Group 2
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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This is really wonderful! I've said before that I have started composing some pieces. The method suggested is different from the process I experience when I get a musical idea, but, it's true that the method proposed to begin composing gives a good ground to have tools to do it anytime, anywhere.
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Mariela thanks! Yes, these are strategies to jump start your composition, but everybody is different. Feel free to use what you need and to just have fun in writing your own piece
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Hi, I'm David, British but I live in Poland. I did a bit of composing as a child and actually thought for a while I was genius, but that was probably partly because I didn't have any other 12-year-olds to compare myself to. Looking forward to turning my hand to composing again, after all these years :-)
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David Lilley Maybe you were a genius :) If you have already written music before, that should be easy for you.
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Antonella Di Giulio Haha, I like to think I was actually a genius! I think I've got an idea for a constraint-based piece, so I'm just allowing the idea to mature in my brain before I take it further ...
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Hello, my name is Matthew. I enjoy writing music and I am very interested in learning new approaches to creative process. I am also very interested in learning new ways of teaching others (of all ages) how to compose. Developing a personal creative process and creating music holds so much opportunity for self-exploration!
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Matthew Giobbi Hello Matthew! I use these same strategies I am teaching here in a very informal way with students of all ages. During the very first lesson, even though they might be just 3 or 4, I ask them to invent a combination of sounds that tells a story. And the more patterns they learn, the more I ask them to apply these patterns to their own compositions.
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Matthew Giobbi
This is a student- the same girl I have in the video- after 6 weeks of piano lessons, using musical storytelling with the few elements of music she knew at that point.
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Hello! Looking forward to this workshop, very happy to be here. I am already a composer but without a doubt I will learn a lot.
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Juan José Or maybe we will learn a lot from you!
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Hello! I’m Hai. I just joined Tonebase and I’m dipping my toe into what it has to offer. When I was in college, I wrote music for piano, but that feels like ages ago. I still do not have much free time with my kids running around, but I’m determined to give myself a chance to get back into writing/playing more music. Looking forward to this!
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Hai That is awesome! Welcome here :)
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Hello! I'm glad to be joining this workshop and am looking forward to learning a lot. I wrote my first solo piano composition last year and had just set a goal to compose with some, steady frequency throughout 2024. This will surely be a great start toward that goal!
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Dorian That is so great! It is easy to become lazy and wait for some inspiration to come. Long time ago, I forced myself to compose every single day, even just for a few minutes, after my piano practice. Not all I write is beautiful or something I am going to use anywhere, but it keeps me on track with the habit of creating.
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That's a very good tip. I like it!
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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 -
Thank you for the lovely lesson.
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cevinius It is entirely my pleasure to teach here :)
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Assignment 1
For the first assignment I chose to use constraint-based composing. I chose this because I typically write for solo piano in an intuitive way, based on more popular forms & style (AABA or ABABACB). I wanted to try something out of character for me, and outside of my comfortable way of going about writing.
I decided to use the following constraints:
1. Write the first half of a minuet, based on the Petzold, Minuet in G as a model.
2. Use the key of F Major.
3. Use a harmonic progression based on the "Pachelbel" progression (I-V-vi-iii-IV-I-IV-V).
4. I only wrote the first half.
I decided to use musescore to notate it because I have difficulty reading hand-written manuscript.
Thank you for any suggestions and for listening!-
Matthew Giobbi It sounds so good! I would change the first F in m. 4 with a G. (A-G-F). It works best from a voice leading point of view. You can definitely use octaves when in contrary motion :) Great job though... :)
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Antonella Di Giulio I hear that! I appreciate your listening & for your insight. Choosing an approach and starting was the most challenging part for me. I had about three other starts before I settled on this one. A good exercise in structure for me. Thank you.
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Matthew Giobbi Yes, I think that writing the first three notes is the most difficult task :) One of my students is neurodivergent and to her, the music "comes to her head." I wish I could have that type of experience :)
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Here is my composition. I decided to make some little motives and use them to create the whole piece. I later realized it works with a story as well: Major part: A baby is sleeping comfortably. Minor part: something wakes him up suddenly and starts crying. Major part: The baby gets cuddled by its mom back to sleep.
Hope you like it!
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Juan José Very good starting point... now remember that any good lullaby should have some sort of cuddling movement in it. Maybe add some rhythmic patterns to the left hand?
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Sure! I added some and put a flute in the melody just for fun.
