Composers often get stuck, have writer’s block, or just need to get the creative energies flowing before a session. That’s precisely why I created these three creativity prompts! The idea is to spend no more than around thirty minutes with each of these challenges. I have used each of these prompts personally as well as with composition students in the past. Let’s get writing!
Read MoreDuring the past two decades, I have composed over sixty pieces (and several more during my youth that I later removed from my works list). In that time, I have definitely cultivated a compositional process that works for me. I absolutely concede that everyone composes differently but in this issue of The Theisen Journal I share three aspects of my compositional practice that I believe lead to positive results.
Read MoreIn the previous issue of The Theisen Journal, I outlined how we could combine traditional triads in ways that would complete twelve-tone aggregates. In this issue, I will explore merging two or more of the same traditional seventh chord type - fully-diminished, half-diminished, minor-minor, major-minor (dominant), and major-major seventh chords - into total chromatic structures.
Read MoreI am fascinated with how we may combine triad types (major, minor, diminished, and augmented) with non-overlapping pitch class content into total chromatic collections for aggregate harmonies or twelve-tone rows. In this issue of The Theisen Journal, I will be outlining ways we can combine triad types that exhaust the equal-tempered twelve-note aggregate.
Read MoreComposing and arranging for wind ensemble/concert band can be a daunting task if one is not accustomed to working with this unique and monstrously sized large ensemble. Having written several pieces for wind ensemble over the years (and performed in them from my earliest experiences as an instrumentalist), I have learned a few hacks along the way that can improve the overall quality of a composer/arranger’s work for the medium.
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