Thought I’d share this link to a review of Dr. Yonce’s CD, Dreams Grow Like Snow Ice. They reviewed my piece too. : ) Click on “The Flute View” below.
Thought I’d share my demo reel, which I use for commercial gigs. It features work I did for The Coca-Cola Company, Hilton Hotels and a video game score for Cogent Education. There’s also a pop tune at the end for good measure. Enjoy!
If you’d like Dr. Mitchell to score your next commercial project, contact him at firstname.lastname@example.org
Proud to announce, themusiccompositionblog made Feedspot’s “Top 15 Music Composition Blogs”. Yay!!!
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My latest pop tune, “Ice Cream”, was inspired by Rick James and Prince. It’s an electro-funk composition with a super catchy beat.
This is my first pop tune available on all major streaming services, see the links below to check it out.
I thought I’d share what I learned about the process.
The publication process:
- Have it mixed and mastered professionally. It makes a difference, especially when streaming on different platforms. The mastering engineer will add correct metadata, so it can be tracked and monetized.
- Register it with either BMI or ASCAP. I’m a member of ASCAP. They will give you a registration number connected to the metadata in your track.
- Publish it through CD Baby or any other publishing company. CD Baby charges a one-time, $35 fee for a single or $50 for an album. They’ll need your registration number from ASCAP or BMI to track downloads and streaming.
- Once it’s published, it’ll can take several days or several weeks for your song to first appear on Apple Music, iTunes, Spotify, Pandora, Tidal and all the rest. CD Baby will track the streams for you and send a check each quarter.
- Next, you got to promote it through paid advertising, digital radio, terrestrial radio and/or social media. That’s where the real work begins. Nobody will find it unless you push it.
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!
Here’s a post from guest author Doug Hanvey. You can learn more about him at www.portlandpianolab.com.
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:
- 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.
- If the above feels too challenging, sing your melody out loud and notate it without playing it on your instrument.
- 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.
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.”
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 . 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  throughout his career, but he added his own twist in the form of microtonality.
Example No. 1
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!