New Prince Six-Song EP Release – April 21, 2017

Prince fans, take heart. According to an article on HuffPo, a surprise new EP containing six unreleased tracks recorded between 2006 and 2008 will be released this Friday, April 21, 2017. It will be available on Apple Music, and the title track, “Deliverance” is already available to stream on a number of services.


The producer, Ian Boxill has been working on this music over the last year and planned the release to coincide with the one-year anniversary of Prince’s Death. Paisley Park and Prince’s estate have filed a lawsuit claiming the producer is “trying to exploit one or more songs for his personal gain”.

We’ll see what happens. I’m just glad we have some new tunes from The Purple One!

Sing Your Melody to Make Your Melody Sing

Here’s a post from guest author Doug Hanvey. You can learn more about him at

Composing a melody by singing is a method that has been used by many of the greatest melodists. The reasons are obvious:

  • By singing it’s more likely that your melody will be generated from the deepest and most personal well of creativity within you. If you simply work out a melody with your fingers at the piano, you are less likely to be connecting with that innermost musical place.
  • Singing your melody helps you to better understand its structure (contour, climax etc.) in terms of the primal melodic instrument: the human voice.
  • Singing engages your body, and the body is the primal rhythm instrument. As a result, your melody is likely to be more rhythmically effective and interesting.
  • Melodies and even simple figures or motives that can be easily sung are more likely to be accessible to the average Joe and Jane. (This may be one reason why vocal forms are ubiquitous in both folk and popular music.) It’s especially useful to sing when composing a vocal melody.

Many (if not most) of the great composers did not write at an instrument. We may not know whether they sang their melodies as they composed, but it’s a good bet that they were “virtually” singing them by mentally hearing them.


The same is also true of many if not most of the great popular songwriters. For example, musical theater composer Richard Rodgers, one of the greatest melodists of the 20th century, wrote his songs by singing the melody while playing chords on the piano. John Lennon and Paul McCartney composed their tunes by singing them while playing their guitars.

Many of the greatest jazz pianists, such as Bud Powell and Keith Jarrett, vocalize while improvising (same principle).

Convinced it’s worth a try? Follow these steps, one at a time, to engage your virtual or actual voice when composing a melody:

  1. First try hearing your melody inside your head (without actually singing it) and notate it without playing it on your instrument, if you can. This requires a pretty good musical ear, but that is easy enough to develop. By the way, don’t worry about the chords at first. It’s generally better – at least from a melodic perspective – to let the melody dictate the harmony rather than allowing harmonic demands to interfere with the organic nature of the melody.
  2. If the above feels too challenging, sing your melody out loud and notate it without playing it on your instrument.
  3. Finally, easiest – but last, because it’s tempting to get lost in your established compositional habits – sing your melody, then learn to play it on your instrument, then notate it.

How to Develop Your Own Voice and Become a Great Composer: The Ligeti Model

In the spring of 2007, Simone Fontanelli, a world renowned composer and professor of new music at the University of Mozarteum in Salzberg, gave a series of seminars at the University of Georgia, Dancz Center for New Music. I asked maestro Fontanelli, “are there any composition exercises you would recommend to help beginning composers develop their own voice?” He suggested borrowing harmonic, melodic and/or rhythmic ideas from three great composers, then write a new piece which combines the best elements of all three. For example, combine Stravinsky’s Petrushka chord, Bartok’s rhythmic motives from String Quartet No. 4 and Schoenberg’s concept of developing variation into a single composition. This is challenging to say the least, and it stretches the abilities of most composers. In addition, this exercise gives beginning composers an opportunity “walk in the shoes” of the world’s greatest composers, thereby, discovering what makes them great. It also helps beginning composers get into the historical flow of what has gone before them.

This idea is not new. All great composers have written pieces “in the style of…” For example, Mozart was influenced by Bach, Haydn and many others. Schoenberg considered himself to be an extension of the German tradition and was influenced by Bach, Beethoven and Brahms.

While working on my DMA in music composition at UGA, I read a number of interviews with György Ligeti (1923-2006), one of the most influential composers of the 20th century, in which he discussed the influence of Bartók on his compositional style and technique. Ligeti used Bartók’s String Quartet No. 4 as a model when he wrote String Quartet No. 1: Metamorphosis Nocturnes (1954). In fact, in an interview with Friedemann Sallis, Ligeti stated he knew Bartók’s style so well that “he could have gone on to write the seventh, eighth or even twelfth Bartók quartet.”

Bartok Ligeti

I decided to analyze both quartets to determine if this statement is true and, if so, discover what elements of Bartók’s quartet and style are present in Metamorphosis Nocturnes. It appears that Ligeti borrowed a motive directly from Bartók’s quartet, see Example No. 1. This motive belongs to set class [0123]. Ligeti uses it in the beginning of Metamorphosis Nocturnes, and it becomes the primary harmonic structure throughout the entire quartet, see Example No. 2. It is interesting to note, after writing Metamorphosis Nocturnes, Ligeti continued to use set class [0123] throughout his career, but he added his own twist in the form of microtonality.

Example No. 1

Barok example

Example No. 2Ligeti example

There are a number of parallels between these two quartets, and Bartók’s influence is present throughout to the extent that Ligeti’s quartet sounds more like Bartók than Ligeti. With that being said, Metamorphosis Nocturnes is a model for all aspiring composers. Ligeti wrote his quartet in order to experiment with Bartók’s harmonic and melodic language. He ultimately kept what he liked most from Bartók’s style, eventually making it his own. In the process, he developed his own unique voice. March 20-23, I will present my research at the 2014 Society of Composers Inc. Nation Conference at Ball State University in Indiana.

I would recommend trying the same experiment with your own favorite composer or composers. Borrow a melody/harmony or two. Take it out for a test drive. If you like it, find a way to make it your own!

Fragmentation and Melodic Development

Fragmentation is an interesting tool which composers can use to generate a plethora of melodic material with very little effort. In my opinion, there are two primary types of fragmentation, subtractive and motivic.

Subtractive fragmentation is easy to do and, if used properly, creates syncopation. All you have to do is substitute rests for notes. Example No. 1 is an original melody which I have used in a number of previous blog posts. Example No. 2 is the same melody with rests replacing some of the notes. Play both examples and listen to the difference. Example No. 2 is clearly the same melodic idea, but it has more rhythmic punch because the rests create accented upbeats in measures 2 and 4. The quarter rest in measure 3 creates additional rhythmic interest.

Example No. 1


Example No. 2

Subtractive Fragmentation

Motivic fragmentation is more common than subtractive. In fact, it is an integral part of classical period repertoire and is common in compositions by Haydn, Mozart, and Beethoven. In general, the primary thematic structures used in classical period music where the sentence and period. It is beyond the scope of this blog post to discuss thematic structures in classical period music, but, in general, a basic idea is introduced (usually two measures), repeated creating a four measure theme, then a fragment of the basic idea is extracted and sequenced three times to create a classic eight-measure sentence structure. In example No. 3, the eighth notes in measure 2 are extracted and sequenced three times to create an ascending melodic line which cadences in measures 7-8. This creates a sense that the melody is accelerating toward a cadential point.

Example No. 3

Motivic Fragmentation

Comment if you can think of any other types of fragmentation. In the meantime, apply these techniques to your own compositions and listen to the results. Happy composing!

How to Develop a Melody Using Sequencing

Sequencing is another time-honored tool that most composers use on a regular basis. Sequencing is the immediate repetition of a motive at a higher or lower pitch level. The motive can be almost any length the composer desires as long as it is not a complete repetition of the entire phrase. Often the motive is quite short, just a few beats or a single measure.

I particularly like to use ascending sequences. They create a sense of growing intensity and anticipation, as if something important is about to happen. They work well as transitions to new sections or as a build up to an important climactic moment.

There are a number of different types of sequences. Two of the most used sequences are exact and tonal. Example No 1 is an original melody which I used in my first blog post to demonstrate inversion, retrograde, and retrograde inversion. Example No. 2 is the same melody subjected to exact sequencing. All of the intervals in each sequence are exactly the same as the original melody. Accidentals have to be added to maintain the intervallic relationship among the notes. This is sometimes referred to as a modulating sequence because, with the addition of so many accidentals in measure 4, the phrase has essentially modulated to the key of C# major.

Example No. 1


Example No. 2

sequencing exact

Example No. 3 is the same melody subjected to tonally adjusted sequencing. None of the sequences have accidentals; therefore, the phrase remains in the key of F# minor.

Examples No. 3

tonally adjusted sequencing

Three and out is the general rule for sequencing. In other words, whatever you decide to sequence should only be sequenced three times; anything longer feels predictable and tedious.

In addition, it is advisable to vary the sequences. Change some of the notes or invert one of the sequences to keep the listener off balance. Most people are sophisticated enough to understand that a sequence is in progress and can predict what it will sound like as it unfolds. If one of the sequences, usually the third, is a little different, it will keep the audience off balance and engaged. If they can predict exactly what you are going to do next, you have lost them. Keep them engaged with unpredictable twists and turns. Example No. 4 demonstrates this concept. The last sequence is inverted; all of the intervals are upside down.

I encourage you to play through these examples, then apply sequencing to one of your own melodies and see what happens. Enjoy!

Example No. 4

exact with inversion

How to Write a Melody: Augmentation and Diminution

Augmentation and diminution are two widely used compositional techniques that can be applied to almost any melody. In this blog post, I will show you how to use these techniques to generate a plethora of new material for your next composition.

There are two types of augmentation, rhythmic and intervallic. Rhythmic augmentation means that all of the note values in a given melody are increased by an equal amount. In most cases, rhythmic values are doubled, but they can be increased by almost any amount. Example No. 1 is an original melody used in my first blog post to demonstrate retrograde, inversion, and retrograde inversion. Example No. 2 shows this melody with its note values doubled.

Example No. 1

original melody

Example No. 2


Intervallic augmentation means that all of the intervals increase, see Example No. 3. This changes where notes fall in relationship to the underlying harmony, so the accompaniment usually needs to be adjusted to compensate.

Example No. 3

intervallic aug

Diminution is the opposite of augmentation. All of the note values and/or intervals are shortened by an equal amount, see Example No 4.

Example No. 4

Rhythmic dim

Example No. 5 is an augmented version of the original melody with sixteenth-note accompaniment. The accompaniment pattern is also a good example of diminution in action. Counts one and two in measure 1 are the original melody in diminution, see Example No. 1. Notice it’s the same melodic contour in sixteenth notes. Essentially, Example No. 5 is derived from a single motive which is subjected to both augmentation and diminution. See what you can do with just a few ideas and an arsenal of composition techniques in your tool chest?

Example No. 5

aug and dim example