Write Like Mozart: An Introduction to Classical Music Composition Course Reviews

The course is designed for students with little or no musical training who are interested in learning how to compose music in the style of Mozart.

The course covers topics such as melody, harmony, counterpoint, form, orchestration, and notation. It also includes lessons on the historical context of Mozart's music and his compositional techniques.

Students will learn how to analyze and recreate classical music pieces, as well as how to compose their own works using the techniques learned throughout the course. They will also receive personalized feedback from the instructor and have the opportunity to participate in peer review exercises.

By the end of the course, students will have gained a solid foundation in classical music composition and will have created their own original compositions in the style of Mozart. This course is ideal for anyone interested in classical music and composition, whether they are beginners or experienced musicians looking to expand their skills.

Course Content:

The Write Like Mozart: An Introduction to Classical Music Composition course, created by Peter Edwards and available on Coursera, is divided into 6 modules with a total of 63 lectures.

Module 1: Module One (14 videos + 5 readings)

In this first week, we set the foundation for more advanced things to come. We talk about voicing of chords, voice leading of root position chords, and texture types. This first week might be review for some of you. If that's the case, the videos are still worth watching, I think, because they give a grounding for the thinking behind the music we will explore over these next 6 weeks. (You can always watch the videos at 1.5x or even 2.0x speed, but don't tell the instructor I told you that.) Even something as basic as voicing a chord involves issues of style, and approaches to these issues really give us a better understanding of the perspective of the composers making this music. Please note that there are two assignments for the week. There is a quiz designed to help you review the week's concepts. I would recommend taking it before you do the other assessment this week, which is a self-assessed chorale writing assignment. I use self-assessed assignments in this course as a way to deal with the limits of online learning. Ideally, I would look at all assignments and give feedback. When a class like this is taught at university, it is generally in groups of 20-30 students so students can get personalized feedback. However, that's clearly not possible online. I've tried to design these self-assessed assignments so that the videos really prepare you for the them and it is essentially practice of what we learn in the videos. This is easier in the beginning of the course than towards the end. As the topics become more complex, options multiply and hence correct solutions multiply and solution sheets become less helpful. For those who really do want to get weekly feedback, I encourage you to organize study groups via the forums to share your results and give each other feedback. Student-to-student teaching can be very valuable for learning, especially online. Please do not post your solution on the forum though because it's not permitted. Use the forum just to organize your groups.

Module 2: Module Two (9 videos + 2 readings)

In this module, we expand out harmonic palette by introducing commonly found inversions of the chords used in our basic progressions. We also look at keyboard voicing. The voicing rules used for SATB are generally followed in instrumental music, but they aren’t appropriate for all textures and instrumentations. Keyboard voicing is an approach to voicing homorhythmic, homophonic harmony for keyboard. But once one knows how to do keyboard voicing, one can apply patterns to the two hands and create accompaniment parts relatively easily. We’ll even look at creating a somewhat complex arpeggiated passage similar to a texture used in one of Schubert’s Impromptus. You will see how homorhythmic texture can be a skeleton for creating other texture types. A note about the assignments: we have 2 writing assignments. Please do them in order. Assignment 2 uses the solution from Assignment 1. So, try not to look at Assignment 2 before you’ve completed Assignment 1. There is also a quiz.

Module 3: Module Three (11 videos + 1 reading)

In this module, we look at a few commonly found sequential progressions. We will do some analysis of excerpts from Mozart and Beethoven that demonstrate the use of these types of progressions. I will also show you how to apply patterns to these progressions to make 3-voice polyphonic passages. We will also look at what I call the circle of fifths progression. The term can cause some confusion, so I want to quickly address that here. We are probably all familiar with the circle of fifths since it is commonly used to teach keys and key signatures. If we descend or ascend in a series of perfect fifths, we cycle through all of the 12 keys. Starting at C, ascending gives us keys with sharps, descending gives us keys with flats. When we ascend/descend by a perfect fifth for a 13th time, we end up back where we started. The circle of fifths progression, however, does not use perfect fifths exclusively. In many instances, it simply can’t because doing so forces a key change, and this is frequently not desired by the composer. So, sometimes the perfect fifth is adjusted to a diminished 5th to keep the progression in the same key. You could look at the circle of fifths progression we examine this week as a diatonic version of the original circle of fifths concept. With it, we cycle through not all 12 keys, but all 7 chords of the key. Some of you may know this progression simply as the circle progression. There is one self-assessed assignment.

Module 4: Module Four (9 videos + 1 reading)

In this module, we look at the idea of chord substitution. All of the substitutions we will learn about this week are diatonic, that is, the substituting chord is within the key of the passage. Melodic writing is also introduced, and in the 3 parts of Lesson 7, I walk through creating an entire passage of music from a very simple 2 voice outline. Along the way, I try to articulate the things that one thinks about when creating and working with a melody within a phrase. We will also look at the kinds of harmonic progressions that take place at the end of a phrase. These are called cadences, and they are crucial for the experience of form in common practice music. With cadences introduced, we will be able to take a look at one of the simplest forms found - the period form. With the concepts and techniques learned in this module, you will be able to take a short 4-8 bar passage and generate a small composition from it. In fact, the assignment for the week is to take a sketch of a 5-bar phrase and turn it into a 10-15 bar simple composition that uses a parallel period form. The description of the assignment should tip you off to the fact that the “solution” is just one possibility. Previously, there were always more solutions that the one given, but not many more. This week is different. There will be a bunch of solutions, but I do feel that the solution given is a good implementation of the things learned in the week’s lectures. I would suggest, then, to use your study groups (or to form study groups) to share some of your solutions since they will differ in some ways from the given one. It would also be good preparation for the final project, where you will give such feedback when assessing your peers. I want to also note that while your solution might differ in details from mine, the more general aspects - structure, cadence types and locations, for instance - should not. I want to remind everyone that all of these different ways of engaging with the assignment - completing it, checking it against the solution, getting feedback from others, and giving feedback - are part of the learning process.

Module 5: Module Five (10 videos + 1 reading)

This module builds off of the concept of chord substitution that was introduced previously. However, this week we look at chords that are chromatic, rather than diatonic. Some of you may be familiar with the concept of chromaticism. Its simplest definition is the use of chords that are not part of the key of the passage in which they are used. One of the things that chromaticism helps to make possible is modulation to new keys, so sometimes people think that chromaticism is music that changes keys. That’s not completely true - although it is often the case. In Write Like Mozart we will look only at uses of chromatic harmony that do not cause modulation. (Modulation is a large topic that would take perhaps 2-3 weeks to properly cover, and we just don’t have the space here.) We will also get our feet wet with 2-voice counterpoint. We will look at writing 2:1 counterpoint, that is, 2 notes in the upper voice against 1 note in the lower voice. Counterpoint can go much deeper than this, but it is a subject on its own and also well beyond the space we have in this course. However, I did want to give some guidance in it because we will look at a Bagatelle by Beethoven this week in which he uses 2-voice counterpoint. Since this work could serve in part as a model for your own final project composition, I thought it would be good to take a bit of time to give you some insights into how to write simple 2-voice counterpoint.

Module 6: Module Six (10 videos + 1 reading)

This final module starts with an introduction to what I call “progressions within progressions”. Often a composer uses V-I progressions that are in keys related to the original key but not actually in it. So in the key of C major, for instance, it is quite common to see a progression that has a D major chord going to a G major chord. Well, up to now, we haven’t seen this and we wouldn’t have a way to describe it. That D major chord isn’t in the key of C, it’s not a Neapolitan or Augmented 6. It’s not a borrowed chord because neither C major nor c minor has a D major as the chord on the second scale degree. However, this D major is a fifth above the G major chord, which means that there is a dominant-tonic relationship between the D major chord that’s not in the key and the G major chord that is. This sounds more confusing than it is, so I won’t continue to describe it here. Instead, I encourage you to check out the videos on this concept, which I think make it quite clear what these are and how to use them. For those who have studied harmony before, you might be familiar with the much more common term “secondary dominant”. That’s what these progressions within progressions are. We will also look at a technique that is crucial to the musical style under examination in this course: the Alberti bass. This is the familiar arpeggiated chordal pattern that you frequently encounter in music from this era. They are easy to write, but there are a few things that need to be kept in mind when composing them. There are also some videos that aim to bring course concepts together for you. The first is a video on elaborating progressions. While the basic progressions presented in the first week aren’t extensive, we learned how to significantly alter them via chord inversion and diatonic and/or chromatic substitution. But we haven’t looked too much at how to take all of these strategies and put them together to create a unique progression. This video aims to offer that. Finally, we take a close look at a theme from one of Mozart’s very famous theme and variations, part of the K. 331 piano sonata. This is important not simply because it brings together the concepts presented in this class. More importantly, the work can function as a model for you in composing your final project. It is an excellent example of rounded binary form - the form you need to use for the final project composition.

Reviews:

As a former student of Write Like Mozart: An Introduction to Classical Music Composition by Peter Edwards on Coursera, I would like to provide a detailed review of my experience with this course.

First of all, I would like to say that the course exceeded my expectations. I had always been interested in classical music composition but had no prior knowledge or experience in the field. However, the course was designed to be accessible to beginners like me, and I was able to follow along with the lectures and assignments without feeling overwhelmed.

One of the things that I appreciated about the course was its structure. The course was divided into 4 modules, each of which covered a different aspect of classical music composition, such as melody, harmony, and form. Within each module, there were multiple video lectures that explained the concepts in a clear and concise manner. The lectures were accompanied by helpful visuals and examples, which made it easier to understand the concepts being taught.

The course also included a variety of assignments that were designed to help us apply the concepts we had learned in the lectures. For example, we were asked to compose a short melody using a specific set of guidelines, or to analyze a piece of classical music and identify its key features. The assignments were challenging but rewarding, and they provided an opportunity for us to receive feedback from our peers and improve our compositions.

One of the highlights of the course for me was the peer review process. After completing an assignment, we were asked to review the work of other students in our class and provide constructive feedback. This was a great way to see how others had approached the same assignment and to learn from their strengths and weaknesses. It was also a great opportunity to receive feedback on our own work and to improve our compositions based on that feedback.

Finally, I would like to say that Peter Edwards is an excellent instructor. He is knowledgeable, engaging, and passionate about classical music composition. He has a talent for breaking down complex concepts into simple and easy-to-understand parts, and he is always willing to answer questions and provide additional guidance. His enthusiasm for the subject matter is infectious, and it made the course all the more enjoyable.

In conclusion, I would highly recommend Write Like Mozart: An Introduction to Classical Music Composition to anyone who is interested in classical music composition, whether you are a beginner or have some prior knowledge of music theory. The course is well-structured, the assignments are challenging and rewarding, and the instructor is knowledgeable and engaging. It is a great way to develop your skills as a composer and to gain a deeper appreciation for classical music.

At the time, the course has an average rating of 4.9 out of 5 stars based on over 407 ratings.

What you'll learn:

Upon completion of the Write Like Mozart: An Introduction to Classical Music Composition course, students will have developed the following skills:

1. Melody writing: In the melody section of the course, students will learn how to create memorable and compelling melodies using a variety of techniques such as rhythm, harmony, and chord progressions. They will learn how to apply these techniques to create melodies that fit within a given key and complement a given chord progression.

2. Harmony: In the harmony section of the course, students will gain an understanding of the principles of harmony and how to create chord progressions that support their melodies. They will learn how to use both major and minor scales to create rich and complex harmonies that add depth and emotion to their compositions.

3. Counterpoint: In the counterpoint section of the course, students will learn the principles of creating multi-voiced compositions that are harmonious and beautiful. They will learn about the five species of counterpoint and how to apply them to create complex, multi-layered compositions.

4. Form: In the form section of the course, students will gain an understanding of different musical forms and how to use them to structure their compositions. They will learn about binary, ternary, rondo, and sonata form, and how to apply these structures to create balanced and cohesive compositions.

5. Orchestration: In the orchestration section of the course, students will learn about the different instruments that make up an orchestra and how to write for them. They will learn how to combine instruments to create different textures and sounds, and how to use the different sections of an orchestra to create contrast and drama in their compositions.

6. Notation: In the notation section of the course, students will learn about music notation and how to use it to accurately write down their compositions. They will learn about the different symbols and notation conventions used in classical music, and how to apply them to their own compositions.

7. Critical listening: Throughout the course, students will develop their critical listening skills by analyzing classical music pieces and applying the compositional techniques they have learned to their own compositions. They will learn to identify different musical elements such as melody, harmony, and rhythm, and how to use them to create engaging and memorable compositions.

Overall, students will gain a comprehensive understanding of classical music composition and the skills they need to create their own original compositions in the style of Mozart. Whether they are beginners or experienced musicians, this course provides a solid foundation in classical music composition that can be applied to a variety of musical styles and genres.

Author:

1. Melody writing: In the melody section of the course, students will learn how to create memorable and compelling melodies using a variety of techniques such as rhythm, harmony, and chord progressions. They will learn how to apply these techniques to create melodies that fit within a given key and complement a given chord progression.

2. Harmony: In the harmony section of the course, students will gain an understanding of the principles of harmony and how to create chord progressions that support their melodies. They will learn how to use both major and minor scales to create rich and complex harmonies that add depth and emotion to their compositions.

3. Counterpoint: In the counterpoint section of the course, students will learn the principles of creating multi-voiced compositions that are harmonious and beautiful. They will learn about the five species of counterpoint and how to apply them to create complex, multi-layered compositions.

4. Form: In the form section of the course, students will gain an understanding of different musical forms and how to use them to structure their compositions. They will learn about binary, ternary, rondo, and sonata form, and how to apply these structures to create balanced and cohesive compositions.

5. Orchestration: In the orchestration section of the course, students will learn about the different instruments that make up an orchestra and how to write for them. They will learn how to combine instruments to create different textures and sounds, and how to use the different sections of an orchestra to create contrast and drama in their compositions.

6. Notation: In the notation section of the course, students will learn about music notation and how to use it to accurately write down their compositions. They will learn about the different symbols and notation conventions used in classical music, and how to apply them to their own compositions.

7. Critical listening: Throughout the course, students will develop their critical listening skills by analyzing classical music pieces and applying the compositional techniques they have learned to their own compositions. They will learn to identify different musical elements such as melody, harmony, and rhythm, and how to use them to create engaging and memorable compositions.

Overall, students will gain a comprehensive understanding of classical music composition and the skills they need to create their own original compositions in the style of Mozart. Whether they are beginners or experienced musicians, this course provides a solid foundation in classical music composition that can be applied to a variety of musical styles and genres.

Requirements:

The requirements for Write Like Mozart: An Introduction to Classical Music Composition by Peter Edwards on Coursera are as follows:

1. No prior knowledge or experience in music theory or composition is required. However, it is recommended that students have some basic proficiency in playing an instrument or singing.

2. Students will need access to a computer or mobile device with an internet connection to access the course materials and complete assignments.

3. Students will need access to music notation software such as Sibelius, Finale, or MuseScore. This will be necessary for completing some of the assignments in the course.

4. Students should be prepared to invest a significant amount of time and effort in completing the course. The course consists of six modules, each with multiple video lectures and assignments, and is designed to take approximately six weeks to complete.

5. Students should be willing to engage in critical listening and analysis of classical music pieces, and to apply the compositional techniques they have learned to their own compositions.

6. The course requires a commitment to active participation, including completing assignments and peer reviews.

7. It is recommended that students have a basic understanding of music notation, scales, intervals, and chords.

8. Students should have a strong interest in classical music composition and a willingness to learn new techniques and approaches to composition.

Overall, the requirements of the course are designed to ensure that students have the necessary tools and resources to succeed in the course and to develop their skills as classical music composers. Students who are willing to invest the time and effort required to complete the course will emerge with a solid foundation in classical music composition and the ability to apply these skills to their own compositions.