# Alex Heppelmann - Videos on Composition



## Markrs (Nov 15, 2021)

Another great video by @A.Heppelmann 

Composing With Scales and Modes


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## Delboy (Nov 16, 2021)

Really interesting - have sent this to my son at Uni studying composition cheers


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## Markrs (Nov 16, 2021)

Delboy said:


> Really interesting - have sent this to my son at Uni studying composition cheers


Alex's videos on orchestration are very good as well. He is an excellent teacher


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## A.Heppelmann (Nov 16, 2021)

Thanks @Markrs for posting this, as always! If anyone has any composition technique video suggestions for me, I'd love to hear them. My next video is going to be on articulations.


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## Markrs (Nov 21, 2021)

Another create video from Alex (@A.Heppelmann)

Composing with Articulations


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## KEM (Nov 21, 2021)

A.Heppelmann said:


> Thanks @Markrs for posting this, as always! If anyone has any composition technique video suggestions for me, I'd love to hear them. My next video is going to be on articulations.



I could always use some help with harmonization!! If I write a melody I can’t for the life of me figure out how to harmonize it, but if I write the chords first I can write a melody over it easily, I’d like to be proficient at both approaches so learning how to harmonize would be a big help


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## A.Heppelmann (Nov 21, 2021)

KEM said:


> I could always use some help with harmonization!! If I write a melody I can’t for the life of me figure out how to harmonize it, but if I write the chords first I can write a melody over it easily, I’d like to be proficient at both approaches so learning how to harmonize would be a big help


Great suggestion! I was actually planning on a video on that topic in the near future!


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## KEM (Nov 21, 2021)

A.Heppelmann said:


> Great suggestion! I was actually planning on a video on that topic in the near future!



Sweet! I will definitely be on the lookout for that!!


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## Markrs (Dec 1, 2021)

Composing with Articulations Part 2


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## Markrs (Feb 17, 2022)

Composing Harmonies PART ONE: Implied Harmony​


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## Markrs (Feb 26, 2022)




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## Markrs (Mar 3, 2022)




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## Maximvs (Mar 5, 2022)

I find his videos really great and he is a wonderful composer.

Thank you Mark for sharing Alex's YT channel.

Best regards and blessings,

Maximvs


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## ed buller (Mar 5, 2022)

Wow...wonderful stuff. Thanks for sharing i'll follow this fella !

best

e


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## A.Heppelmann (Mar 5, 2022)

Appreciate the support! Big thanks to @Markrs for sharing all of these videos here.


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## Markrs (Mar 10, 2022)

Markrs said:


>



As many of us requested Alex (@A.Heppelmann) has orchestrated the above piano score.


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## Markrs (Mar 17, 2022)




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## Markrs (Apr 13, 2022)




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## Markrs (Apr 20, 2022)




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## Markrs (May 20, 2022)

Chord Voicings & Inversions​


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## Markrs (Sep 23, 2022)




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## R.G. (Sep 23, 2022)

The ostinato beginning at ca. 05:15 (Khazad-dum), played by the low strings and piano (with support from the timps and gran cassa), would not ideally be marked *tenuto-staccato* and/or _*au talon*_, which in any event would be _*"at the frog"*_ or _*"at the heel"*_ for a score in English (*at frog* and _*at heel*_ are acceptable in cramped conditions), though players don't really need to be told what part of the bow to use when it's apparent as it is here.

All that'd be necessary would be the _*f*_ dynamic and consecutive *downbow marks* for the first group of four 8ths, and _*sim.*_ above the first note of the next four-note group. In fact, that's what they're doing in the recording. Consecutive downbows automatically deliver the desired *pesante* effect and the *tenuto-staccato* nuance of stress and separation.

Section leaders might very well decide to do that anyway without it being marked, but a conscientious orchestrator would mark it as such nevertheless since there are no guarantees in life and assuming such things can lead to an unnecessary waste of valuable time to specify on the stage.


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## Ed Wine (Sep 23, 2022)

Alex's content is pure gold.


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## R.G. (Sep 23, 2022)

Ed Wine said:


> Alex's content is pure gold.



I stand corrected!


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## A.Heppelmann (Sep 23, 2022)

R.G. said:


> The ostinato beginning at ca. 05:15 (Khazad-dum), played by the low strings and piano (with support from the timps and gran cassa), would not ideally be marked *tenuto-staccato* and/or _*au talon*_, which in any event would be _*"at the frog"*_ or _*"at the heel"*_ for a score in English (*at frog* and _*at heel*_ are acceptable in cramped conditions), though players don't really need to be told what part of the bow to use when it's apparent as it is here.
> 
> All that'd be necessary would be the _*f*_ dynamic and consecutive *downbow marks* for the first group of four 8ths, and _*sim.*_ above the first note of the next four-note group. In fact, that's what they're doing in the recording. Consecutive downbows automatically deliver the desired *pesante* effect and the *tenuto-staccato* nuance of stress and separation.
> 
> Section leaders might very well decide to do that anyway without it being marked, but a conscientious orchestrator would mark it as such nevertheless since there are no guarantees in life and assuming such things can lead to an unnecessary waste of valuable time to specify on the stage.


FYI I spoke to orchestral string players before making the video. I considered all downbows at first, then changed my mind. Some of these performance things are a bit subjective, but I stand with what I said in the video.


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## R.G. (Sep 23, 2022)

No. This was objectively wrong. It was bad information. Just learn from it and move on. They're playing downbows in the recording for heaven's sake.

Study some Stravinsky and learn.


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## Ed Wine (Sep 23, 2022)

R.G. said:


> I stand corrected!


That's ok. Now just learn from it and move on.


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## R.G. (Sep 23, 2022)

How one respond's to the previous corrections of a small part of the above video is indicative of whether someone is here to learn, or here to _pretend_ to learn. I don't care about the latter. There is no serious reason to be bothered by these necessary clarifications that you're damned lucky to be receiving in the first place, and such negative responses and content-less trolling just make things worse, as you are now finding out, and it all runs counter to the principle of *Musicians Helping Musicians*, if this really needs to be pointed out. So stop being selfish and grow up!

If something can be posted, promoted, and recommended, then it is also ethically subject to review, no matter how much it may ruffle the feathers of ignorant people who are not in this for real. Especially since people who _are_ in this for real are the ones who matter. To me, anyways.

Moving on, with respect to my previous points, notated examples for comparison often illustrate these issues better.

This top example, which is silly, is the version endorsed by @A.Heppelmann, @Ed Wine, and @Markrs.






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And this bottom example is the correct, studio-worthy version:






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EDIT (December 9, 2022): Decided to provide a little bowing detail in case anyone comes along later and cares about such things.

The articulation markings suggested for the strings in the video above are generically known as *tenuto-staccato*, but for strings this indicates *detaché lancé*. The technical problem here is that if you listen to the example, the low strings ostinato is played accented, at 50% duration, and off the string. But detaché lancé is an unaccented bowing that reduces the note by no more than 75%, and is play on the string. Those are three objective reasons why the suggested bowing is wrong. This type of thing matters when you're scoring for actual musicians.


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## axb312 (Oct 18, 2022)




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## Markrs (Oct 29, 2022)




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## Markrs (Nov 4, 2022)




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## axb312 (Nov 22, 2022)




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