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La musique adaptative, en pratique
Techniques audio, alternatives sans code à Wwise et FMOD, notes de composition IA, et ce que nous apprenons en créant l'audio de jeu sans middleware.
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Cercle des quintes expliqué : le guide du compositeur
Comprenez le cercle des quintes : armures, relatives mineures et modulations fluides, avec un tableau complet des 12 tonalités majeures pour composer plus vite.
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Classical Cadences: How Phrases End and Why It Matters
A cadence is how a musical phrase ends. Classical music has four main types, and each creates a different emotional effect. Understanding cadences is understanding classical grammar.
Romance in Bb: Writing a Lyrical Violin Melody
The Romance in Bb was built around a specific challenge: write a violin melody that feels genuinely warm and singable, not technically impressive. Here's how.
Spring Prelude: Composition Notes for a D Major Allegro
How the Mowjera Spring Prelude was constructed — the choice of D major, the scale run in bar 5, and why Allegro tempo reveals the character of the violin.
How Classical Melodies Are Built: Shape, Peak, and Return
The best classical melodies follow a structural logic that can be described but not fully explained. Here are the principles behind the melodies of Haydn, Mozart, and Beethoven.
Counterpoint and Voice Leading: The Hidden Rules of Classical Music
Classical harmony isn't just about what chord comes next — it's about how each voice moves. Counterpoint is the grammar beneath every Bach chorale and Beethoven sonata.
Jazz vs. Classical Harmony: How They Think About Chords Differently
Jazz and classical harmony both use seventh chords and functional progressions — but their underlying logic is almost opposite. Here's what separates them.
Autumn Walk: Composition Notes for a Bb Major Swing Piece
How the Mowjera Autumn Walk was built — the harmonic choices, the walking bass strategy, and why Bb major is the natural home of medium-swing jazz.
ii-V-I: The Three Chords That Define Jazz
Every jazz musician learns the ii-V-I progression on day one. Here's why it's so harmonically powerful — and why every style of jazz uses some version of it.
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