The Composer's Path → Module 1 of 9
The Ear
Five lessons of listening and transcription. No composing yet, by design: the source course spends its first five lessons the same way.
Hearing as a composer hears
Modern listening protocols applied to one Radiohead track and one Meshuggah track.
2 weeks L2The interval as expressive force
Minor seconds and tritones in riffs, wide-interval voicings, Radiohead's chord colors.
2 weeks L3The motive: three or four notes that generate a world
The riff as motive, and the Bach subject set next to the riff cell.
2 weeks L4Horizontal and vertical: polyphonic hearing
Polyphonic hearing in multi-guitar textures and in piano-trio textures.
2 weeks L5Consonance, dissonance, and tension
Meyer's expectation applied to metric dissonance in rock and to tension in art rock.
2 weeks