LEARNING GUIDE
SCORECLUB LEARNING GUIDE
LEVEL 1
The first step to being a composer is to connect to where your ideas come from: your ear
and the piano. These are the two main instruments for the composer. Musicianship is
central to being a good composer and central to the ScoreClub teaching approach.
COURSES
PIANO FOR COMPOSERS
1
This course shows basic piano technique for scales and arpeggios, how to
develop your sight-reading and how to formulate an effective daily routine for
the composer.
This was a frequently requested course and was added to help those without a
background in piano. (It is still recommended to take piano lessons.)
If you are a pianist and can already sight-read, you may skip this course.
COMPOSER EAR TRAINING: DIATONIC
2
This course covers diatonic ear training specifically for the composer. It focuses
on writing by ear so that you can write diatonic melodies in major and minor fully
by ear, using the proven steps shown.
The progressive approach means you will see results in the first lesson or two,
and the goal is to then apply this throughout the upcoming courses. You want
your ear to be an integral part of your writing process, not separate.
NOTE
The goal is for you to start adding piano and ear training to your daily routine and then use them as part of
your daily writing practice. Therefore, you do not need to master these courses before moving on to the
next level as you will continuously be building on them.
PRACTICE PLAN
MUSICIANSHIP
> PIANO: scale book and sight-reading practice.
> EAR TRAINING: practice or new lesson
WHEN TO MOVE ON TO THE NEXT LEVEL
You can either complete both courses or, once you have completed level 8 of the Composer Ear
Training course, move ahead to the next level as you continue through the ear course.
SCORECLUB LEARNING GUIDE
LEVEL 2: PART 1
In Level 2 you will be building a foundation of compositional technique centering around
diatonic harmony, voice-leading and counterpoint, while continuing to build your
musicianship. The first two sections will be focused on technique, which you will then apply
in the context of a series of pieces with “Craft of Composition”.
COURSES
ESSENTIAL COMPOSER TRAINING: FOUNDATION
1
The course that started ScoreClub! Here you will build a solid foundation in
diatonic harmony, voice-leading and four-part writing.
This course also takes SATB and develops a foundation for orchestral writing using
octaves doublings, layering, arpeggiation and more.
Chorale writing is essential for anyone serious about the craft of composition,
from piano to full orchestra.
TRANSPOSITION
2
Transposition is an essential skill for composers. It is essential for manipulating
and developing your material when composing, and for score reading and writing
when orchestrating. Ignoring this skill limits your creative potential and ability to
learn from the great scores.
By introducing this skill early on, you can slowly develop it a few minutes a day in
preparation for when it will be needed.
When to take this course: once you have completed 5 of ECT:F, take this course
and then make it part of your daily practice.
PRACTICE PLAN
MUSICIANSHIP
> PIANO: scale book and sight-reading practice.
> EAR TRAINING: practice or new lesson.
> TRANSPOSITION: add to your daily routine once you have completed lesson 5 of ECT:F.
MAIN COURSE
> ESSENTIAL COMPOSER TRAINING: FOUNDATION
Always aim to use your ear as you write, and to sing and play everything you write.
WHEN TO MOVE ON TO THE NEXT LEVEL
Once you have completed “Essential Composer Training: Foundation”.
SCORECLUB LEARNING GUIDE
LEVEL 2: PART 2
Having covered four-part writing and diatonic harmony, it is time to add contrapuntal
writing in two voices with “Practical Counterpoint.” Chorale writing and counterpoint are
two parts of a solid foundation in composition. As you focus on counterpoint you will also
do a few measures a day of four-part writing to build fluency.
COURSES
PRACTICAL COUNTERPOINT
3
Practical Counterpoint takes a traditional approach to counterpoint and then
dissects the rules so that you understand them and learn which ones matter and
which ones don’t.
Also includes some important lessons about methodology and thought process
when writing counterpoint, which is often a sticking point for students. I refer to
this as “guided intuition.”
C CLEFS
4
The ability to read C Clefs is necessary for the orchestral composer. These clefs
are introduced here so that you can gradually build skill and be prepared for the
“Writing for Strings” course.
When to take this course: once you have done 5 or 6 lessons of ECT:F, take this
course and then start incorporating transposition as part of your daily routine.
PRACTICE PLAN
MUSICIANSHIP
> PIANO: scale book and sight-reading practice.
> EAR TRAINING: practice or new lesson.
> TRANSPOSITION: writing and reading.
> C CLEFS: writing and reading.
COMPOSITION
> SATB WRITING: write 2 to 4 measures daily of four-part writing to review and build fluency.
TIP: you may want to time yourself. Either how long you take to write 2 or 4 measures, or how far
you get in your allotted time.
MAIN COURSE
> PRACTICAL COUNTERPOINT
Always use your ear as you write and play everything you write.
WHEN TO MOVE ON TO THE NEXT LEVEL
Once you have completed “Practical Counterpoint.”
SCORECLUB LEARNING GUIDE
LEVEL 2: PART 3
You have completed your foundation of four-part writing, diatonic harmony and
counterpoint! This knowledge will now be used in the context of short musical forms in the
course “Craft of Composition.” You will be writing for piano, a perfect step that leads
towards controlled writing for larger ensembles and longer forms.
COURSES
CRAFT OF COMPOSITION 1
5
This course is designed to develop your composition skills using diatonic
harmony, applying what you have learned and writing for the piano. Form, shape,
movement, notation, interpretation and more all combined into one holistic and
powerful course.
This course develops good piano writing, modelled after the father of modern
piano technique and student of Beethoven: Carl Czerny. The chosen models
were picked to also apply perfectly to ensemble writing.
METERS & TIME SIGNATURES
6
This course goes beyond just the mechanical aspects of time signature and
rhythmic notations, but helps you understand their musical implications,
interpretations and how to choose them best.
Through years of running ScoreClub, I have found a real need for this course.
I strongly recommend this course.
PRACTICE PLAN
MUSICIANSHIP
> PIANO: scale book and sight-reading practice.
> EAR TRAINING: practice or new lesson.
> TRANSPOSITION: writing and reading.
> C CLEFS: writing and reading.
COMPOSITION
> SATB WRITING or COUNTERPOINT: Write 2 to 4 measures of either four-part writing or
counterpoint. This is optional, depending on your available time.
MAIN COURSES
> CRAFT OF COMPOSITION 1: aim to write about twelve full pieces to complete this course. Apply
your voice-leading and contrapuntal skills.
> METERS & TIME SIGNATURES: take this course at the same time or before.
WHEN TO MOVE ON TO THE NEXT LEVEL
When you have completed “Craft of Composition 1” and written at least twelve pieces.
SCORECLUB LEARNING GUIDE
LEVEL 3
Having covered diatonic counterpoint and four-part writing, this level introduces
orchestration, beginning with the foundation of the symphonic sound: the string section.
This also completes the diatonic portion of the learning guide before we begin looking at
chromatic harmony.
COURSES
INTRO TO ORCHESTRAL TEMPLATES
1
The use of orchestral sample libraries is a necessary skill for the modern media
composers. This course coves a basic approach to the subject that is not software
or library specific and not overly advanced.
Note: This course is optional. You can use pencil and paper still and may wish to
use the playback from notation software. You can return to this later.
WRITING FOR STRINGS: FOUNDATION
2
This course provides a foundation in how to write for strings. You will learn how
to bow a melody like string players do, how to choose and write the right
articulations and bow strokes, and how to write for the ensemble by building on
your four-part writing skills.
This is a foundation course. It doesn’t cover advanced soloistic writing but
focuses on what constitutes 90% of your day-to-day writing needs and does it by
helping you develop real writing knowledge and skill.
PRACTICE PLAN
MUSICIANSHIP TRAINING
> PIANO: scale book and sight-reading practice.
> EAR TRAINING: practice or new lesson.
> TRANSPOSITION: writing and reading.
> C CLEFS: writing and reading.
COMPOSITION
> SATB WRITING or COUNTERPOINT: Continue writing 2 to 4 measures of either subjects as part of
your daily practice.
MAIN COURSES
> INTRO TO ORCHESTRAL TEMPLATES
> WRITING FOR STRINGS: FOUNDATION
Don’t forget to use your ear and play everything you write!
WHEN TO MOVE ON TO THE NEXT LEVEL
When you have completed both courses.
SCORECLUB LEARNING GUIDE
LEVEL 4: PART 1
This level begins our look at chromatic harmony with “Advanced Tonal Harmony” and then
introduces one of the composer’s greatest tools: imitation. This first part of level 4 is
focused on building knowledge and skill for the next part.
COURSES
ADVANCED TONAL HARMONY
1
This course covers extended diatonic harmony and common-practice era
chromatic harmony, while covering voice-leading, harmonizing and writing
approaches using four-part writing.
Subjects covered include mixture, secondary dominants, modulation, augmented
sixth chords and much more. All covered with lots of detail and on-screen writing
examples as usual.
IMITATIVE COUNTERPOINT
2
Imitation is an important and frequently used tools of the great composers. This
course provides a look at the basic and most useful ways of adding counterpoint
in the context of 2-voice counterpoint.
This was an often-requested subject by those wanting to know how John
Williams did it.
PRACTICE PLAN
MUSICIANSHIP
> PIANO: scale book and sight-reading practice.
> EAR TRAINING: practice or new lesson. If needed. If the ear course is complete just make sure to
use your ear throughout your writing.
> TRANSPOSITION: writing and reading. If needed.
ORCHESTRATION
> STRING WRITING: continue writing a few measures for strings daily. Solo or ensemble. Use good
bowings, all other technical details and don’t forget the C clefs.
COMPOSITION
> COUNTERPOINT: Write 2 to 4 measures of 2-voice counterpoint.
MAIN COURSE
> ADVANCED TONAL HARMONY
As always, play everything you write!
WHEN TO MOVE ON TO THE NEXT LEVEL
When you have completed both courses.
SCORECLUB LEARNING GUIDE
LEVEL 4: PART 2
Having build knowledge and skill in common practice era chromatic harmony and imitative
writing, it is time to apply it to some music! After completing these courses below you will
have written many short pieces and learned to understand what musical craftsmanship
really is.
COURSES
CRAFT OF COMPOSITION 2
3
This course builds on both the previous “Craft of Composition” course and the
chromatic materials covered in “Advanced Tonal Harmony”.
This is another thorough and complete look at shorter music forms, but adding
detail and complexity, shows you how to use chromatic harmonies and
modulation effectively within musical forms and covers repertoire of the late
classic to romantic period. An important course.
PRACTICAL COUNTERPOINT 2
4 Applying your knowledge of counterpoint and imitative counterpoint, this course
covers concepts to compose well-crafted pieces in two voices like the masters.
“Practical Counterpoint 2” provides an in-depth look at musical texture, direction
and form, and then using masterpieces as models, ends with you writing a
collection of short pieces in two-voices.
PRACTICE PLAN
MUSICIANSHIP
> PIANO: scale book and sight-reading practice.
> EAR TRAINING:
ORCHESTRATION
> STRING WRITING: continue writing a few measures for strings daily. This can be on its own, or as
part of the two courses below. Don’t’ forget the C clefs
COMPOSITION
> FOUR PART WRITING: write 2 to 4 measures daily using chromatic harmonies.
MAIN COURSE
> CRAFT of COMPOSITION 2: complete a minimum of 12 pieces.
> PRACTICAL COUNTERPOINT 2: complete a minimum of 8 pieces.
As always, play everything you write!
WHEN TO MOVE ON TO THE NEXT LEVEL
When you have completed both courses.
SCORECLUB LEARNING GUIDE
LEVEL 4: PART 3
Continuing with chromatic tonal harmony, this part covers the modes with “Modal
Mastery.” After this you will refine your compositional skills further by learning what makes
a melody memorable and building the understanding and toolset to achieve this.
COURSES
MODAL MASTERY
5
Modes are an essential part of the modern composer’s musical language. This
course covers them extremely thoroughly, giving you the means to truly master
them and to learn to use them like a painter uses paint.
MEMORABLE MELODIES THROUGH MOTIVIC MASTERY
6
Building on your understanding of small melodic forms as seen in the Craft of
Composition courses, in this course you add extra details in your understanding
of melodic and motivic structure to craft memorable melodies.
This is an in-depth look at the inner workings at some of the most memorable
melodies of all time, giving you the tools to do it yourself.
PRACTICE PLAN
Remember to always use your ear, play and sight-sing what you write. Use C clefs and
transpositions as part of your daily writing.
MUSICIANSHIP
> PIANO: scale book and sight-reading practice.
> EAR TRAINING:
COMPOSITION & ORCHESTRATION
> SATB WRITING or 2-PART COUNTERPOINT: 2-4 measures in SATB, using harmonies covered so far
or two-part counterpoint. Apply to strings, using C clefs and good bowings.
MAIN COURSE
> MODAL MASTERY
> MEMORABLE MELODIES
Optional. Use strings for both.
WHEN TO MOVE ON TO THE NEXT LEVEL
When you have completed both courses.
SCORECLUB LEARNING GUIDE
LEVEL 5
Having a solid compositional and harmonic foundation, you are now ready for the
“Orchestrating Line” series! These courses methodically explore the reasons and thinking
behind the arranging and orchestrating decisions of the great composers. This is present in
a progressive and logical manner with plenty of on-screen writing demos.
COURSES
ORCHESTRATING THE LINE 1
1 With the first course in the series, you will develop organic and well-designed full
arrangements and orchestration that follow your main musical line. This course
builds on your melodic and part skills into writing that follows the thinking of the
great composers.
ORCHESTRATING THE LINE 2
2
The second course is a systemic exploration of the building blocks of orchestral
accompaniment writing and how it relates to the foreground material. This builds
on the concepts covered in the first course.
ORCHESTRATING THE LINE 3
3 The third and final course adds textural, gestural and colouristic writing for the
orchestra. This completes in three courses the full look at the elements of
arranging and orchestral composition.
NOTE
Even though these courses are focused on the orchestra, the concepts covered also can be used for
smaller ensembles, chamber groups and even solo piano writing.
SCORECLUB LEARNING GUIDE
LEVEL 5 PRACTICE PLAN
Remember to always use your ear, play and sight-sing what you write. Use C clefs and
transpositions as part of your daily writing.
MUSICIANSHIP
> PIANO: scale book and sight-reading practice.
> EAR TRAINING:
COMPOSITION
> MEMORABLE MELODY WRITING: write one melody per day as you work on the OTL series.
Use your ear, play what you write, use C clefs, and practice transposing what you write.
You may also wish to continue exploring harmonies from ATH and from Modal Mastery with your
choice of some daily four part-writing, piano or improvisation at the keyboard. Always aim to
reinforce your weak points and build fluency.
Fluency comes from repetition, improving technique and improving your process and connection
between your ideas (ear) and how they are captured, either through pen and paper, notation
software, your keyboard or your DAW.
MAIN COURSES
> ORCHESTRATING THE LINE 1, 2 and 3
Work through the courses in order.
Always use your ear and play what you write. Use C clefs and transposition.
