Lyle Murphys SYSTEM of HORIZONTAL COMPOSITION (With 12 Equal Intervals) This course includes: Harmony, Melodic Development, Composition,

Arranging and Orchestration. It does not include style, as the techniques learned can be used in any context. The Murphy system is a complete system that proposes new relationships and techniques unique to Horizontal Composition, while encompassing Diatonic, Classical, Contemporary or Pop sounds, and approaches them from an original point of view having nothing in common with other known methods. In other words, this system can be used to organize the sounds of any historical period of music while also providing a basis for finding new and unique sounds from the simplest to the farthest relationships possible with 12 equal intervals. All of it accomplished with only half a dozen rules. Horizontal Composition refers to the creation of individual lines that hang together in a way that could only be seen through a vertical (harmonic) dimension previously. This allows for greater flexibility and melodic interest in each individual voice with no doubling of parts. As the course proceeds you will gradually build your own musical reference library filled with your own musical ideas created in each lesson. You will be able to compose more quickly and originally when needed. The course can be useful for instrumentalists as well. The advanced theory includes Motion Picture and TV Scoring. Gary David

EIS BROCHURE
! #" $ %$ $
Progression based on Eleventh chords

) ! $! "

%%'& & &

((($ $ $

$!

& %' & &

(('$ $ $ '$ !

(& & &

%$ %$ $ %$ !

('(& & &

!! %$ $ ($ ! $!

! #"

)" ! $!

%&'& (& & %&'& (& &'& (& %& %& & & $ & % & ( & & %& (& (& $ !!! % & ( & (& %( $ $! '$ ! %$! $!

Practice material for piano from previous progression

# * & & %& & ) * %+ + +

3 3

Scale Passage from the System of 12 Tonality

%& %& %& &

'& '& & '&

+ & & & & %+ + + + + + %+ + +

%+ %% + +

(+ ''+ +
3

% %& && & % & % &%& % && %$ %& & & & % & #* & $ $ & $ % & & $ $ & % $ & ( & % & & & ( & & & & %& )*
3 3

Based on Harmony In Thirds

& & %%& & &(& & $ $ && $ $& (+

& & && & & & && & '+ & && $&& && && &%+ ++ $ $ +

%$

%&% &% &%& %& %&%& & % & % & % & & & & % & % $ %& &% & %& * %& %& '&(& & ( & %& %& %$ , # %%& !! & & && &%%& & %%& & %$ %& %& %& % & % & & % &( & ' & % & ' & ( & % & % & % $ & & % & % & $! %$ ((& %& % & % $ & % &%%& && & %%& ) * %& &%%& &((& & & & , %%& & %%$ !! & %& % $ $ %& "& #" & & & & & !! $ )" + "+ %$
Based on Harmony In Fifths

Based on Harmony In Fourths

- & & & & & &! & &! & . &! %$ $ $ $ /

- & & & & & & &! & & & & & . . %$ $ + +

+ + + + +

" + # " '''$ + (% + + )" " (+

Polytonal Progression

'$

(''+ + $ %+ (+ +

'$

(+$ ( ' + %+ + %+

'$

'(($ + + %+ %+ +

'$

%& $ !! % & & $ & ! ' & % & ' & ' & & %& !! ((& & & ! (& $! & !! % & ' & & %& & %& ( & & & & & %& &! & #" & %%& & (& ' & & & & (& & , %'$ $ ! %($ %$ ! $ $ )" ! %$ $ !! $ !! $ !! %$ !! ($ ! $ $!
Horizontal Motion

Equal Interval Run Application

3
3

#" " )" "1

3

0 &! $ &! $

& & && '' & & (& & ! & & &&''& & (& & ! . 1, / & ! # &! 3 3
3

/ , 1 &&''& & & ( & % & % & % & % & & '& %& 3 / 1 - & 0 (& - & &&&$ + & + &$ %& % & & 1 & % & & '& &'& . (& %& && %& & 0 -1, / & & %& !! %&- & & %& & & ! (& & $ & & & ! %%& & $ & !! & .. & ! %%& & ! (& & %& & %& & $ & ! ! %& %& . + + $ 1 %&- (& & 1% & . ( & %& #" % & ! %& ! %& &! % & & . $ $ $ $ $ $ & (& %& (& $ &! & . &1 , & & &. & 1 , &

+ # 1 (& & 1%%$ $ $ ) 1 %& & 1 $

+ +

%$ & & !! %& ! %& !

%& & %& %& %& & % % & / (& %& & %& . %& & & %& & / & .

-&& 1 & -1 & $! & $!

- (& & & & & % & % & & & % & & % & & (&% %& # &! (( & $ % & & ( & & ! & &! & %& & % & ! .- $ .- & ( & .. & ! ) & $ %& & %& & ! 1 %& ! (& $ %& & & & ! - 3 %%$ $ 1 % & & / %& &%& & $ ( & $ ! # + % + & % + + % & + (& %+ ) $! & & (+ + +

" & # " 1 &- & & & & & && & && & && && & && & %& & & & %& & & )" 0 && &%& & " & # & & & && & && & && && & && & & & & %& & & ) %& && &%& & %& ! %%& $ ! #" (( $ !! $ ( $ )" ! ! %& %& # % $! !! ($ ( $ ) $! &

Application of Reflection

- && & ! & & & & && & !! & &&&& & && & && & && & & & %& & & & & & %& & %& & !! & & 1 , & & %& & . . . .

Reflection

$ $ $ $ $

& & &&&& & &1, .

&%& & & & %& & $ & & % & & & 1 1 % & $ & & & & . % & % & & & & & & & $ & % & & % & % & ! & &&& & & & ! . . 3 %& %&%& $ &%& %& & %& & '& && & !! & 0 , %% & && &$ $ . %%& $ ! %& ! ! ((($ $ $ !! %& &- %%& $! (( $ ! ($ $ !! & %%$ $! ! ((($ $ $ !! & ! %$ $! %& %&

Reflection Example 2

&

(( $ ! '$ $ !! $ $ $

%& % & & & %(& $!

!! (( $ $ ($ !

%%& $ ! %&

(( $ ! '$ $ !!

& & (& & " # " 1 &- & $ $ $ )" $ $ " %$
Contraction

1 &- & & & $ & . 1 %& $ $

& & & & %& &

& & &'& & & & & & %&%& $ & &$ + + & &$ & $ & %& $ %%%+ + & & &%& $ $ &&

Horizontal Motion

" , %& & & %& & (& %& $ #" & '$ , &'&( &%&% &%& %$
Four Part with Continuous Imitation

)" "

% & & % & %& & ' & % & %& & &% &%& & %& &(& '& , %& (&%& / , &
3

%%& &%%& & %& & %& &%& & & %& && &

'& '&

& % & %& &( & & & (& & % & %& &( & '& %& & & % & %& &( & '$ ' & % & & (& %& & & ((& %& & % & (& %& & % & ((& & # %' & & & '& & & & '& & '& & ' & & '& & & ) %+ + + + + +

Ostinato, Ground Motive and Pedal Chord Combined

- & '& %& " & !! %& ! & & & & & % & ( & % & ' & ! %& #" & & & & % & &%& & & & (& '& & & ! % & & !! '( && & .
Six-Part Dissonant and Polytonal
3 !! & & % & & % & & ! .

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& & % & % & & & .

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&'& (& & 1 '& & & & ( & & & & & % & & ' & 1 & & & & & &% & & &''& & & %%& & !! & & (& ! . & & & .

! '$ $ #" $ & )" ! %& / &

%& (& & && & %& (& & % & %&

%& & & & &% &

" & & '# $ & & $ !! - '& & !! $ * ('(+ + $ ' & + $! + * + + $! $ $ !!

, , ,

& (& % & ( & %& ! & & & & & & & & 1 & & & & 1 & & ' & 1 '' & ' & ' & & & & & %& & %& & %& & %& & %& & %& & %& & %& & )2 & & & & & & & 3& 2 #3

Interval Relation IV

Student Example: Jan Holiday

(& (& '& '& (& '&'(& ! ' & & (& ( & & & # 1 & & ' & ' &((& & & %& &''& & 1'' & &''& & 1'' &

!'& & & & & & & % && & & & ) & '& & '& . (&

%& & & . &

! && && .&

& & (& . &

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(& & & . &

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,!

%& %& % & %& (& ( & ) & %& & '& & & % & % & %& '& (& %& ! ! ! ! ' & % $ $ $ & & ! ! ! ! ' & & ( $ $ $ & & & ! '& ''& & ! $! $! &! & & '& & & ($ # 1 & &' & , ! %& & & %& ! & & & %& ! & & & %& ! & . , & & & (& 4$ ! & $! $! &! & ) & !! !! !! ! % %$ $ $ & , $ $ $ &! & & .

'& & & & ! '& & '& & & & & ' & 1'& &

'& & & & & '& & ''& & & & & & & ' & & &

5 '&% % && #" 1 % & . )" 5 /!

& '(& & && & ('& &

& &&& 3 3 && & %% & & % & & & % & & $ & & %& % && & & %& $ &6 . ! 1 % & ' & + + % & ( & % & % & % & # 1 " %% && ( & & & " %& (& % + + ) ! , 6 %& %& " " / 1 . %& %& 1 , , . %& % + % & & % & %& % & & % & % & %& & & & % & & & 6 (%& " % & % & & ( & % + % & %& 1 , # " '& "% + / %& . ($ '& '& )6 " 1 (& 0 & '& ''& ( & ' & & %%& & " " . '&%&%& & & ((& % & ( & ( & & & &

% & & %& & & %& %& & 1 / & . %& 1 %& %&

Developing a Four-Note Theme

" 1 %&- (& '& %$ " %& (( && % $$ %& " , 1 - %& %& " &

Student Example: Jack Preisner

%&&%& & &&&&& '&( &&(& '&- 1 , % & %& / & & & ( & & & % & % & & & & # %%& & & ' & ' & ' & ' & ' & ( & & % & & & & (& & & ( & & & & & & & & & & && &&%% % ( & ( & & & && && ( & &% && ( & && && & & '& - & ( & & & ) ((& ' & / & %%& &%%& % & & &( &( & & %& & %& %& & &% & & & & & & & & & %& & & %$ $ ((' & & % $ & % ''& & %( & & (& %%%& ! & ( & & & '& ( && 1 %$ $ ! $ & %%& & (& %& ( & ( & $ ! % $ $ ( $ & ( & %$ & % $ %$ $ # &. $! $ $ % $ $ % $ (( ( $ $ % $ % $ % $ % $ $ $ % $ $ %$ ! ($ %$ %$ ($ ) (& & 1 $! %$ ($ ( $ $ %& $ % $ ( ! %$ ($ $ . ($ %$ ($ $ %$ ($ ($ $ # ('$ $ %% $ $ ) $ %$ %$ $ $ %$ & &% %& '& & & %%& &%& & &(( & & %& (& & & & %% & & (( & & & & %& &% %& % & & ( & + & % & & % & %&%& %%& %%+ + 1% && & & & & & . %+ %% + + %+ + + % %+ + + + +

EIS STUDENT LIST

Djalma Bob Achilles Sal Aglora Svee Alano Ted Alexander David Alphonso AJ Alsbrook, Jr. Jay Anderson Fabian Andre Richard Aronson Irving Ashby John Ballantyne Bob Ballard Jack Beck Steve Bennett Bill Berry Steve Billman Frank Bisceglia Walter Bishop, Jr. Simon Black Richard Blalock David Blumberg Ken Bonebrake Lars Bonfire Tom Borrelli Abe Boychuck Kevin Brandon Ronnell Bright Ronald Buck Bill Burks Glen Caldwell Tom Chase Russ Cheever Buddy Collette Ron Combes George Covell Joe Curiale Susan Czech Gary David Al Del Govenatore Bill Derrington Raoul De Souza Alan Dixon Jaoa Donato Mary Dugan David Edelstein Paul Edwards Mary Ekler Sarah Engle Robert Falkewitz Ernie Felice Jack Fina Richard Firth Chris Fredrickson Dick Freisen Isidore Friedman Dorothy Funk Dean Gant Larry Goldman Brenda Gordy Brad Greene Tom Griep Danny Guerrero Tito Guidotti Jim Gurley Dell Hake Bob Harmon Ron Harper Lanny Hartley Jimmie Haskell Tommy Henderson Michael Herrey Bill Hitz Jan Holiday Dana Hughes Kenny Jackson Chuck Jonkey Glen Jordan George Kahn Warren Kees Chai Khyowongse Paul Lagos John Lamb Gerald Lee Winfred Lee Paul Lopez Marian Lounsbury

Kelly Love Tim Lyddon Doug MacDonald Jack Majdecki Amy Malina Norman Mamey Tommy Mancini Anthony Marinelli Claire Marlowe Steve Marston Harold Mason Bennie Maupin Tony McShaer Jan Meyer Mike Mitacek Mark Monarch Edward Moody James Moody Steven Moore Cathy Mullen Bill Myers Stephen Navosky Loren Newkirk Johnny Novello Larry Ornstein Scott Page Don Peake Danny Pelfrey Oscar Peterson Matthias Pippig Jack Preisner

Joe Principato Koe Principato Joe Privitelli Jim Quiros Bob Rafkin Robert O. Ragland Kennard Ramsey Darol Rice Jimmie Richards Loren Richmond Bob Rosario Eddie Roscietti Ron Rose Linda Roth Mischa Russell Buffy Saint-Marie Gary Samuelson Moacir Santos Steve Savelli Dan Sawyer Dave Schlegel BJ Schramm Craig Sharmat Tak Shindo David Shriver Rod Stampley Ed Stanley John Steele Jon Steele Jim Szilagyi Bob Tall

Mary Jane Tashiro George Taylor Tom Taynor Phil Teele Darryl Terwilliger Jilani Thomas Ren Toppano Tim Torrance George Tricomi Marcos Valle Bruce Vandervilk Tallmadge Ed Vario Jim Venable Pomping Villa Bill Vogel Henry Waack Ray Wessinger Gerald Wiggins Keith R. Williams Maceio Williams Dan Williard Sam Winans Ralph Wolf Stan Worth Peter Zaferes Forrest Zimmerman Tom Zink

COURSE OF STUDY
Book Topics: 1. 2. BASIC THEORY Introduction to equal intervals, progression, scales, chords and symbols. SYSTEM OF PROGRESSIONS Equal interval voice leading for all structures from triads to thirteenths plus application. HARMONY IN THIRDS Melodic theory based on two, three, four and five part harmony in thirds including related forms. EXTENDED INTERVALS Harmony in fourths, fifths, sixths, seconds, thirds and tenths. THE MODERN DIATONIC SYSTEM All modal melodies, harmonies and application. SYSTEM OF POLYTONALITY An original and simplified approach. COMPOSITION I Counterpoint, continuous imitation, fugue and equal interval form. COMPOSITION II Based on 12 equal root tones. BASIC ORCHESTRATION Small groups to full orchestra with instrumental combinations. ADVANCED ORCHESTRATION Actual recorded scores with professional performance. ADVANCED THEORY The heart of the Equal Interval approach to originality. XIA features the Composer at Work: actual film scores. COORDINATION Modern Arranging and reharmonization of standard and popular music based on the complete material from Books I-XI.

3.

4. 5. 6. 7. 8. 9. 10. 11.

12.

LYLE (SPUD) MURPHY

Lyle Murphy has enjoyed 75 years of success in many areas of the music industry. He was first highly regarded as a performer, playing all the woodwind instruments and several brass instruments, and was a distinguished soloist in various small groups. He then became one of the legendary arrangers who ushered in the Big Band Era. He was the chief arranger for both Benny Goodman and Glen Gray, and wrote over 200 stock arrangements commissioned by the Robbins-Feist-Miller Music Corporation which are still being played around the world. Moving from live performance to film, he was hired to compose and arrange for Columbia Pictures under Morris Stoloff, where he worked on over 50 films, including several by Fred Astaire. He also composed the music for The Tony Fontaine Story for Youth Films, which was dubbed in 18 languages and exhibited in 68 countries, winning the Neff Award for the best music score in its category. During this period he was also recording albums of his own original compositions in the Jazz, Fantasy, and Modern Classic genres. He recorded for Contemporary Records, GNP, Decca, Liberty, and various other labels. He studied conducting with Ivan Boutnikoff, former conductor of the Brussels symphony, the Vienna Philharmonic and the Bolshoi Ballet. For over 3 years Lyle was the leader of his own orchestra in Los Angeles and New York, including a period as conductor of a network radio program airing weekly from New York on NBC. Lyle became a renowned educator, and wrote 26 books on various topics such as instrumental techniques and theory. His crowning achievement is his completely original 12 volume course in composing, arranging and orchestration for the professional musician titled The Equal Interval System. His students are highly enamored of their teacher, and have gone on to be successful in Film, TV, Records and Live Performance. Some of his better known students include Oscar Peterson, Gerald Wiggins, Buddy Collette, Walter Bishop Jr., Marcos Valle, Tom Chase, Scott Page, Ernie Felice, Dell Hake, Glenn Jordan, David Blumberg, Dan Sawyer, Tim Torrance, Jim Venable, Mary Ekler, Steve Marston, Sara Engle, Bennie Maupin, Anthony Marinelli, Richard Firth, and Doug MacDonald.

Lyle is a member of ASCAP and a charter member of ASMAC, the American Society of Music Arrangers and Composers. He also served as its president from 1965-77. He also taught a special course for composers and arrangers at the Mt. Royal Conservatory in Calgary, Canada. In addition, Lyle served on the Board of Directors of the Professional Musicians Union, Local 47 for over 25 years, and was responsible for negotiating better wages for fellow orchestrator, arrangers and copyists. He has received so many awards, it would be futile to list them all. Some significant ones are commendations from the Mayor of Los Angeles, The Golden Score Award, and being voted the Educator of the Year by the LA Jazz Society in 1990. He is also an accomplished world traveler, astronomer, photographer, Titanic historian, and one of the most charming people you will ever meet.