Sketching with Schillinger: Orchestral Cue Part 1 Composition Overview
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- čas přidán 27. 07. 2024
- This is Part 1 in the series 'Sketching with Schillinger'. The series 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'. You'll see sketches with techniques applied in the melody, rhythm, harmony and orchestration domain. Ideas will be rejected or accepted and processed to achieve a final version, ready for orchestration and implementing instrumental forms.
Companion document (text, diagrams and score fragments, PDF, 79 pp., A4) available on Patreon.
See the catalogue at www.fransabsil.nl/archpdf/Pat...
Full score at www.fransabsil.nl/notes/sketc...
Contents:
00:00 Opening titles
00:49 Section 1 Introduction: what this video is about
02:01 Section 2 Overview: the Schillinger System, composition form and techniques
05:56 Section 3 The orchestral cue in reduced score
06:35 Section A m. 1, melodic continuity, pedal point, strata harmony, chords in 5ths
07:41 Section B m. 26, ostinato riff, added interval, imitation, chromatic mediants
08:35 Section C m. 75, set from original and inverted melodic form, pedal point
09:33 Section D m. 96, main theme, continuity combined with triplet inversion, strata
11:02 Where to go next
#SchillingerSystem #MusicComposition #orchestral
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Frans thanks a lot for this series about your sketching process !
@julienmichel8013 You're welcome. Currently I am preparing Part 3 in the series. Best wishes for the year 2023!
The "sketching diagram" is and impressive efford to picture what happens in the composer mind! Very interesting subject!
@luigicociglio7621 Thanks for the positive feedback. The overview diagram with techniques covers the subset used for this example composition. Obviously there are many more options in the Schillinger System. I made sure I included approaches from each domain (melody, rhythm, harmony and orchestration). Hope you enjoy(ed) watching these episodes.
Great Video Frans! Excited to see the rest of the series
@june_birnie307 Sorry for the late reply; have been too busy preparing the series of video tutorials over the holiday period. All 4 episodes are online now (Jan 6 2023). Hopefully they better illustrate the (intermediate) steps in the process of composing with Schillinger System techniques.
Looking forward to the rest of the series! (I have a sneaking suspicion that I was one of the people who requested something like this. 8-) )
@christopherheckman7957 Thank you, Part 2 has been uploaded on Dec 25, 2022. And indeed, your hypothesis is not unlikely ;-)
This is rather insightful and helpful. What notation system do you use? Thanks
@carlolosurdo9666 Hopefully I understand the question correctly. The music notation software is Dorico Pro 4. The full score is imported as MIDI from Cubase, then edited. The next step is to extract a reduced score (6-8 staves, typically); that involves manual copying from the full score. I take Dorico slices to export as PDF and JPG images. Also I use a screen grabber to record movies from Dorico playing. Does this answer the question?
Frans, I am so happy and ever delighted to see your continued dedication to sharing the Schillinger system - in many contexts - with the world. I have been fascinated with Schillinger for nearly a decade now. I've made the initial steps of learning and implementing it in my own music, but I feel like there's just such a fluidity that you have in working through sketching and utilizing the methods that JS lays out. Do you think that this is due to your intensive studies and inherent familiarity with the resources? I would love to be able to create so easily!
@auedpo It's been a while since I last heard from you: hope you are doing fine. And thanks for the kind words about the 'train' of Schillinger videos that I have been uploading over the years. I am not sure whether 'fluidity' is a core characteristic of the musical examples. There is a lot of hard work involved, with potentially many ideas rejected, as the current series hopefully demonstrates. Yes, I have invested many, many hours in learning the SSoMC and writing simple exercises to master techniques that I consider promising. In addition, I also study other (more conventional) sources, and analyse classical music scores. Internalising all this probably helps in writing. But for sure is no guarantee for success. Part of the fun is in the creative process itself.
Great work! I'm curious about the B13(b5)(b10) chord label. Did Schillinger used flat tenth for represent the "Hendrix Chord" (X7#9 or X7b10)? Thank You!
Schillinger actually doesn't put any great focus on chord symbols. Of course he covers a great many possible chord structures and methods for generating chords, but he seems not to find it particularly important what you would *name* these chords. Naming chords, at least to that degree of specificity is a relatively modern fixation.
@@masterchain3335 Thank you! Do you know some book that use this kind of chord label (X7b10)? Thanks
@@maxmusikuhn In my experience, calling it a b10 is unusual and ordinarily this would be a #9, but I suspect he is calling it b10 because there is already an altered 9th in the chord name and he's probably trying to avoid saying b9#9. It's worth noting that naming chords that aren't built in thirds can become difficult and there is a point at which the name almost doesn't matter as long as you convey what needs to be conveyed. Even something simple like C F# G is essentially unnamable using "traditional" chord notation - I've seen it simply called C lyd. (for Lydian, obviously) and quartal chords similarly often resist easy naming. I personally would have just called it B13(#9b9) (put a "courtesy" natural on the lower D, and re-written that Eb as a D# and the Ab as a G#).
But Frans is usually very good at responding to comments here so I'm sure he will weigh in on the subject.
@masterchain3335 and @maxkuhn5252 Thanks for jumping in on the subject of Schillinger and jazz chords in thirds labeling. Indeed the Schillinger books hardly ever specify the extension details; in my copies I've annotated most of the chord progressions. Sorry, in case I've caused confusion about the #9 vs. b10 notation. Can't remember whether that is an automatic Dorico thing, or (more likely) I put it there. Hopefully that doesn't stop anybody from grasping what is going on harmonically, how these chords were derived from the elementary cell and how they have been used in the composition. Happy Christmas holiday period!