We at New Harmony Line are proud to announce that Cecilia Roudabush, our Director of Education, has been named by The Gazette as one of its 2024 HER Women of Achievement. We think she’s very special, and we’re glad to see others also recognize her extraordinary qualities. Following is an appreciation written by her daughter, Haley Roudabush.
Cecilia (Cece) Roudabush grew up in Creston, Iowa. She moved to Iowa City, earning her BA in Music Education & Therapy as well as her Masters in Music Therapy with a focus in Behavior Disorders. Cecilia delighted in working with students from grades K-12 for 32 years teaching general and adaptive music, rock band, success center and personal development.
After retiring from full-time teaching in 2021, Cecilia has continued providing music composition opportunities to children all over the world through her work as the Director of Education for New Harmony Line.
Since childhood, she has dedicated herself to many service projects in her community and church, including the free lunch program, working with Habitat for Humanity, and leading projects at St. Thomas More such as “Blanket Them With Love” for victims of the derecho and Afghani refugees in Cedar Rapids.
Cecilia believes her greatest accomplishment in life has been bringing her two children into the world. Now adults, they have both followed in her footsteps and begun careers of service within their communities. If she has free time, you can be certain Cecilia is using it to help those around her.
Cecilia thanks her friends, family and colleagues for their love, and this nomination for the HER Achievement Award.
By June Kinoshita, Executive Director, New Harmony Line
It seems like every education and arts conference this year is talking about Artificial Intelligence. Can generative AI be creative? Will it enhance or destroy creative industries, not to mention all kinds of jobs? One popular meme going around on social media says “I want AI to do my laundry and dishes so that I can do art and writing, not for AI to do my art and writing so that I can do my laundry and dishes.” Amen to that.
In fact, Hyperscore is an example of a software that uses AI to do the more tedious chores, freeing people to explore the fun, creative, and essential parts of composing. Centering human expression and creativity in technology design is the core principle of Hyperscore’s inventors at the Opera of the Future Group at the M.I.T. Media Lab. We believe it is becoming ever more urgent to uphold these values as societal and economic pressures threaten to push AI in the opposite direction.
A deeper dive
One of Hyperscore’s advanced features is the “harmony line,” the dark gray line that is centered on the horizontal axis of the Sketch Window. This line can be manipulated to create regions of harmonic tension, release, and modulation. The Hyperscore composer can play with the harmony line and decide whether the results sound the way they want them to. A more advanced composer can do this more intentionally, and of course they can always specify the exact notes they want in the Melody Window. Hyperscore allows a user to be fully in control of every note, or to collaborate playfully with its algorithms to discover and shape the elements of their composition.
Hyperscore’s automated harmony algorithm was originally implemented using AI trained on classical music. You can read the technical details in this article (Farbood, M., Kaufman, H., Jennings., K. “Composing with Hyperscore: An Intuitive Interface for Visualizing Musical Structure” International Computer Music Conference, 2007.) To quote:
“In Hyperscore, users describe harmonic progressions by shaping the harmony line. It is parsed into sections which are then mapped to functional identifiers…which consist of four categories: Statement, Antecedent, Consequent, and Modulation. The harmony line, which runs through the center of each sketch window, can be modified by clicking and dragging. Colored bands appear to indicate the line’s parsing. Sections are classified as one of four visual types, each corresponding to a functional identifier:
• Statement – flat section, colored white. Musically defined as a statement or prolongation of the tonic.
• Antecedent – upward-sloping section, colored green. Musically defined as a combination of chords that need resolution (e.g. dominant chords or combinations of subdominant and dominant chords).
• Consequent – downward-sloping section, colored blue. Resolution of preceding Antecedent section. If not preceded by an Antecedent, then restates the tonic.
• Modulation – defined by a sharp pointed region or spike, colored yellow. Progression toward a new key.
After the line is parsed, chords are assigned to each section based on its functional identifier, how many beats it spans, and how textured or “bumpy” the section is. The instability of the chords assigned to a section is directly proportional to the amount of texture. The chords chosen are taken from a database that returns either single chords or small progressions based on the selection criteria. The database consists of chord progressions commonly found in Bach chorales.”
Explore Hyperscore
If you’re intrigued and want to play around with Hyperscore, you can sign up for a free version (with limited functionality) or a subscription version (starting at a very affordable $3.99 per month). You can also try out the full classroom version by signing up for the Hyperscore Challenge, which runs through June 21.
To help you get started, we have Quick Tips that walk you through all of the features of Hyperscore. We also invite you to attend our free Second Saturday Zoom workshop where you can participate in composing a new Hyperscore piece in real time.
Image credit: “Better Sharing With AI” by Creative Commons was generated by the DALL-E 2 AI platform with the text prompt “A surrealist painting in the style of Salvador Dali of a robot giving a gift to a person playing a cello.” CC dedicates any rights it holds to the image to the public domain via CC0.
by June Kinoshita, Executive Director, New Harmony Line
We’re constantly discovering new and wonderful ways to play with Hyperscore. Recently, Peter Torpey and I were invited to give a series of talks to music education masters students at the Longy School in Cambridge, MA. Their instructor, Garo Saraydarian, mentioned the students were in the middle of unit about Orff instruments. We had not thought about integrating Hyperscore compositions with Orff or any other type of acoustic instruments so we arrived in class without a plan.
We showed the basics of Hyperscore composition to the class of around a dozen students from diverse parts of the world and then turned them loose to compose. They worked in clusters of two to four students for about a half hour. Because all of them were already experienced in instrumental performance and theory, they could dive right in, although none of them had composed collaboratively before.
When the time was up, Garo asked each group to share their composition. And here’s when he made a simple but brilliant suggestion. After sharing the composition, they were asked to use Orff instruments to improvise an accompaniment to the Hyperscore piece.
The effect was utterly charming! The digital sound of Hyperscore set a foundation to which the students added a variety of expressive rattles, buzzes, and melodious metallophone sonorities. It was all so playful and everyone was pleased with the outcome. It was such a simple idea – any music teacher could replicate it–and yet captured the essence of music-making, with delightful results. Watch:
Chatting with Ben Mirin was one of those unforgettable meeting-of-minds moments. Ben has recorded a Noah’s ark of animal sounds in the wild and then remixes this non-human chorus with his own beat boxing. It’s entertaining, but it’s more than that. Ben is on a mission to use music to make people care deeply about our natural world–protecting endangered species and restoring habitats.
This resonated with us. One of the core ideas we emphasize in our work is “active listening” — opening up your ears to hear the world around you fully. We want you to become attuned to the wealth of information that sounds carry to our brains but also to become aware of the feelings these sounds stir in us.
In our 45-minute conversation, we cover some of the diversity of Ben’s output. He shares video from Indonesia of the amazing vocal prowess of male birds of paradise. We get to enjoy a video of Ben’s beatboxing video from the National Arts Center of Canada’s Great Orchestra Field trip, featuring sounds from the rainforests of Kalimantan. He walks us through “BeastBox,” a game he created with the Cornell Laboratory of Ornithology, where you too can be a wildlife DJ. (Visit Ben’s website and click on the BeastBox link.)
We talk about his journey using music technology to create his work. I ask about an idea to create a Hyperscore instrument set using bird songs with varied pitches and timbres and Ben launches into a discussion of the “acoustic niche hypothesis.”
Now working on his PhD at Cornell, Ben shares stories about his field research in Java, where there is a booming trade in songbirds. The local people prize their feathered divas, training and entering them in American Idol-style contests complete with judges, cheering spectators, and prize money that could support a family for ten years. It’s a big business that brings jobs and money into the local economy, and people are passionate about their birds, but it’s also having a devastating impact on wild bird populations. “We all love birds,” he says. He wants to build on the shared love of these wonderous creatures to “plant the seeds of conservation.”
The inspiration for our Second Saturday composition last month was this remarkable photograph of a nighttime forest illuminated by countless fireflies. We shared the image over Zoom and for two minutes we each wrote down words evoked by this vision.
To begin creating our composition, we began with a percussion window. Imagining all of those fireflies flashing their lamps in the dark, we created a rapid, scintillating beat, steady punctuated by small irregularities–the way we imagine Nature to be.
Next, we composed a jaunty “firefly theme song,” orchestrated for dulcimer. Peter suggested including an almost-identical melody as a second version of the theme. Again, the almost-but-not-quite-the-same quality of living beings.
We had our musical fireflies, but not the world they inhabit. To portray the beauty and mystery of the nocturnal forest, we composed a bass line of “forest music.”
A breeze blowing through the grove:
Add a sprinkling of pixie dust:
With the musical building blocks for our world in hand, we went to work, first establishing the mood of the forest at night, a place of mystery that erupts with rapturous swarming dance of fireflies. Things get a little wild!
Projectory members work together on an original composition.
By June Kinoshita, Executive Director
This past month, Tod Machover and I were invited to give a workshop to introduce Hyperscore and music composition at Projectory, in Seoul, Korea. Projectory is a center established by NC Cultural Foundation for the purpose of providing a space for children to give free play to their creativity without interference from adults. While South Korea’s public education system is regarded as among the best in the world, critics say it is too test-driven and brutally competitive. At Projectory, members are free to direct their own activities in any way they choose. They work with “crew members,” young adult mentors who are trained to support the children without prescribing what they should do.
In our workshop, Tod introduced the idea of composing as a form of personal expression and story-telling that could be about “anything you want.” Using a large projection screen, I then showed the basic features of Hyperscore.
The kids were then off to the races! They worked in groups of 2 or 3 brainstorming with paper and crayons to come up with topics ranging from baseball to fighting cats. They then shared laptops to compose their first-ever original tunes. We were all delighted by the results and later heard that the children are eager to keep composing. We’re excited to see if Hyperscore will take root and spread in Korea.
If you’re interested in trying out Hyperscore to teach music composition but are not ready or able to fully commit, this article is for you. This is for the retired educator who wants to help out his daughter who is homeschooling her kids. This is for the teacher who doesn’t have it in her budget this year but is eager to find a way to engage the kids in her classroom now. This is for the nonprofit foundation that wants to run a music camp next summer. This is for the after school club seeking an exciting project….
Step one. Decide if everyone will gather around a single computer or if everyone will have their own device.
Step two. Each device / individual should sign up for the Free Trial version of Hyperscore.
Step three. Decide on the type of composing activity you want to lead. Most can be done as collaborative or individual activities. Check out our blog for ideas.
Pro tip 1: The free trial version of Hyperscore cannot save more than five compositions in the cloud, so remind participants to download and save their compositions locally on their device.
Pro tip 2: Let the participants lead the way. Your role is to encourage exploration and discussion. There’s no right or wrong way. Be the guide on their side, not the sage on the stage.
If you are using Hyperscore successfully and wish to continue, we recommend a basic, premium, or supreme subscription. These are affordable options for small groups and will allow you to:
Create up to 5 user profiles
Save more scores (compositions)
Use more melody and sketch windows
Unlock different instrument sets
Unlock more themes
Export audio and MIDI output
If you would like to use Hyperscore in larger classrooms and manage your students’ work, we recommend that you license the classroom version through MusicFirst or by contacting us.
by June Kinoshita, Executive Director, New Harmony Line
Okay, I made up the title to riff on music AI, only to discover there really is a Bach Bot out there. It’s a system that uses AI to generate Bach-like music. I shouldn’t have been surprised. Music AI bots are proliferating alongside other generative AI programs. Major media and music companies are investing in AI-generated music, raising alarm among those who care about musical culture.
In a recent article, the Washington Post reported, “AI music has found its way into the mainstream — you’ve probably heard a few seconds of it even today: soundtracking ads on YouTube and Facebook, or providing the emotional context of a TikTok video.”
Some music AIs are designed to suck up all the music you listen to and generate more music that sounds similar but isn’t composed by an actual human. Think of all the royalty fees these companies won’t have to pay. Other companies are developing algorithms to generate tunes that will optimize your mental state.
But can such sounds, generated without any human intention, without a living person trying to communicate their experiences and emotions, be considered art? With art, it takes two to tango. You need an artist with an intention to provoke a response, and a recipient who brings their own sensibilities to bear on how they respond. Intention and framing matter. That’s why John Cage’s 4’33, the piece that famously asks you to listen intentionally to the world around you for four minutes and 33 seconds, is art while my silent procrastination is not. When I sit through a performance of 4’33, the composer is communicating with me, even if the man is no longer living. Without the artist mediating the experience, it’s just me projecting.
“Pieces of music aren’t just pieces of sound,” says Tod Machover, the composer and co-founder of New Harmony Line.. “They’re because some human being thought something was important to communicate and express.”
There is an appropriate place for AI in music, says Machover. In his own work, “I try to make models that are productive and useful and interesting and beautiful,” he says, “and I personally believe in a kind of collaboration between people and technology.”
This belief helps us appreciate Machover’s intention behind the creation of Hyperscore. Here is a tool that utilizes technology to remove barriers to music composition. That doesn’t mean it automates the process of composition. Hyperscore takes away the parts that untrained musicians find hard and leaves the kernel that is most important: What is it you need to say?
In a world where we are losing more and more of the human touch, where nearly everything we use in daily life, from our clothes, work tools, and food, is manufactured by machines, we crave ways to express and celebrate our human moments. Witness the explosion of interest in preparing food, knitting, DIY projects.
People are hungry for channels to express themselves creatively. Music is among the most direct, powerful ways to tell our stories. We must elevate and celebrate authentic, human music by supporting artists, music education, and the means for everyone to participate.
Coda
Just after posting this, I was struck by the irony that I had used an image (below) that I had generated using DALL-E (“Baroque-style etching of J.S. Bach as a robot”). It was fun, but I agonized over whether I was unknowingly stealing bits actual artists’ work or undermining the market in which they made their living. Is there a place for AI-generated illustrations? What do you think?
The marketplace is awash with software for music, from toy-like games to complicated digital audio workstations (DAWs) for professionals. How’s a teacher to choose? Music educator Cecilia Roudabush, a 30-year veteran of the Iowa City schools and director of education for New Harmony Line, is always on the lookout for tools that produce satisfying results in real classrooms. She reviews some popular and favorite applications.
Chrome Music Lab “Chrome Music Lab is a website that makes learning music more accessible through fun, hands-on experiments.”
User age: All ages
Best features – No account needed; click on any experiment for immediate use – 14 experiments to choose from – Shared Piano, Songmaker, Rhythm and Kandinsky all feature music making as their core purpose – Shared Piano and Songmaker can be posted or shared – Shared Piano can involve live collaboration with another user – 6 of the experiments feature the ability to use your voice as part of the music making or conceptual process – Quick connections to science, art, coding and math as well as musical concepts – Every experiment has a question icon that loads a text description of how to use the experiment or what concept it is demonstrating – All the tools are visual icons that most people will have used, seen as a computer user or can understand from experience (walking figure versus running figure for tempo) – Works on any device that can load Chrome
Ease of use: – Composing feature in Songmaker and Melody Maker is intuitive with experimentation – Most students will explore the tools and use the ones that work easily for them – Kaninsky requires a touch screen which is not evident – May hold the attention of younger users for a longer time than older users; Rhythm is very fun but doesn’t expand beyond the 4 choices and is not something you can save or share
Teacher review: There are many wonderful features to this online technology for elementary students. Experiments like Arpeggio, Harmonics, Piano Roll, Oscillators and Strings are useful for presenting a facet of a concept. Melody Maker and Songmaker would be excellent introductory composition tools. Shared Piano would be interesting for creating melodies that someone else could play back, but the synesthesia method used is backward from the usual “drop from the top and touch the key you need to play”. If elementary students haven’t used synesthesia videos from YouTube to learn songs on the electronic keyboard, that might not be an issue.
As 7th and 8th graders, my students were given the option of using Chrome Music Lab but most students chose not to use it as they had used it while in elementary school. The best usage of this in a one-trimester or -semester music technology class in secondary school is as a choice for free-time music making.
Pricing: Free
Hyperscore A new way to compose music “Lay down some notes, listen, react and evolve. Hyperscore is an innovative web application with an intuitive graphic interface that puts creativity first and encourages active listening and purposeful composing.”
User age: All ages. Under 13 need parent or school permission to create account.
Best features: – Easy free account set-up. For Hyperscore Classroom, instructor sends email invitation for students to join classroom. – Intuitive composing workspace: drop notes into the extendable rhythm and melody windows, listen, edit and continue to create melodic and rhythmic motifs; motifs can be arranged in the harmony sketch window alone, or in combination with, other motifs – Music is composed visually, allowing the user to manipulate note values, place pitch and arrange motifs with their eyes as well as their ears – 1-minute video tutorials accessible to all users – Teaching modules for elementary to secondary included in Resources for Educators – User can customize note shapes, instrument sets, visually themed workspaces, and rainbow-themed diatonic scale – Unique harmonizing tool in the sketch window: “general” and “classical” will adjust notes to fit harmonic principles. – Unique Harmony Line function allows the user to add tension, release or drama to their composition – Cloud version saves work automatically; projects can shared and remixed, and moved to a personal account once the class is complete
Ease of use: – Creative composing feature is very intuitive. Most students of any age or ability will be able to use the program – Students will explore and use the tools with little support needed once they learn the basic composing process (write, listen, edit) – Students will quickly learn their preference for monophonic or polyphonic melodies with some instruction needed for stacking musically rather than just filling the space – Intentional composing can be achieved with storytelling or prepared composition prompts – Scaffolded curriculum would allow students to collect their work year-to-year in a portfolio showing increasing sophistication in their compositional style – Contact district technology department prior to creating accounts to make sure emailed account codes arrive directly in student in-boxes – New Harmony Line’s Privacy Policy contains a prepared Parent/Guardian consent form for family/student users under the age of 13
Teacher review: As 7th and 8th graders, my students used the original Hyperscore as a composing and arranging tool. The majority of students could compose independently with the program because of its intuitive tools. Seeing music written visually was considered to be a strength of the program. Students were able to edit and arrange motifs, and to judge what they liked and did not like about their choices. Students also used the dynamic, tempo, harmonic tools, tone color and copy/paste features once they were presented as options they could choose to utilize.
The upgrade to the web-based version in 2021 has allowed students from ages 3 to 18 to compose original works of music with simple instruction on using the tools. By inverting the pedagogy and allowing students to compose before structuring the theoretical understanding of their process, students showed amazing leaps of creativity in their rhythm pattern choices, melodic shapes, use of non-traditional time signatures and harmonic combinations. Asking students to name their piece often elicited a peek into the imagery within their work. Giving a student a storytelling or prepared compositional prompt also yields amazingly creative work.
Composing, editing and arranging are its best usage in a one-trimester or -semester music technology class. Musically motivated students would find a trimester elective in composing with Hyperscore invaluable, which may lead to some career pursuits or lifelong interaction with music. Elementary general music teachers would benefit from using the program as a K-6 portfolio of mastery of compositional techniques.
Pricing: – Free Starter Plan (5 projects) – Basic $3.99/month (5 seats and 10 projects) – Premium $9.99/month (5 seats and 20 projects); $8.00/month with annual plan discount – Supreme $14.99/month (unlimited); $12.00/month with annual plan discount – MusicFirst educator license. 30-day free trial. $199/year unlimited seating for 1 year; 3-year subscription $189.05/year unlimited seating – Hyperscore Classroom license. $199/year plus $2 per seat.
Incredibox A fun, interactive music experience “Create your own music with the help of a merry crew of beatboxers. Choose your musical style among 8 impressive atmospheres and start to lay down, record and share your mix.”
User age: Any age, as this program does not require account creation. Parental Control button available in settings.
Best features: – Immediate use with no account required (more content with downloadable app but not necessary to enjoy the experience) – Very intuitive program; visual and textual help screens pop up once you choose your first mix set – Available in 6 languages – Drag and drop pre-recorded loops onto each beatboxing character which provides them with a themed “outfit” and a sound associated with their character – You can record and save your mix (appears to be a cloud save because you do not enter any personal information although you can give yourself a handle for your mixes – Name and share links immediately; the Playlist button allows you to see what’s been recorded in the last 24 hours as well as a Top 50 playlist of popular mixes
Ease of use: – Arranging and mixing feature is very intuitive with visual/text guides if needed – Most users will find this very fun and motivating – You can spend hours listening to all of the mixes others created–inspiration to be found from the simple to sophisticated mixes
Teacher review: As 7th and 8th graders, my students used Incredibox completely independently as a mixing and arranging tool. Most students used it purely for fun–they didn’t even realize they were making musical choices as they “played”! Some used their mix as their final product for the composition unit and turned it in for a grade since their final product requirement was to spend 3 class periods ‘making music using technology’. Although peers found it very entertaining, I made sure to label it as “mixing and arranging” rather than “composing”.
Incredibox could be a wonderful introductory program into other mixing, arranging and editing programs or as a way to introduce composition during a one-trimester or-semester music technology class. A few students will enjoy this for one class period and then be ready for something more sophisticated and not return to it again, whereas others will continue using at home or on their phone and share the website URL with others. Most elementary students would find it just completely fun, although I did have a student or two who expressed concern that the beatboxers were bare-chested until you “dressed” them. As a teacher myself, I find it to be a fun distraction that I return to a few times a year.
Pricing: – Alpha version on website is free – Educational Version 12 seat minimum for $12/mth – App available on App Store, Steam, Microsoft Store for $4.99 – Merchandise store with coffee mugs to art ranging in price from $14.99 to $147.99
Soundation Make music in an online DAW “An online studio where you can make beats, record & edit audio/MIDI, mix, and collaborate. 20000+ loops and samples. 15 audio effects.”
User age: 13+ (use granted for those under 13 with Parent/Guardian permission)
Best features: – Easy account set-up (Google login) for immediate use – Video tutorials and user step-by-step guides – Drag and drop pre-recorded professional loops from the Sound Library – Choose audio effects for each loop – Share links, collaborate or place your work in the Community forum
Ease of use: – Composing feature is not intuitive – Motivated students will explore the tools and use the ones that work easily for them – Features a QWERTY virtual keyboard but does not have a step-by-step guide for using it – The right toolbar has icons that are useful but not defined–most students will need to be taught their purpose and how to use the export feature
Teacher review: As 7th and 8th graders, my students used Soundation independently as an editing and arranging tool. No student chose to compose with it because they were too impatient to watch the videos and it was not intuitive for composing. Students were able to independently understand editing and arranging sound loops and to judge what they liked and did not like about their choices. Many students used the channel features but only at the surface level. I had to teach students how to export their files to me for their final grade.
Editing, mixing and arranging are its best usage in a one-trimester or -semester music technology class. Elementary students would be able to use the program with mixing and arranging lessons and guided practice.
Pricing: – Free (3 projects and 1 GB storage) – Starter (10 projects) $9.99/month; annual plan $4.99/month – Creator (unlimited projects) $14.99/month; annual plan $9.99/month – Pro (unlimited projects) $49.99/month; annual plan $29.99/month
Soundtrap Make music together. Online.Your everywhere studio. “The best collaboration platform for making music online.”
User age: 13+ (use granted for those under 13 with Educator School Account)
Best features: Easy account set-up (Google login) for immediate use for 13+ users Video tutorials for all features Light and dark mode for personalization of workspace Drag and drop pre-recorded professional loops from the Sound Library Choose sophisticated audio effects for each loop with tutorials for using effects Record,edit and collaborate on any device and store your work in the Cloud Auto-tune feature offers the ability to pitch and modify voice recordings Audio editing tools (volume, pan, filter sweep effects) QWERTY synthesizer that allows you to easily play a virtual keyboard using the keys on your computer keyboard (dozens of sound settings available with effects settings) or a piano roll that allows you to click from low to high and extend the value with your mouse monophonically or with polyphony Connects your microphone, guitar or any other electronic instrument to the program Patterns Beatmaker tool allows you to make your own beats with 18 percussion instruments associated with a traditional trap set Record, transcribe to text and edit your own Podcast which can be uploaded to Spotify or downloaded as a link for you to post anywhere Educator Account links to all major LMS platforms and provides many of the features present in a personal use account with additional lesson plans and assignments
Ease of use: Composing feature is sophisticated and would take multiple lessons for a student to learn the tools Motivated students will explore the tools and videos and make incredible music; students who are taking a required course will need lessons and step-by-step assignments to use the technology and may find the vast resources overwhelming without finite boundaries Beatmaker tool seems to only be quarter note values–there’s probably a video tutorial for that! Easy to share, post, collaborate
Teacher review: As 7th and 8th graders, my students used Soundtrap independently as an editing and arranging tool. The composing tool has improved dramatically since we last used it. Most students were able to independently understand editing and arranging sound loops and to judge what they liked and did not like about their choices. A small number of students used the array of features, but the majority of students used it only at the surface level.
Editing and arranging loops are its best usage in a one-trimester or -semester music technology class. An entire trimester or semester music elective would be needed to allow focus on the usage of all of the features of this online music technology tool which may lead to some career pursuits or lifelong interaction with music.. The podcast feature could be used by Language Arts, Drama, Musical Theatre and Music Production electives as well as in a Music Technology class through which a student could share their work, the work of others, reviews of current music or insights into the music they love. Elementary students would be able to use the program with mixing and arranging lessons and guided practice.
Pricing: – Free plan – Music Makers Premium $9.99/month; annual plan $7.99/month – Music Makers Supreme $14.99/month; annual plan $11.99/month – Storytellers (podcasts) $14.99/month; annual plan $11.99/month – Complete $17.99/month; annual plan $13.99/mth Education Version–30 day Free Trial (up to 500 seats with all features); School or District Plan $349 plus applicable taxes for 50 minimum seats ($6.98/seat); price per seat lowers as you add additional seats
Think of one of your favorite characters from any form of media. Chances are, they evoke some emotional response in you that has drawn you toward them. Characters can be abundant sources of joy and inspiration for all of us, as can be seen from just a glance online at the copious amounts of fan art and works created by all sorts of people motivated by their passion for all sorts of characters.
We used a character as the foundation for making music with Hyperscore at our most recent Second Saturdays Zoom workshop. We began by coming up with a character: one attendee brought up her affection for capybaras, and we soon landed on Cappy the capybara as the protagonist for our musical story.
We brainstormed a list of association words and phrases that we imagined Cappy to have, to inspire the composition of his leitmotif – a musical theme associated with him that would repeat throughout our piece. “Sleepy”, “determined”, “furry”, “plump”, “aquatic”, and “adorable” were among these descriptors. Thinking of these words, we started laying down some notes in a Hyperscore melody window that would encapsulate Cappy’s energy, using the warm sound of a french horn.
Cappy the capybara’s theme
The next question was, what’s the story? Cappy needs an exciting adventure. Imagining various scenarios prompted a second character–a hungry alligator!
The alligator’s theme
There should be more than danger motivating our story. What is something that would make Cappy happy? Why, some delicious fruit, of course.
The fruit theme represents Cappy’s snack
And where does all this action take place? Alligators inhabit rivers, so we needed music to suggest rippling water.
The water theme accompanies Cappy when he goes for a swim
Now that we had our main characters and setting, what about the action? Cappy goes out for a stroll and come to a river. He starts swimming but Alligator enters the scene. When Cappy realizes he is being stalked, he starts swimming faster. There’s a race culminating in Alligator lunging at Cappy!
A two-bar percussion figure depicts Cappy walking and racing, as well as munching on fruit
Here’s “Cappy’s Day.” Listen to hear the different themes and find out Cappy’s fate!
Hear the motifs that represent the characters and story elements, as well as the final composition.
Here is the full Second Saturday workshop showing in real time how we put this composition together. Peter shares a ton of subtle Hyperscore tricks and hacks!
Want to try this out yourself? Sign up for our free Second Saturdays workshops here.
