Group 1
Welcome to the NEW FOUR WEEK INTENSIVE on tonebase!
This special FOUR-week workshop is a journey into the heart of piano composition, tailored for both beginners and seasoned pianists. Dr. Antonella Di Giulio will share her insights and techniques in creating structured piano compositions, drawing from her experience as a pianist, music theorist, and teacher.
Pianists of all levels are welcome.
More Detailed instructions coming soon!
- Sign-Up : January 12 - 15th
- Course Period: January 15th - February 11th
- Class Size: ALL are welcome!
- Optional check-In via Zoom: TBD
Assignment 1:
VIDEO:
https://youtu.be/uO_4ITnzrvo
"We will start this creative musical journey by exploring the cognitive processes of creativity and then we will dive into practical strategies you can use to start writing your own music. Creativity in music involves preparation, incubation, illumination, and verification.
Musical storytelling, theme and variation, collaborative composition, and constraint-based composing are powerful strategies to start creating music.
Improvisation is a key tool for developing musical intuition and creativity.
Tools to Begin Outlining Your Composition
- Manuscript Paper or Notation Software
- Piano or Keyboard
- Recording Device
- Reference Materials
- Creative Journal:
Breaking the Ice with Composition
For those who are new to composing or feel intimidated at the prospect of creating a full-fledged piece like a sonata, it's essential to start small and approach the process with a sense of exploration and fun. Here are some suggestions to ease into the composition process:
- Start with a Miniature Composition
- Improvise Freely
- Use a Familiar Piece as a reference
- Set a Time Limit
- Embrace the 'Sketch'
Assignments:
- Choose one of the strategies you might want to try out, maybe one you might feel more comfortable with and start experimenting with it.
For "Musical Storytelling:" write a short story with about 5 or more different scenes, create some sounds or ideas for each scene and write the notes down (symbols or sketches are ok!)
For "Theme and Variation": choose a short theme, start sketching what you could do with the theme (for instance, Var. 1/ in triplets, Var. 2/ in quadruplets, Var. 4/ in minor)
For "Collaborative Composition": find a partner or a group, start with a few notes, pass them along to your partner(s), let them complete the sentence, then continue what they have done and keep exchanging ideas.
For "Constraint-Based Composing": chose a constraint. For instance, you might want to work only with a certain rhythmic pattern, or only using certain pitches, or even transcribe an existing composition. Then start sketching your own piece on that base.
- Sketch a Short Piece: Using the chosen method, start outlining a short piece of music.
- Reflective Journal: Keep a musical journal of your process, noting your thoughts, challenges, and insights. It is easy to forget a short motive or a beautiful accompaniment if we do not write it down.
- Post your progress to receive suggestions and feedback.
Remember, it has to be fun!
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Assignment #2
https://www.youtube.com/watch?v=RdHlCiIIMuY&feature=youtu.be
"In the second week of the workshop, we will explore the intricate world of musical structure. Because each one of you is working on very different projects, it would be meaningless to just analyze traditional types of structures and the overused traditional forms. Instead, I have chosen to focus on two general concepts that can help everybody.
I will introduce two essential structural concepts: paradigmatic and syntagmatic structures. Paradigmatic structure, likened to a musical palette, involves making choices from available musical elements such as melodies, harmonies, rhythms, dynamics, and articulations vertically, to create depth and meaning in a piece. Syntagmatic structures help craft a narrative and focus on the sequence of musical events over time and the logical flow within a composition.
Music composition is a dynamic interplay between structure and creativity. So... if you consider these two main structural concepts, you might feel free to move within a structure in whichever way you'd like.
Assignments for Week Two: "Unlocking the Secrets of Musical Structure"
Paradigmatic Exploration: Choose a section of your composition and experiment with different paradigmatic choices. Alter the harmony, rhythm, or articulation to evoke different emotions or moods. Reflect on how these changes impact the overall expression of your piece.
Syntagmatic Storytelling: Review the structure of your composition. Ensure it has a clear narrative arc – introduction, development, climax, and conclusion. Consider the transitions between sections and how they contribute to the flow of your music.
Balancing Act: Explore how you can seamlessly blend paradigmatic and syntagmatic elements in your composition. Identify moments where introducing new musical material enhances the overall impact of your piece."
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Assignment #3
https://www.youtube.com/watch?v=zg43G3uOOH0
"This workshop focuses on understanding music as a system of signs and codes, following Umberto Eco's theories. The session aims to expand participants' understanding of how musical elements convey meaning within a composition's structure.
Key Points:
Music as a System of Signs:
Emphasis on how music uses signs like notes, rhythms, dynamics to communicate. Discussion on the semiotics of music.
Eco's Theories:
Exploration of Umberto Eco's concepts of 'Structures That Move' and 'Structures Within Which We Move', applying them to music composition.
Musical Codes in Composition:
Importance of understanding and creatively using musical codes. Discussion on genre-specific codes and cross-genre exploration.
Crafting Music with Intention:
Focus on intentional use of musical codes to enrich narrative and emotional depth in compositions.
Practical Assignments:
Analyzing Musical Codes:
Choose a music piece, identify and analyze its musical codes, understanding their contribution to the piece's message and emotion.
Composing with 'Structures That Move'/ 'Structures Within Which We Move':
Apply this concept to your piece.
Examine how codes combine in music to express meaning. Add codes to unlock the meaning in your piece.
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Assignment #4 (Final!)
"As we consider finalizing our compositions with the rhizomatic concept in mind, it's important to embrace the idea that a composition might never be 'finished' in the traditional sense but can always remain open to new interpretations and developments. Your composition is complete not when every possibility has been explored but when it provides a coherent musical experience that feels resolved yet open to further exploration.
Assignments for the Final Week
Review with Rhizomatic Perspective: Revisit your composition, considering the interconnectedness and multiplicity of musical ideas. Reflect on how each segment offers paths to new explorations.
Subtle Refinements: Focus on detail-oriented tweaks that enhance the interconnected themes, ensuring each motif contributes to the overall rhizomatic structure.
Seek Feedback: Gather diverse perspectives on your composition's rhizomatic nature. Use this feedback to open new paths within your work.
Embrace Evolution: Allow your composition to develop organically, exploring alternative paths and creative experimentations.
Maintain Your Vision: Ensure your rhizomatic composition remains true to your original intent, even as it evolves and expands.
Final Presentation: Prepare to share your composition here on Tonebase on February 20th (watchparty)
As we conclude this workshop, remember that composing with a rhizomatic perspective enriches your creative process, offering endless possibilities for growth and exploration. Your compositions become living, breathing entities, constantly evolving and inviting new interpretations. Thank you for joining me on this unconventional journey!
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I'm sorry, Antonella. I'm very late with this course. Nevertheless, here is my Theme. It sounds a bit New Age
, I don't know why... Well, I'll try to improve it for the next video and make a few variations. Thank you so much for your videos.-
Juan Carlos Olite I love this wistful melody! Looking forward to more!
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Juan Carlos Olite BEAUTIFUL! I love it :)
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Hello there! This is: Pizza Boogie-Woogie, First attempt.
Must cut repetitions and add variations for the left hand. I will improve.
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Letizia Bravo! Much better than mine:
:-)
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Letizia You might also consider adding some variation along the lines of the second video (maybe change the rhythm in the right hand to sparse accents and spotlight the left for a verse).
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Stephen Weatherford Great... now, yes... add some variations to it!
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Antonella Di Giulio all right… at this point I can share one of the song I Took inspiration from: https://open.spotify.com/track/6NzDqTw1v8R1GWFUraynpQ?si=6U6AlE8VQbGeuoUWWwj_QA
My spirit for this course is: “è uguale ad altri mille ma ci vuole coraggio, per qualcheduno farci una denuncia di plagio”. Still is a composition course, so let us not exagerate with lazyness.
I’m working on my only three chords: they are round and tasty like pizza, and they are major, so joyful like the mood I am when eating it.
This is my best, for now. I definitely can not add rhythmic variations to a tarantella… which is a musical form
sorry. -
Letizia You could add rhythmic variations in the right hand, change the accompaniment. Bend the rules :) Great idea though :)
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Antonella Di Giulio ... And what about my Pizza Boogie-Woogie, First attempt? Advice?https://youtu.be/L9TwxVKy8d8?si=cNUdMvN1YmuBoNnX
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Letizia It is nice, maybe try to use the theme to create some more variations/ sudden changes, a different key/ mode. You might not want 4 minutes of something that sounds very similar. It has to be coheremt, but not the same: the only way to keep the attention of the listeners is to add "sound signals," things the brain has to pay attention to because different.
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Hello,
Antonella Di Giulio I considered your suggestion of possibly simplifying the theme to two voices so I could use the current theme as a variation that employs layers. However, I'm not sure I enjoy the theme as much when I simplify it further so, for now, I am pausing that direction and choosing not to worry so much about keeping the difficulty to a certain range of intermediate student.
I have completed a variation that introduces a more active left hand pattern with a sort of sighing countermelody woven in (the span of which clearly takes this to more of late-intermediate difficulty) and I re-harmonized some moments throughout. I am quite pleased with it. I had spent a few hours casually sketching out ideas while sitting on the couch with my wife Monday evening and nothing was really 'clicking' for me. Tuesday morning, I started my piano practice with improvising a left hand and within an hour had the variation pretty much complete. I suppose it goes to show that you just have to keep exploring. Additionally, some of my sketching that didn't work out still gave me some texture ideas that I may use for additional variations.
I have included a copy of both my recent variation and my theme (so that anyone interested does not have to scroll back to find it). As I have not had a chance to record them myself yet, I also exported the audio from Sibelius for those that want to hear without playing the music themself (though it definitely sounds much better if you played at the piano!).
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Dustin Anderson Beautiful! I would keep the harmonies you had in the theme. How many variations are you planning?
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Antonella Di Giulio I am not sure yet; more than 2 but less than the Diabelli variations. lol.
I really love the variations that switch to the parallel major key in Mendelssohn's Variations Serieuses and Clara Schumann's op. 20 variations, so I think I may try something like that next. I'll keep attempting more variations and see if a group forms that create a nice rhetorical progression. I've done a fair bit of arranging for my students but never really composed my own music so I'm not really operating with many plans right now... just seeing where it goes =).
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Dustin Anderson It is a wonderful starting point for something longer :)
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Hi everyone!
Antonella Di Giulio I did my homework!
- I've shortened my boogie-woogie a lot.
- keeping the swing of the musical form, I added rhythm changes practically every quarter bar.
- I inserted accents and pauses to keep the listener's attention.
- following Stephen Weatherford advice, I also inserted the theme of the Neapolitan tarantella (which I still must modify at least rhythmically) because the syncopated rhythm of the tarantella goes well with the swing of boogie-woogie and because it is a good opportunity to insert a change of tonality (relative minor).
The execution is uncertain, but I hope to improve in the coming weeks.
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Letizia It sounds so much better now and you added more coherence. Good job! Keep working on balancing the piece and on a sense of structure.
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I've added more melody. I experimented with adding more rhythm to the LH but I couldn't get it to work. And now the piece starts in F major. Antonella, I also tried taking out some repeating notes from the RH as you suggested but the piece lost its energy...
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Richard Littlewood Great! You can obviously add all the notes you'd like :) Just make sure it is playable and enjoyable.
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Antonella Di Giulio Your week 3 video touches on a number of concepts that resonate with me. Some of Umberto Eco's ideas were introduced to me during my grad work in an "intertextuality in music" course that focused on how all art tends to refer to other art. Eco is often quoted in this regard as he has said that: "books always speak of other books, and every story tells a story that has already been told." I think this awareness is quite relevant to the compositional process as it is often useful to look at what others have done as a starting point for creation. After all, even a great composer like Beethoven is believed to have used works of others as models or inspiration (for example, the Pathetique Sonata's similarities to Mozart's C Minor Sonata; the Op. 16 Quintet for Piano and Winds and Mozarts K. 452 Quintet)
Speaking of Beethoven, your commentary on music as a system of signs relate to much of the musicology work I did in my grad studies in which my thesis focused on the Enlightenment and Beethoven's op. 28 "pastoral" sonata. A large part of my thesis focused on 'musical signifiers' that signal the pastoral and the bucolic to a listener (Beethoven ultimately uses these established tropes to convey a greater musical message). This of course connects back to the idea of art referring to other art, as signals in the music can be ideas that have a history in other compositions.
I mention all this to say that I enjoyed hearing your ideas in this week's video and that it certainly got me thinking this morning! It also relates to my own composition work for this intensive. In my theme, there is a deliberate focus on movement by step as I wanted to be able to draw on the musical 'sigh' of appoggiatura and suspension. The accompaniment pattern of my first variation deliberately has movement by seconds woven into it.
My 2nd variation actually continues to focus on the 2nd as well. There is an emphasis on A-G movement during the build to the augmented 6 chord and then an extend passage in which I repeatedly outline step motion (A-G, F#-E, C#-B). I added metrical displacement here to draw attention to the stepping motion. I quite like the effect and its nice that my efforts to highlight this aspect relate so strongly to this week's ideas in your video as I had already completed this one last week and have been working on a major key variation.
Finally, I will add that I indeed was influenced by other works for the texture of this variation; the relentless triplets of Variation 8 and 9 of Mendelssohn'sVariations sérieuses were absolutely an inspiration for this one.
Again, I have included the original theme and variation 1 from last week here along with the new variation 2. The sound files are exports from Sibelius for those that want to listen. (I should add, these variations are not really "1" or "2" - I am not composing them specifically in order. My "2" is something that would certainly come later in a set).
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Dustin Anderson thank you!
My entire dissertation started from reading Eco’s “The Open Work.”
By reading many other books he wrote after that one, I realized that more than of “open work,” he truly went into meaning “open mind” in the interpretation of art.Beautiful variations! They are coming out so well!
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Antonella Di Giulio Here is a third variation I completed awhile ago. It is in the parallel major key. I quite like what I did with the harmonies and the sequence. I have hit a bit of a creative block since this variation as the different ideas I have tried haven't 'clicked' for me into anything particularly interesting but I suppose that is part of the creative process. I am still pleased with the theme and 3 variations I managed to complete over this 4-week program. I am sure that I will continue to chip away at additional variation ideas here and there =)
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Dustin Anderson beautiful!
I would try something, get some “ingredients,” and then see what comes to mind.Sometimes we have to feel free to create.
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Dustin Anderson Thank you for sharing this theme and the little gems that came out of it. What I appreciate, too, is that it is totally playable by all of us on Tonebase. I'll try it out this evening!
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Here my Theme and two variations (for now...); there is still time
. I've learned to use, more or less, the Musescore program; and I can share the score too. Thank you so much for your insightful videos!-
Juan Carlos Olite Beautiful!! I love them! Looking forward to hear the rest of your ideas in sound :)
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