About this Course
4.9
228 ratings
68 reviews
This course introduces students to strategies for style writing of common practice European art music. The issues of harmonic progression, voice leading, and texture are addressed in addition to relevant compositional concepts like repetition, variation, and elaboration. The course aims to offer a creative space even within the restrictions of stylistic emulation....
Globe

100% online courses

Start instantly and learn at your own schedule.
Calendar

Flexible deadlines

Reset deadlines in accordance to your schedule.
Clock

Suggested: 4 hours/week

Approx. 27 hours to complete
Comment Dots

English

Subtitles: English
Globe

100% online courses

Start instantly and learn at your own schedule.
Calendar

Flexible deadlines

Reset deadlines in accordance to your schedule.
Clock

Suggested: 4 hours/week

Approx. 27 hours to complete
Comment Dots

English

Subtitles: English

Syllabus - What you will learn from this course

1

Section
Clock
3 hours to complete

Module One

In this first week, we set the foundation for more advanced things to come. We talk about voicing of chords, voice leading of root position chords, and texture types. This first week might be review for some of you. If that's the case, the videos are still worth watching, I think, because they give a grounding for the thinking behind the music we will explore over these next 6 weeks. (You can always watch the videos at 1.5x or even 2.0x speed, but don't tell the instructor I told you that.) Even something as basic as voicing a chord involves issues of style, and approaches to these issues really give us a better understanding of the perspective of the composers making this music. Please note that there are two assignments for the week. There is a quiz designed to help you review the week's concepts. I would recommend taking it before you do the other assessment this week, which is a self-assessed chorale writing assignment. I use self-assessed assignments in this course as a way to deal with the limits of online learning. Ideally, I would look at all assignments and give feedback. When a class like this is taught at university, it is generally in groups of 20-30 students so students can get personalized feedback. However, that's clearly not possible online. I've tried to design these self-assessed assignments so that the videos really prepare you for the them and it is essentially practice of what we learn in the videos. This is easier in the beginning of the course than towards the end. As the topics become more complex, options multiply and hence correct solutions multiply and solution sheets become less helpful. For those who really do want to get weekly feedback, I encourage you to organize study groups via the forums to share your results and give each other feedback. Student-to-student teaching can be very valuable for learning, especially online. Please do not post your solution on the forum though because it's not permitted. Use the forum just to organize your groups....
Reading
14 videos (Total 126 min), 5 readings, 1 quiz
Video14 videos
Lesson 1 - Chords10m
Lesson 2 Part 1 - Voicing12m
Lesson 2 Part 2 - Voicing Practice10m
Lesson 3 - Basic Progressions6m
Lesson 4 - Voice Leading5m
Lesson 5 Part 1 - Voice Leading with the Common Tone Approach (I-V-I and I-IV-I)8m
Lesson 5 Part 2 - Voice Leading Without Common Tones (I-V-I and I-IV-I)12m
Lesson 5 Part 3 - Resolution of the V7 Chord7m
Lesson 5 Part 4 - Voice Leading From IV-V6m
Lesson 5 Part 5 - Voice Leading With Chords that Have a Mediant Relationship 4m
Lesson 6 - Texture Types4m
Lesson 7 - Voice Leading Practice Part 17m
Lesson 7 - Voice Leading Practice Part 213m
Reading5 readings
Pre-Course Survey10m
Syllabus10m
Reference Materials10m
Manuscript Paper10m
Self-Assessment10m
Quiz1 practice exercise
Quiz 120m

2

Section
Clock
2 hours to complete

Module Two

In this module, we expand out harmonic palette by introducing commonly found inversions of the chords used in our basic progressions. We also look at keyboard voicing. The voicing rules used for SATB are generally followed in instrumental music, but they aren’t appropriate for all textures and instrumentations. Keyboard voicing is an approach to voicing homorhythmic, homophonic harmony for keyboard. But once one knows how to do keyboard voicing, one can apply patterns to the two hands and create accompaniment parts relatively easily. We’ll even look at creating a somewhat complex arpeggiated passage similar to a texture used in one of Schubert’s Impromptus. You will see how homorhythmic texture can be a skeleton for creating other texture types. A note about the assignments: we have 2 writing assignments. Please do them in order. Assignment 2 uses the solution from Assignment 1. So, try not to look at Assignment 2 before you’ve completed Assignment 1. There is also a quiz....
Reading
9 videos (Total 90 min), 2 readings, 1 quiz
Video9 videos
Lesson 1 Part 1 - Progressions with Inversions13m
Lesson 1 Part 2 - Progressions with Inversions11m
Lesson 2 - More Voice Leading10m
Lesson 3 - Using Inversions (A Demonstration)8m
Lesson 4 - Keyboard Voicing13m
Lesson 5 - Creating Accompaniment 7m
Lesson 6 - Textural Reduction11m
Lesson 7 - Reversing Schubert 4m
Reading2 readings
Self-Assessment 110m
Self-Assessment 210m
Quiz1 practice exercise
Quiz 220m

3

Section
Clock
2 hours to complete

Module Three

In this module, we look at a few commonly found sequential progressions. We will do some analysis of excerpts from Mozart and Beethoven that demonstrate the use of these types of progressions. I will also show you how to apply patterns to these progressions to make 3-voice polyphonic passages. We will also look at what I call the circle of fifths progression. The term can cause some confusion, so I want to quickly address that here. We are probably all familiar with the circle of fifths since it is commonly used to teach keys and key signatures. If we descend or ascend in a series of perfect fifths, we cycle through all of the 12 keys. Starting at C, ascending gives us keys with sharps, descending gives us keys with flats. When we ascend/descend by a perfect fifth for a 13th time, we end up back where we started. The circle of fifths progression, however, does not use perfect fifths exclusively. In many instances, it simply can’t because doing so forces a key change, and this is frequently not desired by the composer. So, sometimes the perfect fifth is adjusted to a diminished 5th to keep the progression in the same key. You could look at the circle of fifths progression we examine this week as a diatonic version of the original circle of fifths concept. With it, we cycle through not all 12 keys, but all 7 chords of the key. Some of you may know this progression simply as the circle progression. There is one self-assessed assignment....
Reading
11 videos (Total 120 min), 1 reading
Video11 videos
Lesson 2 - Descending 5-6 Progressions14m
Lesson 3 - Parallel Sixth Progressions8m
Lesson 4 - Analysis: Mozart, Piano Sonata, K. 545, i15m
Lesson 5 - Analysis: Beethoven, Piano Sonata, op. 109, i5m
Lesson 6 - Analysis: Mozart, Piano Sonata, K. 279, iii5m
Lesson 7 - Analysis: Mozart, Piano Sonata, K. 533, iii8m
Lesson 8 - Non-chord Tones (NCTs)17m
Lesson 9 - Using NCTs with Sequential Progressions - Part 116m
Lesson 10 - Using NCTs with Sequential Progressions - Part 2 11m
Lesson 11 - Using NCTs with Sequential Progressions - Part 3 8m
Reading1 reading
Self-Assessment10m

4

Section
Clock
2 hours to complete

Module Four

In this module, we look at the idea of chord substitution. All of the substitutions we will learn about this week are diatonic, that is, the substituting chord is within the key of the passage. Melodic writing is also introduced, and in the 3 parts of Lesson 7, I walk through creating an entire passage of music from a very simple 2 voice outline. Along the way, I try to articulate the things that one thinks about when creating and working with a melody within a phrase. We will also look at the kinds of harmonic progressions that take place at the end of a phrase. These are called cadences, and they are crucial for the experience of form in common practice music. With cadences introduced, we will be able to take a look at one of the simplest forms found - the period form. With the concepts and techniques learned in this module, you will be able to take a short 4-8 bar passage and generate a small composition from it. In fact, the assignment for the week is to take a sketch of a 5-bar phrase and turn it into a 10-15 bar simple composition that uses a parallel period form. The description of the assignment should tip you off to the fact that the “solution” is just one possibility. Previously, there were always more solutions that the one given, but not many more. This week is different. There will be a bunch of solutions, but I do feel that the solution given is a good implementation of the things learned in the week’s lectures. I would suggest, then, to use your study groups (or to form study groups) to share some of your solutions since they will differ in some ways from the given one. It would also be good preparation for the final project, where you will give such feedback when assessing your peers. I want to also note that while your solution might differ in details from mine, the more general aspects - structure, cadence types and locations, for instance - should not. I want to remind everyone that all of these different ways of engaging with the assignment - completing it, checking it against the solution, getting feedback from others, and giving feedback - are part of the learning process. ...
Reading
9 videos (Total 96 min), 1 reading, 1 quiz
Video9 videos
Lesson 2 - Diatonic Substitutions 2: Substituting IV with ii 6m
Lesson 3 - Diatonic Substitutions 3: The V-vi Progressions8m
Lesson 4 - Cadences12m
Lesson 5 - Analysis: Beethoven: Piano Sonata, op. 2, no. 3, ii9m
Lesson 6 - Period Form12m
Lesson 7 Part 1 - Melodic Writing14m
Lesson 7 Part 2 - Melodic Writing11m
Lesson 7 Part 3 - Melodic Writing8m
Reading1 reading
Self-Assessment10m
Quiz1 practice exercise
Quiz 320m
4.9

Top Reviews

By UKMay 29th 2018

this course helped me a lot. The instructor is really interactive and i really recommend this course for anybody looking to learn classical music composition

By SSJun 18th 2016

An excellent lecture by Peter Edwards but couldn't attend it due to academic pressure.Hope will get similar courses in the near future.Thank you

Instructor

Peter Edwards

Associate Professor
Yong Siew Toh Conservatory of Music

About National University of Singapore

A leading global university located in Asia, the National University of Singapore (NUS) is Singapore’s flagship university, and offers a global approach to education and research with a focus on Asian perspectives and expertise. Its transformative education includes a broad-based curriculum underscored by multi-disciplinary courses and cross-faculty enrichment. ...

Frequently Asked Questions

  • Once you enroll for a Certificate, you’ll have access to all videos, quizzes, and programming assignments (if applicable). Peer review assignments can only be submitted and reviewed once your session has begun. If you choose to explore the course without purchasing, you may not be able to access certain assignments.

  • When you purchase a Certificate you get access to all course materials, including graded assignments. Upon completing the course, your electronic Certificate will be added to your Accomplishments page - from there, you can print your Certificate or add it to your LinkedIn profile. If you only want to read and view the course content, you can audit the course for free.

More questions? Visit the Learner Help Center.