling Trombone V3 instrument, when playing with an AKAI EWI 5000 wind controller. Listen to a number of example phrases with annotations and comments (Mozart, Wagner, Karg-Elert).
Audio Modeling SWAM Brass 1.5.1 vs. Sample Modeling Tuba V3: A Comparison (7:50).

This video compares the classical music (contrabass) tuba sound of the Audio Modeling SWAM Solo Brass Bundle (V1.5.1, rel. August 2020) with the Sample Modeling Tuba V3 instrument, when playing with an AKAI EWI 5000 wind controller. Listen to a number of example phrases with annotations and comments (Wagner, Strawinsky, Karg-Elert).
Wind Controller playing Audio Modeling and Sample Modeling virtual solo brass instruments (15:10).

This video is a performance test result with an Akai EWI 5000 playing solo brass instruments from the Audio Modeling SWAM Solo Brass bundle and Sample Modeling Brass. A number of themes from the classical music repertoire (Mussorgsky, Tchaikovsky, Berlioz, Ravel, Mahler and Strauss) are recorded as realtime Midi into a DAW with low latency setting. These performances are compared with a version for Spitfire Audio Symphonic Library samples. In addition short improvisations demonstrate the aspects of sound, attack control, legato and tonguing for marcato-staccato notes, dynamics.
Comparing the Audio Modeling, Spitfire Audio Symphonic and Sample Modeling Brass Sections (12:23).

First impressions of the recently (Feb 2020) released Audio Modeling SWAM Solo Brass bundle. In this video the sound of this modeling approach to virtual instruments is compared with a fully sampled library (Spitfire Audio Symphonic) and a mixed approach (Sample Modeling). Three short pieces are used in the project: 1) Bach, Choralgesang 364, Wer nur den lieben Gott läßt walten, 2) Opening measures from Schumann, Symphony No 3, Mvt. 4 Feierlich, 3) Excerpt from Bartók, Concerto for Orchestra, Mvt. 2 Giuoco delle coppie. Listen to the full brass section and the individual parts. Played with Akai EWI, Midi keyboard, and Lemur controller on iPad into Cubase 10 DAW. Limited Midi editing, no EQ/compression, mostly default instrument settings.
Liine Lemur Script for Articulation Keyswitch Selection and Drumpad Playing (13:41).

This tutorial presents a reusable Lemur multiline script design for both sample library articulation selection with keyswitches, and drum and percussion kit playing. The Midi controller application is demonstrated on an iOS device. Details of the script source code are discussed.
Musical Analysis: Visiting the Great Composers, 6th Edition (1:28).

The new edition of this e-book is now available in the webshop. More than 1000 pages with detailed analysis of classical, tonal music masterpieces. Covers 20 composers, over 300 movements, 20 symphonies, opera, chamber music and solo pieces. Find formal, melodic and harmonic analysis in text, tables and diagrams.
How to use the Pitch-Class Set Tool (9:18).

The musician toolbox on my website contains a GUI for working with atonal music pitch-class sets. Select any Allen Forte set name with cardinal number between 3 and 9 from the menu. The inspector shows set properties and has buttons for transposition, inversion and complement. Two inspectors enable set comparison, overlap and subset characteristics. Find the set name for given pitches. All PC Set tool functions are demonstrated.
How to use the Film Music Tempo Calculation (FMTC) tool (6:16).

The FMTC tool from the Website finds the best BPM tempo setting for a movie scene with timed events. The fixed tempo music cue will have hit points on beats at these events. This tutorial demonstrates the FMTC tool for an example movie and music cue.

Theatre Music

The Good Woman of Setzuan (1:27).

Video trailer "De goede mens van Sezuan". Theatre company Spot'70 Warmenhuizen 2012 stage production.
Harenkarstival 2008 Project: Identiteit Harenkarspel (3:39).

This is the closing song from the 2008 Harenkarstival theatre and music festival in Warmenhuizen, North-Holland. The lyrics are about the Harenkarspel village community life. Vocals: Stephanie Kramer. Music and lyrics: Frans Absil. Photo's: Nico Komen. Song lyrics as subtitles in Dutch.
Harenkarstival 2008 Project: Harenkarspel Village Scenes (9:50).

This quasi-ancient movie was made for the 2008 Harenkarstival theatre and music festival in Warmenhuizen, North-Holland. It depicts the Harenkarspel village community life with irony. The original music was performed live on stage. The project received an award in the "Kern met Pit" contest in the Netherlands.

Various Videos

Spitfire Audio Bridgerton Scoring Competition 2022 (1:54).

This is the 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. This consists of a solo and concertante playing clavichord, a wind quintet, a string quintet, and an incidentally playing brass section plus timpani. The musical idiom respects the scene and mood changes, with a pinch of irony.
Westwood Instruments Scoring Competition 2021: The Lost Piano (3:49).

Scoring competition entry for the Westwood Instruments "The Lost Piano" short film. There also is a (later) video tutorial about the musical elements in the score and the composition process.
Frankie Fret Could Not Forget His Online Gig With The Roulettes (4:47).

This pandemic-period, online performance practice inspired composition for studio orchestra has ternary form ABA. The basic tempo is 124 BPM, time signature 4/4. The instrumentation includes flute, clarinet, saxophone quartet, 7-piece brass section, rhythm section with two electric guitars, percussion and five solo string players. The Midi mockup was created in Cubase 11. There is a full score and more information on this website.
DC Stargirl, Spitfire Audio Westworld Scoring Competition 2021 (2:01).

Spitfire Audio Stargirl Scoring Competition 2021 entry for the school bus scene from this DC Entertainment series. This track features 2 harps, 2 bass guitars, electric guitar, woodwinds, brass and synthesizers. The Midi mockup was created in Steinberg Cubase 11.
Two Bars, I Owe You Two Chocolate Bars (6:10).

This composition for band and orchestra has bridge form ABCBA. The lively A-sections feature two acoustic and an electric guitar plus rhythm section. The slow B-sections alternate 4/4 and 3/4 meter and have a more orchestral texture (woodwinds, brass, marimba and harp). The agitato middle C-section presents two interacting contrasting motives with mixed instrumentation (band, synthesizers and orchestra). The harmony combines regular chord changes with pantriadic phrases and polychords. This Midi mockup was created in Steinberg Cubase 10. This video contains an annotated reduced score with audio rendering.
The Rough Lady Rides Again, Spitfire Audio Westworld Scoring Competition 2020 (4:20).

Spitfire Audio Westworld Scoring Competition 2020 entry for the car chase scene from Episode 5, HBO Westworld Season 3. My entry is a score with a combination of virtual orchestral and electronic instruments. The Midi mockup was created in Steinberg Cubase 10.
Route l'amour perdu, composition for big band (6:55).

This is a moderate tempo piece for big band in contemporary jazz style. It has the saxophone section doubling on woodwinds (flutes, clarinets, bass clarinet), various brass mutes, contemporary harmonies (bitonal, polychord, cluster voicings) and features the keyboard player (piano, synth), lead trombone and 2nd trumpet with solos. The movie shows the score, road travel imagery and gives production details.
Aiba Kiln: Folk Tune from Brexitania for Small Orchestra (3:19).

Orchestral setting with folk music character. Main melody with three statements for solo trumpet, flute and solo violin. Backgrounds for sustained strings and set as brass chorale. Bridge section for electric guitar, electric piano and synthesizers with melodic fragments in imitation. The movie shows an annotated score.
YouTube Channel 500 Subscribers (2:20).

Milestone reached on December 24, 2018. Thanks for the views and subscriptions. Plans for next year (2019).
ADAM Audio Soundtrack Competition 2018 (0:30).

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.
Redo Or Undo Last Action (9:32).

Composition for electric guitar and string orchestra. Composition process, the Midi mockup and the audio.
The Siege of Lemongrad (7:46).

Symphonic poem for orchestra, in socialist realism music idiom, using typical style elements from the great comrade composer Dmitri.
Albion ONE trailer (1:12).

My entry for the 'Albion ONE 10th Anniversary trailer' scoring competition. The short orchestral piece in atonal style is called 'Nika Albi'.
Concert RNLN Marine Band - Marinierskapel (4:47).

The Royal Netherlands Navy Marine Band - Marinierskapel der Koninklijke Marine (Conductor: Peter Kleine Schaars) plays 'Seasonal Songs'. Arrangements by Frans Absil: Let It Snow, It Might As Well Be Spring, The Summer Knows, Autumn Leaves. Live recording April 2015.
Die Elbe: Hamburg Blankenese - Altona (3:29).

Taking the ferry along the river Elbe from Hamburg Blankenese to the Altona Fischmarkt. German Airbus factory at Finkenwerder. Ship traffic. Port of Hamburg container terminal. Riverside landscape and buildings; Dockland, offices and apartment blocks. Filmed with iPad, music with Logic Pro X.
Road Movie (2:54).

Dutch traffic and roadside views, while driving along highways in the Netherlands. Video and music production by Frans Absil.
Camperduin Beach (1:36).

Photo video. Camperduin Beach and Hondsbossche Zeewering, North-Holland, August 2006. Audio background contains wind and wave noise with a musical texture full of suspense. Dissonant chords for strings, horns and pitched percussion.
River Geul (1:33).

Photo video. Geul river near Wijlre and Mechelen, Zuid-Limburg. Audio track contains frog calls, used as rhythm for a relaxed bossa nova musical texture, a.k.a. Copaca-Rana.
Schoorl Dunes (1:49).

Photo video. Schoorl dunes and beach, North-Holland, Netherlands, December 2006. Audio background: strong winds blowing over sand dunes, with sustained quarter-tone violin clusters.
Warmenhuizen in Winter (2:12).

Photo video. Warmenhuizen in winter, Harenkarspel, North Holland, Netherlands. The music is based on a symmetric scale for celesta and pizzicato strings, with a middle section in diatonic harmony.

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