Concert Music

Chopin enjoying a twilight sky whilerevelling in his craftsmanship.

Frédéric Chopin – Nocturne No. 1 Op. 9 – Developing Melody – Bitesize Composition Analysis

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Many of Chopin’s Nocturnes follow a ternary structure, or ABA form, where melodies of the A-section repeat and flank a different middle section. Interestingly, however, Chopin’s Nocturnes often implement subtle embellishments to each repetition of these A-themes. His first Nocturne Opus 9, Number 1 is a good example of these melodic variations. Taking a closer […]

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Mozart is chilling on the couch, revelling in his superior craftsmanship.

Wolfgang Amadeus Mozart – K. 304, K. 448 & k. 550: varying repetitions – bitesize Composition analysis

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Mozart, when introducing a theme in his Sonata form movements, often repeats the melody with subtle variations. For example, in his E minor Violin Sonata (K. 304, I have an extended analysis of the first movement of this piece here), he changes the texture from monophonic to melody and accompaniment. In his D Major Sonata

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The Sorcerer's Apprentice Header, candles and a young man throwing is hands forwards as if casting a magic spell

The Sorcerer’s Apprentice – Paul Dukas (Music Composition Techniques Analysis)

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https://www.youtube.com/watch?v=OYqfTcI3Ztk&t=9s&ab_channel=AnyOldMusic Paul Dukas’s The Sorcerer’s Apprentice (1897) is a musical composition based on a poem, of the same name, by 18th-century German writer Johann Wolfgang von Goethe. Goethe was a product of the later Enlightenment. However, he had a profound impact on the European 19th-century and Romantic culture. For instance, Dukas is only one of many composers

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Le Papillon (from Chantefleurs et Chantefables) – Witold Lutosławski – Composition Technique

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https://www.youtube.com/watch?v=QYUPk1vKxQk&ab_channel=AnyOldMusic Witold Lutosławski’s Chantefleurs et Chantefables is a song cycle for soprano voice and chamber orchestra, completed in 1991. Textually, the songs use the poetry of twentieth-century French surrealist Robert Desnos (1900 – 1944). A series of children’s poems, compiled and published posthumously in 1955, under the title Chantefables et Chantefleurs (Lutosławski reverses the title

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Orchestrating a Swashbuckler - Ethel Smyth

Orchestrating a Swashbuckler: The Wreckers Overture (Ethel Smyth)

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https://www.youtube.com/watch?v=V0QZ7LVWDps&t=1s&ab_channel=AnyOldMusic Ethel Smyth’s The Wreckers is an opera set on the South West coast of Cornwall, in the United Kingdom. Perhaps indicative of an incredibly cosmopolitan society during this time, despite the subject matter and Smyth being English, the opera’s initial libretto was in French. However, Smyth had difficulty securing a performance for a French-speaking audience. As

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Badinerie (Orchestral Suite No. 2 – B-Minor) – J. S. Bach – Composition Technique

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Analysing Bach’s Badinerie, I discuss texture, harmony, tonality and melody. It is a treasure trove of composition technique presented by the prolific master and 18th-century musical craftsman Johann Sebastian Bach.

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Mozart’s E-Minor Violin Sonata, K. 304: music composition techniques

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In early 1778, Mozart was touring from his home in Salzburg to Paris. Stopping in Munich and Mannheim first, Mozart composed many sonatas on this journey. A collection of these includes seven Violin Sonatas (No. 17 – 23). The E-Minor Violin Sonata, No. 21/K. 304, is the only minor key sonata in this collection. I decided to take a look at this sonata, in part for that reason, but also because I found the clarity of its composition compelling. Using texture to clearly state themes and then present interesting variants, I think it’s a good demonstration in what I think can be easily forgotten as a composer or arranger: less can be more. Below I explore the works contextual origins, before analysing the first movement in more detail, focussing on its composition.

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3 lessons from arranging London Bridge for orchestra

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There is plenty to learn in analysing a composition. In the previous article I analysed and discussed the arrangement of Bizet’s Farandole. Here I take the learning process one step further by experimenting with combining the classic nursery rhyme melody “London Bridge” with the arrangement of Farandole. Taking the structural breakdown that I presented in the previous article I apply similar textures, orchestration and melodic treatment to “London Bridge”. This article discusses my process, thinking and lessons learned in undertaking this learning experiment.

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Bizet’s Farandole (L’Arlesienne No.2): music composition techniques

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The orchestral composition Farandole, a movement from L’Arlesienne Suite No. 2, can teach us a lot of simple tips and tricks that we can apply to our arrangements, compositions and orchestrations. In this article, I analyse the piece and discuss its structure, its clever use of simple themes, textures and orchestration. For example, one simple but exhilarating technique this composition/arrangement uses is to counterpoint its themes at the end (see Themes/Melodic Material)

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