Hello Reader,
I'm thrilled to invite you to this week's episode of Breaking Down Morning Mood, where we'll dive into a score annotation of Grieg's "Morning Mood" (link to score video, YouTube) from his Peer Gynt Suite No. 1. Get ready for an exciting exploration of this musical gem!
Join me for this captivating episode, available for viewing here. It's an opportunity to deepen our understanding of Grieg's masterpiece together.
If you missed last week's episode, don't worry! Last week we simply compiled this list of handy resources, that will help keep our analysis moving along efficiently: https://docs.google.com/document/d/1K-IqhxDVo3G2Id3Qmg_D0GKbgZNWQDDFj1ssQ5qzsgQ/edit?usp=sharing
As always, any questions, thoughts or feedback: get in touch!
All the best,
George
P.S. Here's another link to the video. Incase you found your way down here and finally decided "Yes. I'd love to see that, George."
Here are five ways you can improve as a composer, arranger or orchestrator today:
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Hello. My name is George Marshall and I am the founder of Any Old Music. I am a composer with over 10-years of experience, having completed work on 50+ projects for video-games, films and the concert hall. In 2020, I completed my doctorate in Music Composition. My PhD was on constraint and how it emerges in creative projects. For example, team discussions in video-game projects. If a video-game team presented a mood-board and certain briefs, these constrain and challenge the composer to compose in a particular way or style. Less quantifiable than, say, the application of serialism, but probably just as (if not more) constraining and creatively directing. It was during my PhD that I realised that there would only be two outcomes for me as a composer: I became a professional composer who needed to compose lots of music in not enough time. I became an amateur/hobbyist or semi-professional composer who needed to compose less music but still with not enough time. With this in mind I eventually opted for something more along the lines of semi-professional, but with an ambition of setting up Any Old Music as a means of helping similarly time strapped music makers. Particularly those in the second group, the hobbyists and semi-professionals, whose composing competes much more for time against other aspects of life. Composition is incredibly rewarding. You never stop learning and developing as a composer. Furthermore, many of us boast renegade autodidactic personalities to a certain extent. My hope is that Any Old Music’s self-paced composition courses can help composers to continue growing, by learning through creating and doing so in their own time.
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