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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I am so excited for this class! I love to sit down & improv/compose, but I have a terrible time structuring a piece. And I don’t like writing it out! So I think this will be very helpful to me. Thank you.
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Beth Lester long time ago I had the same problem: it was too boring to sit down and write a few notes :) But I forced myself to sit down every day and compose for at least 15 minutes. That means: I try something on the piano/ I write it doesn right away.
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Antonella Di Giulio Thank you. A little every day is doable!
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So looking forward to beginning. I like to noodle around and explore ideas and possibilities. But to actually structure something into a scored piece is a new experience. I am thinking I will constrain things to an 8 phrase structure……maybe….
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Steve start with something that is familiar to you and then you can expand from there.
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Hi Everyone,
I've been writing songs since I was a kid (and am now in my 60's!) but have only notated a handful of them. I am hoping this course will inspire me to continue to document and share my pieces.
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Mary Mathews glad to hear that you have already done a lot of work on composing. Who knows, maybe Tonebase might develop a library of pieces written by its users at one point
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Antonella Di Giulio Yes, that would be a dream realized!
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Thank you Dr. DiGiulio , these are truly action plan nuggets!
Una vignetta è in costruzione-
estampie1212 bellissimo!
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Thank you Dr. Di Giulio for this focus. Taking the idea of a story, I will start with the cold weather and look with anticipation toward warmer days. Perhaps starting in a minor key, then modulating into a warmer, happier major. I’d like to work with the “Theme and Variation” strategy. Looking forward to ideas from others. Looks like a great few weeks together.
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John Mowry That is great... remember not to put too much pressure on yourself and be creative!
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I only recently started to learn to play piano so I'm here more out of curiosity, not sure I'll be able to do anything. But I'll try whatever seems possible to me. Thank you
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Joana Duarte What pieces are you currently playing?
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Antonella Di Giulio since last week I started to study Bach's Polonaise in G minor; Kabalevsky's Novelette in D minor op27 nr 25 and a Burgmüller study, La chasse, from his 25 easy studies. I started from zero this last April and I am 33, having no background in musing whatsoever, so it is all very recent to me, but I have an amazing teacher and it has been a wonderful experience :)
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Joana Duarte Why don't you take as a model Bach's Polonaise and start experimenting with that? Think about what notes are part of the harmony and what notes aren't and maybe start adding some more notes and alter the melody at first. That should be a good starting point :) You can do that directly on a copy of Bach's Polonaise.
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Thank You for this class, I will try to compose, it's a good challenge for me!
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Aline Valade Have fun!
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Thank you for this workshop! Quick question: do we have one week or one day to complete Assignment 1? Organizing my timeline! So inspired already-- wonderful!
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Rebecca Boblak You have one week. Just start sketching something every day... maybe just some random ideas and some structural decisions :)
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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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Steve That's fantastic! Good job! I love it. Now, the next step would be to start working on the different sections and decide what to keep and what to let go. Balance is important expecially from the point of view of the listener. I am sure your piece will be amazing. I can already hear it
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Hi Antonella Di Giulio following on from the improv video - more to be done in the background though - This morning I have outlined a structure to work within. (pdf attached).
Keys and tonality to consider along with cadences for each phrase. I think then the harmonic progression followed by a melody. However I might try a melodic tune then harmonise not sure what will come from the improvising and humming to be honest.
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Steve Wow... very good! You have started with a good organization of your timeline.
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Steve Je vais l'écrire en français, c'est magnifique! Un grand potentiel dans cette improvisation! Bravo!
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