Group 5
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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Thank you so much for your gracious words. I love the idea of story telling. I will take that idea and hopefully run with it.
A confession here really as at the outset of the this first assignment, the Musical Storytelling direction caught my mind (that is before thinking to try my hand at a Theme and Variations direction which I've never attempted one before). I had actually listed out 5 different scenes tracing events from about three months back that led to a wonderful culminating event that just happened a few days ago on January 14. What came out on paper (1st sketch) must have been a reflection of that quiet joy... Somehow, there is a happiness that I cannot explain of. Thank you so much for the idea of my 1st sketch being an introduction! 
Where do I find the pdf, please? I'd love to hear your suggestions.
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Rudelle Gaje just a few suggestions. I like that you use parallel fifths, but I penciled some alternatives to that. I also added a few notes to create some balance in the structure.
As an idea, you might want to create an introduction to this beautiful reflection, some arpeggios or just a few notes of the theme.if you would end on a Dominant this entire first section, you might repeat the theme and add something new, then end on the Tonic.
Reply -
Antonella Di Giulio Thank you so much for all the responses given me! I appreciate the guidance and the ideas given. I also love the alternatives to the parallel fifths. I appreciate each detail added. I hope to assimilate the wisdom you've shared with me and it evolve in my work. Thank you so much for everything!
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Rudelle Gaje you are very welcome!
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Antonella Di Giulio I shed some tears of joy when I printed out this draft of a piece. There's still work to do on it but your guidance has already made for beautiful difference. Thank you.
I wouldn't mind more critique on it, please. I didn't stay in the dominant for long. I hope that's okay.
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Rudelle Gaje Wow... so many improvements!! SO... now you have the basis of a piece of music... if I have time later, I will post as a comment below some suggestions about what else you can do next :) GREAT job though... remember that a piece of music is a sort of "Lasagna" :) You work in layers.
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Antonella Di Giulio Thank you! I love the analogy. I know it's a work in progress... Thank you for being so great and patient with me. I look forward to your comments and suggestions! Blessings in all you do!
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Rudelle Gaje here some ideas about how to improve it and work out more detail (vertically speaking).
it would be nice to add an additional measure in the introduction on a dominant chord, maybe with a fermata, if you’d like the idea.i also added some more variety of chords at the beginning.
the first section seem to work well and is well balanced.
I added a possible second voice in the bass line as an example of things you could do.
At measure 31 I feel that a 3/4 tempo would work better,
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Antonella Di Giulio Wow. So wonderful! I love each detail idea… You’re awesome, Dr. Antonella. Thank you so much!
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Rudelle Gaje You are welcome!
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Antonella Di Giulio I appreciate you so much!
I did my best hoping to have incorporated all you suggested... Also tried adding some dynamics. I hope my slurs aren't over done. Sorry, but somehow I couldn't put the fermata above the staff. I hope it's okay where it is. I hope the notes are fine, too...Reply -
Rudelle Gaje I can’t wait to try playing your piece when I get home this evening!
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Rudelle Gaje beautiful! Now, try to add some more notes wherever you have empty spaces... fpr examp[le, m. 2 and 4 might like to have a longer arpeggio at the left hand? And I would continue adding the second voice on the bass line in the remaining measures of the first section maybe. So... now you have a first section completed. What about taking one of the motifs you use in this section and creating a B section with new thematic material??? I know... we are ambitious here lol :)
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Antonella Di Giulio I love it! Let’s do it! I so appreciate you.
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Gail Starr Aww…you’re sweet, Gail. Thank you! Even if it’s still in the works.
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Rudelle Gaje :)
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Antonella Di Giulio Please find most of original empty spaces filled in the A section (I hope they're okay), plus a B section included... I hope it's not too short! It then seemed natural to return to the A section although now a bit broader and more declamatory in style... (Shall I separate the B section from the A sections with two bar lines? Am not too sure what to do...) Thank you so much!
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Rudelle Gaje WOW! Look at the piece you had initially composed abd look at this last one... such a beautiful path!
I would play a bit with the B section, maybe think about a transition in m. 44. The more you will play your piece, the more ideas you will get. <3
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Antonella Di Giulio Thank you so much for your wonderful encouragement and guidance. I will look into the B section a little more. I appreciate you!
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Rudelle Gaje Beautiful work
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Gauthier Aww…so kind of you! Thanks Gauthier! It’s still a work in progress…
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Antonella Di Giulio Hello Dr. Antonella! Have entirely changed the B section having played around with the 2nd fragment motif a little more...(I hope it makes for a smoother transition.) Have played around with the accompaniment in the return to the more stately A section, too...(I'm so hoping it's balanced...) Please feel free to critique it anyway you wish. Thank you so much!
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Rudelle Gaje WOW.... so good! I was just thinking that maybe it would sound a bit more balanced if you would keep alternating 4/4 with 3/4, for example in measures 45-46: in 3/4 it might create more consistency with what you have in the 1st section. The same in measures 49-50. Now... what about inserting a new theme somewhere before the end? :)
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Antonella Di Giulio I love the way you think! Thank you so much for your expert and thoughtful suggestions. I appreciate them!
The 3/4 to 4/4 bars in the second section did niggle at me to be consistent with the 1st section, but I continued to go on my merry way… I so want to balance the piece out nicely. Thank you so much for your guidance! And thank you for the encouragement for a new theme towards the end. Maybe my previous B thematic material can still be used?!? That remains to be felt…
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Rudelle Gaje Maybe try to combine the second voice you created in the first measures of the first section :)
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Antonella Di Giulio Thank you so much for that suggestion! I just saw it now, sorry... Will still post what I've been working on...had to labor a bit on my piece albeit joyfully!
I hope the transitions work (the 4/4 to 3/4)... and the new material... I hope you like that, too! I'll appreciate anything you say. Thank you so much!Reply
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