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 looking forward to this 4-week intensive. I'm a piano beginner, but over 35 years ago I would compose for my friends (I was on trombone, with friends on flute and Eb saxophone). It seems to me that composing is one way to "play" with music. My Mondays & Tuesdays are always busy, so I'll get started in earnest on Wednesday. Thanks so much!
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Michelle R Great start! I love it :)
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Andrea Buckland Vidhya Bashyam Antonella Di Giulio Thanks!
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Here's a short continuation - I seem to be holding onto the "grief" theme, but we're about to see some change. There is a part I want to change, but this is where I am in the process, so I thought I'd post it.
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Michelle R Very beautiful! I like how you are composing the music with the story and emotions developing together with the notes.
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Michelle R Beautiful! I love it! Somehow I was imagining some of those unusual harmonies in your piece. Feel free to experiment with different sounds.
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Michelle R I get the sense of treading slowly - carefully, not ready just yet to let go just yet.
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Vidhya Bashyam Thanks so much. When I write stories/poems, I typically plan everything beforehand, so here I am using a different strategy - probably because I really don't know what I'm doing! I have to be intuitive and experimental because I don't know enough to do anything else.
Antonella Di Giulio Thank you, Dr. Di Giulio. I am enjoying experimenting. My teacher encourages me to play and be creative at the piano, and this exercise is just a step or two beyond what I've already been doing.
Michael Bruce Very perceptive - that's exactly what's going on. I was kind of "in" it so didn't see that, but "not ready just yet" is precisely the feeling that is emerging in the sounds/music and matches the story at this point. I think that will be there in some way throughout, but hope and love have to win in the end (or there would be no way to go on).
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Antonella Di Giulio I apologize for not posting for a few days. I have started playing with canons at the octave (from a mid-20th century organist book/practice manual) with my teacher, and that has been taking up a lot of my time and giving me much joy. As he put it, what he and I are doing is at the intersection between composition and improvisation (he teaches historical improvisation). I'm hopeful that I'll soon be able to get back to the work I started here last week. Thanks so much for this! I'm learning much from you and everyone else.
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Michelle R You can totally use that material to create something here :)
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Antonella Di Giulio Oh, OK. Great! Here are the four canons that we are using for now - circled in blue. I'll see what I can do with them for this project as well. Thanks.
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Antonella Di Giulio Here is a quick recording of the Canon I'll use for this intensive, with a goal of 2 to 3 "variations" on it, and the single line of my first simple variation. The variations won't vary much (!) because it's a canon.
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Michelle R Now... what about adding some passing notes, melodic elements to the right hand? And then expand it from there?
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Antonella Di Giulio Before I saw your message last night, I had just worked through something else with this canon. I'm unable to play it (too complicated for me right now), but I'll attach a copy here. I had my son play it, and it sounded close to what I wanted for this stage - it is the second set, which I think starts at measure 11. Thanks so much! (I'll watch the week 2 video today; haven't had time yet!)
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Michelle R Beautiful, Michelle! Keep working on expanding it.
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Antonella Di Giulio Thanks, Dr. Di Giulio. My teacher and I looked at this today, and he asked me to analyze it after giving me some rules to help. So, I'll do that as I work to expand and still stay within the constraint of the canon structure I've been given.
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Michelle R perfect! Just remember the for the sake of this specific workshop you are totally expected to bend some rules and create your own if you’d like.
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Hello everyone - haven't written any music in 10 years - and before that I had a 40 year lapse, so I am definitely going to be using a familiar piece as a reference! Maybe even starting with a blatant copy!
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Sam Smith lol... well... maybe start with changing a note here and there :)
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Sam Smith Gershwin variations!
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Here is my first take - only about 10 measures. I worked hours on this and only got 10 measures - oh well, have to start somewhere. It's very Mendelssohn-ish, maybe because I borrowed one of his chord progressions, but I had to change some things to make it fit my ideas. I want to make a more interesting left hand, but not sure if I should come up with more actual content first, like a B section!
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Sam Smith It is a good starting point, but there are a few measures you might want to rethink/ change the harmony and make the melody a bit more coherent.
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Hello composers,
Been in the preparation stage for some time. Seems that a deadline may be helpful in moving through to other stages.
Anxious to begin with the inspiration of this community.
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Nieske welcome!
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Hello everyone! I've never had any experience writing any music. This isnew to me.
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Heng-Pin Chen Start small.... I think that at the beginning it is just important to simply start writing anything and then go from there.
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