Below is the last (and perhaps most lengthy) of my Write Like Mozart Notes that I sent my students when we took the Write Like Mozart class together in 2014. The Write Like Mozart class is online again, starting today (April 11, 2016).
In this installment, I review the composing tools we have learned from the Write Like Mozart class and offer some thoughts and examples of how to develop material.
This is the tenth and final post in this series.
Below are the Write Like Mozart Week 6 Notes that I sent my students when we took the Write Like Mozart class together in 2014. In this post, I talk briefly about the rounded binary form.
This is the ninth post in this series.
Just over a year ago I was posting notes I sent my high school students in 2014 while we were taking the free online class called Write Like Mozart. My Master’s in Composition studies took over my life, and I did not finish composing the last two postings of my notes. A reader alerted me that the course is being offered again starting next week (April 11, 2016). That there exists at least one reader interested in these notes inspires me to complete my postings on this subject!
My first post for Write Like Mozart Week 5 covered chromatic chord substitutions. This is the second post on Write Like Mozart Week 5 Notes, and here I cover Professor Edwards’ discussion of two-part counterpoint.
Below is the first part of my Write Like Mozart Week 5 Notes that I sent my students last year when we took the Write Like Mozart class together. The Write Like Mozart class is online again at the time of these posts. Each of these posts are timed to match the current week of that class.
In this installment, I discuss the chromatic substitutions for harmonies that were presented in the lectures: the Neapolitan, Augmented 6th, minor iv, ♭VI, and major I (Picardy third) chords.
This is the seventh post in this series.
Below are the Write Like Mozart Week 4 Notes that I sent my students last year when we took the Write Like Mozart class together. The Write Like Mozart class is online again at the time of these posts. Each of these posts are timed to match the current week of that class.
In this installment, I review diatonic substitutions, types of cadences, parallel / question and answer form, creating a solo with piano accompaniment from simple 2 part counterpoint, and the “Rule of 2.”
This is the sixth post in this series.