Group 3
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 Antonella Di Giulio I have started to pencil out a piece structured with 8 four bar phrases. Not sure of the tonality yet. I will post a pdf of the structure as it develops.
This evening I sat at the piano pressed record and noodled out some vague ideas that may or might not make it. I find exploring thoughts randomly as the mood takes me helpful.
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Aline Valade wow thank you so much.
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Steve I love your idea of starting with this kind of outline. I never would have thought to do that. Comme Aline Valade vient de dire, ça va être magnifique!
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Gail Starr I have never composed anything before so I am not sure it’s a good idea but when Antonella mentioned set limitations I thought creating a structure limit to work within might work. I am now trying out varying improv thoughts to create a theme to then apply to the structure.
This seems to be clarifying things a bit for me because without constraint the possibilities are limitless and potentially overwhelming.
Wishing you all the the best with your creative process. It would be interesting to know how you are tackling it.
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Steve I used to compose when I was a kid, but since I didn’t study music at university, I forgot that I even enjoyed it
. I’m working on the “ collaborative “ type with a few of my besties. 3 of my friends have started a lovely waltz and I’ll try to add a bit once we figure out how to share .xml files. Should have something to share in a few days 
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Gail Starr what great way of going about the creative process. How wonderful to be able to collaborate with other musicians.
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Steve My Tonebase buddies are VERY talented. I’m lucky they allow me to hang out with them!
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Gail Starr (I agree... working with people on Tonebase might be even more rewarding than working with music majors in colleges :P )
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Steve Pretty great “noodling!”
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Beth Lester thanks Beth the trick now is to put the ideas into a cohesive scene and then score it correctly.
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For everybody: this is a 1st grader composing a small constraint based piece. In the short video you can also see the piece he modified.
Nguyen’s Constraint-based
https://youtube.com/shorts/Gk3kb8RJtV4?feature=share -
Dear Dr. Giulio,
Thanks so much for doing this four week intensive!
I took piano lessons in my teens for a few years and then again in my early forties for a few years. I'm now 65 so it's been quite a while! In college I first got a degree in music composition and my instrument was the classical guitar. A little more than 2 years ago I started taking guitar lessons again and have my ups and downs with it technically.
My first love, though, is composition. So I was very enthused when I saw this intensive! I have written a short piece for piano, which I've attached. The audio is on SoundCloud.
After viewing your video, I sat for a little while just clearing my mind to see if something would come to me. Then I thought about how you are Italian and how I have been taking German, French, and Italian on Duolingo for about 2 years (please don't quiz me!!). I decided to write a piece to try to depict what those languages sound like to me. I'm calling it Duolingo: German, French, and Italian. It lasts about 2 minutes.
The first section (mm. 1-34) is German. It is a bit stern, with lots of little 2nds played together. There is quite a bit of syncopation which, for me, is suggestive of how the German sentence structure is very different from English. Put another way, the pulse is different. Instead of "I want to go the market" it ends up being something like "I want to the market go."
The next section (mm. 35-64) is French. It's slow and more romantic, with lush chords. The pace is meant to evoke a leisurely stroll along a Parisian boulevard while conversing fluidly in French (ha ha).
The Italian section (mm. 65-103) at the end is brisker than the previous two. Italian can be spoken very quickly, at least to my ears! This section is also very lively, very playful. I think it's full of fun, which is what I hear when I hear Italian.
I think I am telling a little story here but I've only depicted three scenes analogous to the languages I've been learning. I have used the material in the first measure of the German section as the basis of the material in the Italian section, in diminution. I also nod to that material in augmentation at the start of the French section (mm. 36-37), although I change the last interval. In addition, I draw on the two sixteenth notes, three sixteenth note triplets from the German section (e.g., m. 14) in the French section (e.g. m. 42).
I look forward to the future sessions in this intensive!
Ed Gonzalez
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Edward Gonzalez WOw... I love the idea. And I am glad that my heritage has inspired a new composition :)
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Edward Gonzalez Your pieces is very beautiful! I am looking forward to hear how you will improve it. It is already very very good.
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Antonella Di Giulio Thank you very much! In the next sessions I hope to gain some insight on how to move forward to come up with a nice, completed piece. This is so much fun for me!
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Edward Gonzalez I love this, because I’ve been doing the same three languages on Duolingo (did Italian previously & French & German now). So clever.
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Beth Lester In qualche modo, penso che continueremo questa discussione in italiano. Ou on pourrait le faire en français,
! Quant à moi, j’ai commencé l’espagnol chez DuoLingo il y a un an. -
Gail Starr Wir koennten uns auf Deutsch weiter unterhalten :P
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Antonella Di Giulio großartige Idee! Andrea Buckland kann helfen.
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Gail Starr Ha, I had to look up some of the Italian.. It’s been too long. Very clever. Disfruta del español (I hope!).
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Beth Lester believe it or not, I actually completed the entire Duolingo Italian course during Covid so decided to embark on the Spanish one more recently. I wish the Italian course were as robust…Spanish has 6 really, really long levels
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Beth Lester What a coincidence!
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Good for you! My daughter lived in France & is now in Germany, so I just prepare for travels!
Gail Starr
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Gail Starr gerne
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Antonella Di Giulio I finally came up with a "final" version of my piece. I used Paradigmatic Exploration to play around with articulations as well as making some small harmonic and rhythmic changes. I also added some counter melodies in the last section "Italian." I think these changes improves the piece and makes it more interesting. I've attached the revised score and the updated audio is at https://on.soundcloud.com/vRVBN. The original version's audio is at https://on.soundcloud.com/Lu8gc. This has been a wonderful experience!
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Edward Gonzalez Lovely piece!
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