Music Composition Course

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What you will learn in this course

These lessons are intended for those who want to learn composition and already have a good knowledge of harmony and music theory.

If you do not have a solid understanding of harmony and music theory, I recommend following the Composition, Arranging, Harmony and Music Theory course (click here).

Please note: These lessons are designed for EVERYONE (beginners and professionals alike), regardless of the instrument they play.

The piano examples used in some of the videos are included purely for greater clarity. Their use does NOT require any knowledge of piano technique on the part of the student.

Here is the list of video lessons for the course

Part 1: How to develop our musical rational side

Part 2: The study of harmony and the analysis of music in composition

Part 3: Is there a method for writing music?

Part 4: The ability to listen to yourself

Part 1: The relationship between harmony and melody

Part 2: Composing a melody on a sequence of chords

Part 3: The non-harmonic tones

Part 1: First off.. What are the chord tones?

Part 2: The passing tones

Part 3: Let's learn to use the passing tones

Part 1: How to use chromatisms to achieve a wider assortment in passing tones

Part 2: Two secrets to have a wider variety

Part 3: Learn to create a short melody

Part 2: The auxiliary tones

Part 3: The double aux. tones

Part 4: The aux. chords

Part 5: The chromatic aux. tones

Part 6: How to compose a melody by using passing tone and aux. tones pt.1

Part 7: How to compose a melody by using passing tone and aux. tones pt.2

Part 1: Composing exercises

Part 2: The step by step composing method

Part 3: The 5 benefits of this composing practice

Part 4: How to practice

Part 2: The three possible characteristics which the melody we are composing must have

Part 3: How to vary the melodies 1

Part 4: How to vary the melodies 2

Part 5: How to vary the melodies 3

Part 6: Video summary of the 4 examples

Part 1: Why disjunct motions are so important?

Part 2: Anticipations: what they are and how to use them

Part 3: A further element of variety for our melodies: indirect anticipations

Part 4: How to compose a melody using anticipations

Part 1: Principal features of the two new non harmonic tones which allow disjunct motion

Part 2: Escape tones: what they are and when to use them

Part 3: We learn about escape tones in-depth and the advantages in using them

Part 4: The reaching tone: how to skip to a non harmonic notes and obtain a very particular effect

Part 1: How to widen disjunct motions to make a melodic frame more pleasant

Part 2: We learn to compose a melody using escape tones in all their combinations

Part 3: Compose a melody with the reaching tones

Part 4: We compose a melody using all the non harmonic tones we know

Part 1: What you will learn in these lessons

Part 2: How do you build a harmonic structure of a piece?

Part 3: Introducing functional harmony

Part 4: Harmonic groups in major key and their characteristics

Part 5: We look for harmonic groups at the keyboard - some observation on chords of various harmonic groups

Part 1: Introduction of the new lesson

Part 2: How to build chord progressions alternating chords from different groups

Part 3: Harmonic progressions with other features

Part 4: How to use harmonic patterns in order to obtain a very effective musical effect

Part 5: Building patterns with the use of chords of the same harmonic group

Part 1: How to obtain major variety in the building of harmonic structure

Part 2: We learn to use the lowered sixth degree

Part 3: Examples of harmonic progressions with lowered sixth degree

Part 4: How to use in an effective way inversions

Part 5: Other examples of chords progressions

Part 6: How to vary harmonic patterns using inversions

Part 1: How to use the seventh degree

Part 2: The characteristics of the chord on the third degree

Part 3: How to use the chord on the third degree 1

Part 4: How to use the chord on the third degree 2

Part 5: The harmonic groups on harmonic minor scale

Part 1: We build harmonic progressions using the harmonic minor scale

Part 2: How to use effectively harmonic patterns

Part 3: The seventh degree chord (minor harmonic scale)

Part 4: Other ways of using inversions in harmonic minor scale

Part 5: Which other chord characteristics can be varied?

Part 1: The new features of the chords which we can vary

Part 2: How to alternate 'different type' of chords

Part 3: How to create different harmonic areas

Part 4: The importance of the bass motion in the choice of harmony

Part 1: How we can find the harmonic progressions using the natural minor scale.

Part 2: What is the extended key

Part 3: The harmonic groups of the extended key: the tonic and dominant group

Part 4: The harmonic groups of the extended key: the subdominant group

Part 5: Some considerations about the extended key

Part 1: A simple and rapid way to pass from natural minor scale to the extended key and find all the chords

Part 2: Examples of chord progressions in the extended key

Part 3: How to use inversions in the extended key

Part 4: We learn to use the lowered sixth degree also in the extended key

Part 1: How we can alternate the natural and augmented seventh degree

Part 2: Introduce a major chord on the third degree of the extended key

Part 3: Building new chord progressions using the extended key

Part 4: Analyse a song which we know very well from a different point of view

Part 5: How to avoid a very common mistake

Part 6: Building the harmonic structure of a music piece: the two fundamental cases

Part 1: 1st case: we use very small 'bricks' to build chord progressions

Part 2: A secret to make progressions more effective in this way .....

Part 3: ...with inversions which may modify them further

Part 4: We try to use 'bricks' which are a little bigger

Part 5: 2nd case: one big 'brick' to form the harmonic structure

Part 6: How do we build the harmony if the music piece is divided into several parts?

Part 1: How to differentiate harmony in the case of a piece divided into 2 parts

Part 2: The first way to differentiate chord progressions

Part 3: The second way

Part 4: The third way

Part 5: The fourth way and a look at future lessons

Part 1: Introduction to the new cycle of videolessons

Part 2: Non harmonic tones and strong beats

Part 3: What is the 'appoggiatura'?

Part 4: How to use 'appoggiatura' on secondary strong beats

Part 5: Ascending 'appoggiatura'

Part 6: Hot to mix different kinds of 'appoggiatura'

Part 1: Introduction to the new lesson

Part 2: Examples in different tonalities. How to switch from a chord to an ‘appoggiatura’

Part 3: How to use appoggiatura with particular chords (lowered sixth degree)

Part 4: The ‘leading-tone appoggiatura’

Part 5: The chromatic ‘appoggiatura’

Part 6: How to mix different kinds of ‘appoggiatura’

Part 1: Introduction to the new lesson

Part 2: How ‘appoggiatura’ changes the harmonic perception

Part 3: Other ways of changing harmony by using ‘appoggiatura’

Part 4: How to use ‘appoggiatura’ by step

Part 5: How to use ‘appoggiatura’ by skip

Part 1: How to apply ‘appoggiatura’ to the world of chords

Part 2: Simultaneous ‘appoggiatura’ and double ‘appoggiatura’

Part 3: How to change a chord by using ‘appoggiatura’

Part 4: Changing chords with simultaneous ‘appoggiatura’

Part 5: How to use chromatic appoggiatura to change chords

Part 1: How to compose in a progressive way

Part 2: Other chords with ‘appoggiatura’. Descending chromatic ‘appoggiatura’

Part 3: Other chords with ‘appoggiatura’. Using inversions.

Part 4: How to change seventh chords with ‘appoggiatura’

Part 5: How to write a very fascinating melody by using ‘appoggiatura’ (part 1)

Part 6: How to write a very fascinating melody by using ‘appoggiatura’ (part 2)

Part 1: Introduction to the new lesson

Part 2: What are suspensions?

Part 3: The four most effective kinds of suspensions

Part 4: How to compose some short melodies by using suspensions

Part 5: Other exemples

Part 1: ‘Appoggiatura’ and suspensions

Part 2: How to resolve a suspension on other weak beats, obtaining a great result

Part 3: Let’s start using ascending suspensions

Part 4: Simultaneous suspensions

Part 5: How to change a chord by using suspensions

Part 1: How to change seventh chords with suspensions

Part 2: Other chord progressions with suspensions

Part 3: The ‘suspension chord’

Part 4: How to compose an effective melody by using suspensions (part 1)

Part 5: How to compose an effective melody by using suspensions (part 2)

Part 1: Why rhythm is so important to compose a melody

Part 2: The tie between two bars: an essential new tool

Part 3: How to compose a melody by using the tie (part 1)

Part 4: How to compose a melody by using the tie (part 2)

Part 5: The tie between many bars

Part 1: Introduction to the new lesson

Part 2: What is the pedal tone

Part 3: The tonic pedal tone

Part 4: The dominant pedal tone

Part 5: The double pedal tone

Part 1: Introduction to the new lesson

Part 2: How to use chord tones in the case of seventh chords

Part 3: Let’s learn to compose a melody by using seventh chords

Part 4: Other melodies with seventh chords

Part 5: Chord tones, non-harmonic tones and…a new kind of notes

Part 1: Introduction to the lesson

Part 2: What are ‘free notes’ - How to use them to compose a melody

Part 3: How ‘free notes’ can change our chords

Part 1: Analysis of ‘Let it be’ – Beatles

Part 2: Analysis of ‘Save a Prayer’ – Duran Duran

Part 3: Analysis of ‘For Elise’ – L. van Beethoven

Part 4: Analysis of ‘Nessun dorma’ from ‘Turandot’ – G. Puccini

Part 5: Famous examples of pedal tone

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Lingua: english
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