Pro tip: PLEASE PLEASE play 🔊each piece BEFORE talking about it. Nothing said about it has any meaning until I hear the sound🎶 first. There is no way to process the word descriptions without first hearing 🎧what the descriptions are referring to. It's like trying to describe an extremely complex shape🎊 without seeing it, which is why "a picture is worth 1000 words" [more like a few million]. But musical tapestry is even more complex, and words don't begin to describe it. Doing this will improve your video's and the viewer's comprehension 1000%☑ and put you far above any other music teaching videos. ♥🎯
- The goal is to have a unified but moving fabric, so similar timbre. - Give the cadence something special. - No crossing between lines. - Oblique movement: when one line sustains another moves. - Melody is stil king and the other lines are countermelodies if anything. I got the last video from the series on my recommended and found it so brilliant that I'm following the whole series now. From this video I liked the point about making the cadence special and richer with a little ear candy so-to-speak. Also noticed how you kept good separation between the outer lines for the texture to take effect.
Ryan, you've inspired me to purchase McKay's book, Creative Orchestration: A Project Method for Classes in Orchestration and Instrumentation. I find this and similar videos from you extremely valuable and always appreciated.
Great video Ryan, me and another friend who watched it too were commenting on how good it is to have a video on a somewhat unusual texture for contemporary music. I actually bought the books you recommended and I’ve just gotten to the 8 textures part on McKay’s book. Looking forward to the next videos!
thanks Ryan, I am finding this series of Orchestral Textures really helpful. In fact, the detailed intro and descriptives are on the money for me as I want background and context. Too often ppl jump straight to the score assuming too much of the audience. Bravo!!
Hello Ryan, what is your opinion in relation to this type of textures and classical writing, because I see for example parallel 5ths from measure 5, between cello and violins 2
Where is it? Parallel fifths would be a fifth moving to a fifth in the same direction. And the “rule” about parallel fifths is to ensure independence between parts which with fifths is in reality never going to stand out as a problem with inner voices.
Hello Ryan. in bars 5 and 6 there are 5ths by opposite movement between cellos and violins 2, on a downbeat, but in bars 6 and 7, also between cellos and violins 2, there are parallel 5ths on downbeats @@RyanLeach
Opposite movement is contrary motion, not parallel motion. And yes in strict counterpoint classes parallel 5ths with an inner voice are against the "rules", but even Bach has examples of parallel 5ths so outside of class don't stress about them too much. Parallel octaves stand out more, and again with inner voices are a pretty low concern.@@maderasage
Hi Ryan. I'm trying to apply each of these eight textures to a melody I picked out, the first few bars of Lukas Graham's "Seven Years." This melody doesn't leave a whole lot of space. How would you apply this texture to a melody that doesn't leave a lot of open room for countermelodies?
Good question. If you had to force it I would just keep the supporting lines very simple. But as you are probably realizing, not every texture works for every situation so you might just have to do the best you can and move on to the next one
@@RyanLeach thanks for the response! I figured the correct answer would be along the lines of "not every texture works for every melody". I agree wtih you, if it wasn't for the point of the exercise, this isn't the texture that comes to mind when I hear this melody. Thanks again :).
Hi! Ryan Leach I have a question about the difference between Polyphonic texture and Polythematic texture. Polyphonic texture: one obvious theme + some supporting characters by Counterpoint Polythematic textures: several equal themes almost sounding at the same time Do I understand correctly? thanks your answer
Polythematic: Independent themes/melodies that are intentionally contrasting. eg. Staccato vs. legato, strings vs brass, etc. Polyphonic: Independent themes/melodies that all weave together into a single fabric. eg. Legato violin and legato cello
Counterpoint is just multiple simultaneous lines. You can even have atonal counterpoint! So no maj7s aren’t “allowed” in 18th century counterpoint textbooks but they’re very much a part of real music
I love your videos! But five minutes of talking before actually playing the example… aaagh!!! So much description lost without any context. Please let us hear the example at least once before you describe so much of what is going on. Then we can better absorb and listen for those elements. Again, I love your videos… but I felt my head starting to explode the more you kept describing it, I had to actually skip ahead to hear the damn thing. Lol Keep up the great work, anyway. Peace
I just left a request for the same thing. I'm lost until I hear something to put the descriptions and discussion into context. "Talking about music is like dancing about architecture" [forget who said it, but he was famous].
🎻Heterophonic ORCHESTRATION | Simultaneous Variations th-cam.com/video/P7zDYSA8fDo/w-d-xo.html
Pro tip: PLEASE PLEASE play 🔊each piece BEFORE talking about it. Nothing said about it has any meaning until I hear the sound🎶 first. There is no way to process the word descriptions without first hearing 🎧what the descriptions are referring to. It's like trying to describe an extremely complex shape🎊 without seeing it, which is why "a picture is worth 1000 words" [more like a few million]. But musical tapestry is even more complex, and words don't begin to describe it.
Doing this will improve your video's and the viewer's comprehension 1000%☑ and put you far above any other music teaching videos. ♥🎯
- The goal is to have a unified but moving fabric, so similar timbre.
- Give the cadence something special.
- No crossing between lines.
- Oblique movement: when one line sustains another moves.
- Melody is stil king and the other lines are countermelodies if anything.
I got the last video from the series on my recommended and found it so brilliant that I'm following the whole series now. From this video I liked the point about making the cadence special and richer with a little ear candy so-to-speak. Also noticed how you kept good separation between the outer lines for the texture to take effect.
Ryan, you've inspired me to purchase McKay's book, Creative Orchestration: A Project Method for Classes in Orchestration and Instrumentation. I find this and similar videos from you extremely valuable and always appreciated.
Great video Ryan, me and another friend who watched it too were commenting on how good it is to have a video on a somewhat unusual texture for contemporary music. I actually bought the books you recommended and I’ve just gotten to the 8 textures part on McKay’s book. Looking forward to the next videos!
Nice, glad to hear you picked it up there's a lot of great advice in there beyond the textures.
thanks Ryan, I am finding this series of Orchestral Textures really helpful. In fact, the detailed intro and descriptives are on the money for me as I want background and context. Too often ppl jump straight to the score assuming too much of the audience. Bravo!!
I like the technique of first blocking out the chord'r voice leading and then adding passing tones, rythmic variaty, etc
I like the technique of playing the musical example, THEN talking about it
Super helpful. I’m loving this series!
Glad to hear it, much appreciated!
Love this series. Thank you!
That was really gorgeous music. Thanks so much for the video!
Thank you for sharing this useful content!
That descending 2 violin, 3rd bar, sounded very final fantasyesque, nice!
Ryan, how do you decide which are the bowings that work better for the strings? Thank you so much for your videos.
what program you use to write your music with ?
hey bro you know name song at 0:33 sry bad english, i like this conrapuntal session
Thanks for this!
You're welcome!
cool!! thank you
No problem!
You should hear the music at 5:04 first, then watch the rest.
Hello Ryan, what is your opinion in relation to this type of textures and classical writing, because I see for example parallel 5ths from measure 5, between cello and violins 2
Where is it? Parallel fifths would be a fifth moving to a fifth in the same direction. And the “rule” about parallel fifths is to ensure independence between parts which with fifths is in reality never going to stand out as a problem with inner voices.
Hello Ryan. in bars 5 and 6 there are 5ths by opposite movement between cellos and violins 2, on a downbeat, but in bars 6 and 7, also between cellos and violins 2, there are parallel 5ths on downbeats @@RyanLeach
Opposite movement is contrary motion, not parallel motion. And yes in strict counterpoint classes parallel 5ths with an inner voice are against the "rules", but even Bach has examples of parallel 5ths so outside of class don't stress about them too much. Parallel octaves stand out more, and again with inner voices are a pretty low concern.@@maderasage
Thanks for taking the time to answer me, and also thanks for the advice.
Hi Ryan. I'm trying to apply each of these eight textures to a melody I picked out, the first few bars of Lukas Graham's "Seven Years." This melody doesn't leave a whole lot of space. How would you apply this texture to a melody that doesn't leave a lot of open room for countermelodies?
Good question. If you had to force it I would just keep the supporting lines very simple. But as you are probably realizing, not every texture works for every situation so you might just have to do the best you can and move on to the next one
@@RyanLeach thanks for the response! I figured the correct answer would be along the lines of "not every texture works for every melody". I agree wtih you, if it wasn't for the point of the exercise, this isn't the texture that comes to mind when I hear this melody. Thanks again :).
Man.. your stuff is great👍... Plz make videos where you composing orchestral music in your DAW. That would be awesome 👍
Thank you, I will!
Hi! Ryan Leach
I have a question about the difference between Polyphonic texture and Polythematic texture.
Polyphonic texture: one obvious theme + some supporting characters by Counterpoint
Polythematic textures: several equal themes almost sounding at the same time
Do I understand correctly?
thanks your answer
Polythematic: Independent themes/melodies that are intentionally contrasting. eg. Staccato vs. legato, strings vs brass, etc.
Polyphonic: Independent themes/melodies that all weave together into a single fabric. eg. Legato violin and legato cello
Love the ideas in this one! Still can't help but wish the Am7 were a G/A haha
lol I like that TH-cam's suggested "auto responses" for this include "Maybe one day" and "You can do it!"
Hello Gavin Leeper! I from your discord)
Are maj7 even allowed in counterpoint?
Counterpoint is just multiple simultaneous lines. You can even have atonal counterpoint! So no maj7s aren’t “allowed” in 18th century counterpoint textbooks but they’re very much a part of real music
Yes, yet I've not seen so many textbooks or tutorials on modern counterpoint. Any tips?
Maybe check out the Bob Pilkington book on jazz counterpoint
I love your videos! But five minutes of talking before actually playing the example… aaagh!!! So much description lost without any context.
Please let us hear the example at least once before you describe so much of what is going on. Then we can better absorb and listen for those elements.
Again, I love your videos… but I felt my head starting to explode the more you kept describing it, I had to actually skip ahead to hear the damn thing. Lol
Keep up the great work, anyway. Peace
I just left a request for the same thing. I'm lost until I hear something to put the descriptions and discussion into context.
"Talking about music is like dancing about architecture" [forget who said it, but he was famous].