In September, I went on tour with the amazing and talented ONIKHO! We performed in NYC, London, and Berlin. Here is a photographic/videographic retrospective of some of the highlights.
I will be taking a brief leave of absence from my current residency at the Dorland Artist Colony in Temecula, CA, in order to attend Awesöme Orchestra Collective's EOY concert and fundraiser on Sunday, December 12th at the Freight and…
With only two months left on sabbatical before I return home, the time has come to assimilate my newly minted skills and check a few things off of my composerly to-do list. Here is my capstone orchestration project, Syrinx Symphony…
I have enjoyed sweating my way through "Part One" of Paul Hindemith's bootcamp-esque Elementary Training For Musicians. I was initially dismayed by Hindemith's cosmically grumpy introduction which is rife with abrasive/exclusionary language, but I'm glad I shrugged off his…
I had the privilege and pleasure of collaborating with ONIKHO to create an orchestral arrangement of her new song "Love Bold" for Awesöme Orchestra! You can see/hear it (and two other beautiful new works) in this documentary produced by…
Today, I combined a Phrygian-Major tetrachord with a Lydian-Major tetrachord to create a modified v.2 of yesterday's tune. Tomorrow, I'd like to try combining/lengthening yesterday and today's snippets to create a more substantial piece.
In Chapter Three of Twentieth Century Harmony, Persichetti discusses the cycle of fifths, thirds, and seconds, and sevenths, ninths, fifteenths, seventeenths, and twelve-note chords.
The chapter concludes with twenty compositional prompts. Here are exercises 1-5!
In Chapter Two of Twentieth Century Harmony, Persichetti discusses scale materials: modes, synthetic scale formations, pentatonic and hexatonic scales, and the chromatic scale.
The chapter concludes with twenty-five (!) "applications" (i.e. compositional prompts). Here are exercises 1-4 and 6-7.
In Chapter One of Twentieth Century Harmony, Persichetti discusses the overtone series and why we perceive some intervals as consonant and others as dissonant.
The chapter concludes with twelve "applications" (i.e. compositional prompts). Here are the first six!
In the introduction of his book Twentieth Century Harmony, Vincent Persichetti says:
"This text aims to define harmonic activity and make it available to the student and young composer. A detailed study of the essential harmonic technique of the twentieth-century