- Score and Parts Preparation
- Counterpoint in Chord Symbols
- Sonata Form in Beethoven’s Fifth Symphony, movement 1
- Composition II – Pitch Sets
- Composition II – Rhythm and Meter
- Composition II – Minimalism
- How To Prepare a Composition Recital
- Online Resources for Music Composition
- Audio Examples for “Simple Forms”
- Better Feedback on Creative Projects
- Orchestration Challenges
- Preparing for a Composition Department Concert
- Pursuing Graduate Study in Music Composition
- Composition Challenges
- Examples of Melodic Elision
- What’s a Sequence?
- Dear Distance Education Students
- How to Practice Ear Training Elements
- Dissecting the Melody of “America The Beautiful”
- Scoring Ideas
- Modulation: An Introduction
- Journaling for Composition Lessons
- Key Modulation: Elgar’s “Moths and Butterflies”
- Decoding the “Love On Top” Modulations
- Modulation Practice: Beethoven’s Violin Concerto
- Modulation: Don’t Believe What You’ve Been Told!
- How to Practice Melodic Dictation
- Studying Art Song
- Is This a Secondary Function Chord?
- Staff Input for Online Course Work
- Video Solfège Submission Instructions
- Some Things Composers Think About
- Crowd-source teaching: extra credit “challenges”
- Teaching the Perfect Tune
- Chord Inversions: They’re Not Just For Labeling Anymore
- How to Interpret Chord Symbols
- Non-Chord Tones in Tchaikovsky’s “Romeo & Juliet”
- Take a few pitches; shake, strain
- Rhythms are Boring; Rhythm Is Fascinating
- Motive: Beyond Simple Identification
- The Museum Of Rhythmic Oddities! Exhibit #1: Mozart String Quintet in G Minor
- Video Solfège: Creepy, But Effective!
- Melodic Orientation vs. Dictation
- Orchestration project peeves
- Syllabus boilerplate: Guidelines for email correspondence
- Theory Class Rocks!
Music theory for students, educators, and for uplifting gourmandizers