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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Hi group 1, and Dr. Di Giulio! I haven't really composed anything in the last 15 years, and I've never composed under the direction of anybody, so I'm looking forward to this course as being a great learning experience.
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Antonella Di Giulio Alright, here's what I threw together. It is rather silly, but I'm finding it quite fun. It needs more variations (therefore I ended on a diminished chord), but it's a start! I'll definitely need to make a "food's a disaster, heartbreak ensues" variation...
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Marc M WOW! Great! Check some of the harmonies in the first section... I had the feeling they could need some adjustments.
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Antonella Di Giulio Thank you for your feedback! Here's where I am with the piece at the moment. I moved around some variations, changed some harmonies, and tried to make the variations fit better (it's ending up as a mix of storytelling and theme with variations). I removed the Spanish variation and put it into an appendix because I think it wouldn't fit well with the narrative. I hope to develop the ending more, and I'm sure I'll have more changes to make after watching week 3's video!
It would take too much time for me to play it at speed, so computerized .midi playing will suffice for now.
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Marc M I like them! Great job... There are some harmonies you might want to revisit. They sound out of place :)
I would think about something to connect the theme to the first variation, like you do later in the piece. I do not know if you are familiar with the Bach-Busoni Chaccone, but you might think of something similar. I am sure it will sound very well at the end of this intensive. Keep working on it.
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Thank you, Antonella Di Giulio! I'm familiar with the Bach-Busoni Chaconne, but haven't heard it in a long time, so I'll give it another listen and see if I can smooth out that transition. (I've learned a lot of the Bach-Brahms left hand arrangement of the chaconne--lovely music.)
Would you be able to circle the harmonies that sound out of place, please? I think I've listened to my piece too much, and I'm not hearing what "fresh ears" would hear.
Thanks again for leading this course...it is great fun.
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Marc M for example, m. 47. I would also change some of the accompaniment in the theme at the end of m. 4 or 8. It might be just a matter of perception, but they might sound different on a different harmony maybe or just without any note underneath. But, of course, it is up to how it sounds good to you!! Your own opinion in matter of creation is always the most valuable one. :)
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Antonella Di Giulio Good points...I didn't realize that, in the original piece of music, the harmonies changed a lot as soon as the main melody came in. Oops! I thought I was just mirroring the original but I was wrong--thank you for helping me see that. On m. 47, I've removed the C in the right hand so it wouldn't clash so harshly with the Db.
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Marc M You are welcome! Sometimes it is useful to play the music slowly at the piano. If I write only on the computer, sometimes I have the impression I have done such a great job... :) Then I usually print the music and I play it. I correct on paper at first, then back on the computer. It just sounds different.
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Antonella Di Giulio OK, I reworked it a bit, and here's what I've got! It's pretty silly but I'm hoping people will find it fun. The Lord of the Rings variation at the end sounds a lot better on a real piano (midi is not very artful).
Now I need to practice this thing a lot...it ended up not being a "small piece", haha. We'll see if I can get it in my fingers by the watch party.
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Marc M awesome! At the end everybody accomplished so much and you should all be proud of yourself.
Your piece sounds so different than your first version! Great job!
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Antonella Di Giulio Thank you, and thank you for leading this course. It was a great inspiration and motivator!
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Hello everyone in Group 1! Looking forward to learning how to compose with all of you.
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Vidhya Bashyam glad to see you here!!
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Hi everyone, nice to meet you. The intro video says for beginners too, so that's a relief. Just reading the first assignment has me psyched about trying a Constraint-Based approach using a short piece that I'm learning as a departure point.
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Marcus Aurelius that is a great starting point! The first piece I composed was based on a very simply bass line and a melodic line of a piece I had played. Then I started changing things around.
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Antonella Di Giulio That's funny, the piece I chose to model attracted me because of the bass line and memorable melody. So far I've changed the key to my favorite and have a melodic idea that's sounding good in sixths, different pitch intervals than the template piece but as part of my "constraint" I've kept the same rhythm. Oh my, this is so much fun!
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Marcus Aurelius that is a great idea. I recently had a student who rewrote her own Lalaland soundtrack. It sounded pretty unique at the end.
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Hi fellow tonebase groupmates and Dr Di Giulio,
So great to be here. What great timing to have this intensive. I recently started composition class, and was sad that the class hasn't cover much on piano composition - which is my primary interest. So it's great to have some directions on it!
Looking forward to having fun composing and hearing everyone's work.
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Lc Awesome! When I took composition classes long time ago, I was disappointed for the same reason: there was a lot of theory involved and less practical application. I do think that composing should be something you do daily.
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I am in too
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Juliet WINOVICH Welcome!
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Antonella Di Giulio thank you and getting al my stuff ready.
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Hi everyone! Looking forward to creating with all of you!
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Andrea Buckland welcome!
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Very much looking forward to this!
