WE CONTINUE OUR STUDY OF “Daphnis and Chloe Suite II”
This month we continue our study of Maurice Ravel’s “DAPHNIS AND CHLOE SUITE II”. Considered a masterpiece, not only of composition, but of orchestration, this work is an encyclopedia of orchestration techniques that are applicable in any style or genre of music.
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This Month’s Guest
Doug Wilde, an alumnus of Humber College, studied film scoring and advanced arranging with Rayburn Wright and Manny Albam at the Eastman School of Music. Doug also has a master’s degree in composition from York University and is currently in his fourth year of doctoral studies in post-tonal techniques, relating to classical and jazz composition.
As a screen composer, Doug has created well over 1000 scores for radio and television commercials. Doug also has extensive experience as a music director for live television.
Doug is the principle composer, music director, and keyboard player for the Canadian world/ jazz /fusion group Manteca and plays keyboards with David Woodhead’s Confabulation. As well as composing for Manteca, Doug has released a number of projects under his own name, both “Chamber/ Scenic Jazz” and “Ambient Music”. dougwilde.com
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From Doug; “In this presentation I will demonstrate the immense, unique, colourful and varied possibilities afforded by the use of six-note scales (hexachords) as a compositional resource. There are fifty different hexachords – each identified by the notes and intervals contained within. Some, like the whole tone scale are familiar adjuncts to traditional harmony. Most, however, provide the opportunity to create musical environments that are quite distant and different from traditional functional harmony. Hexachords provide a rich resource for screen composers and are quite easy to incorporate into your technique. In this presentation I will also discuss my use of hexachords for jazz composition – and improvisation.”
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IF YOU WOULD LIKE TO BE A GUEST STUDY LEADER, please contact John info@torontoravel.com.
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NEW ADVENTURES IN LISTENING – Film clips from “On The Waterfront” and “Ryan” are posted on the “Study Materials” page for download. With the sound removed, they can be scored as an exercise, and brough in to “Adventures in Listening” for feedback and analysis. Adventures in Listening is a unique opportunity to get unbiased and honest feedback on your ‘in-progress’ or experimental work from a community of your professional peers. Because it is anonymous, it is a risk-free environment. Whether you are an emerging composer or an experienced one, and whether your work is for concert or screen, I encourage you to take advantage of this invaluable resource.
