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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I chose a story as the entry point. I have the idea of one bird singing, then another bird sings, and then they sing together. It’s not so much a story, I suppose, but I like the idea.
I found an A chord and another chord (I don’t know it’s name; I just started Ben’s music theory course) for a contented, monotonous baseline that is there as an introduction, and then the first bird sings in turns and trills, and then the second bird sings in grace notes and replies, but I haven’t got to the second bird on the piano yet. I haven’t thought about how to combine them yet.
When I’m playing the theme of the first bird, I try to stay with my melody and not get lost in following notes that sound like a theme from another composer. I can hear different ways the melody can go. I want to keep it mine and not a copy. I think that writing it down might help that?
I think I’m thinking too much and need to play at the piano more! I will try to write it out in MuseScore. It looks so great in Rudelle Gaje ’s music.
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Wendy Yay! You go Wendy!
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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-
Antonella Di Giulio Thank you! This is so nice to see and hear!
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Wendy He is a very sweet little guy: as you se, he modified the original piece, while retaining certain elements, The structure is the same, the accompaniment is similar. He changed the key, the melody, the rhythm and added his own taste to the entire piece. And the beauty of it is that he just came to lesson with this piece already composed in his head :)
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Antonella Di Giulio Wow!
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Rudelle Gaje I wish we all had had teachers like Dr. Antonella when we started piano!
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Gail Starr <3
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Gail Starr Truly so! Where would we be now?! It’s so wonderful to study with her!
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Antonella Di Giulio Thank you so much. This seems to be similar to where I am now. I can hear it in my head, and now to find the notes and write them down. I can do it!
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Hi everyone, It is very interesting to discover everyone's music as it is composed :)
I have decided to write a bar a day which I realise is not the Lasagna approach at all, I hope I will not regret it
Here are the first 6 bars of the piece:
Waiting for your suggestion and critics.
Gauthier-
Gauthier Whatever works for you IS ok :) I personally force myself to write 4 measures a day, then at one point I decide for some sort of structure, and I might rearrange things around, delete parts, add measures.
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Gauthier oh wow... some measures felt "a la Rachmaninoff." :D Good starting point!
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Gauthier wow!
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Antonella Di Giulio Hello, Dr. Antonella! I wrote down the first part and some of the second part I mentioned earlier. (I didn’t remember a few notes from the first part, but that’s ok. I remember that you said we needed to write it down or we would forget. Hahaha. I learned to write it down sooner next time.) I want to spend more time with MuseScore to make the score more legible. Thank you for this opportunity!
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Wendy Great! Now think about one thing... would you like to stay in the tonal system or create your own system of sounds? You really do not have to :) This is like a "creative writing" workshop and we can surely bend the rules.
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Dear Dr Antonella, Thank you! I never thought of that! This is a great adventure and I will try that. Thank you for your encouragement and suggestions to try something new!
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Wendy Just forget music theory for a moment and focus on the different sounds you might want to hear. You can create your own music theory. The goal is to have a piece of music that people will understand and like. And most importantly, a piece of music that reflects your own creativity.
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Wendy For instance, listen to these pieces and look at the score. Messian loved to study birds.
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Antonella Di Giulio Thank you! You have opened up a world of possibilities in my mind. I feel free to try things I would not have dared. I feel like you have oven me permission to try something different. Now I will let my fingers follow and at the same time to remember it is fun, exploration, not serious.
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Antonella Di Giulio Dear Dr. Antonella, Thank you. Messiaen’s works are like nothing I have heard before. I suppose I tend to play and listen to pre-20th century music. I was looking at the scores, as you suggested, and can see the simplicity and some similarities with Seymour Bernstein you recommended earlier. I also found an article about Messiaen’s birdsongs from images of his scores. Fascinating, but I will focus on making my own music and not be academic about it (which is a dangerous tendency for me). https://www.researchgate.net/profile/Michael-Edgerton/publication/321332981_Messiaen_and_Birdsong_-_A_Consideration_of_Avian_Dynamics/links/5a1d590ba6fdcc0af326ce84/Messiaen-and-Birdsong-A-Consideration-of-Avian-Dynamics.pdf?origin=publication_detail&_tp=eyJjb250ZXh0Ijp7ImZpcnN0UGFnZSI6Il9kaXJlY3QiLCJwYWdlIjoicHVibGljYXRpb25Eb3dubG9hZCIsInByZXZpb3VzUGFnZSI6Il9kaXJlY3QifX0
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Wendy yes!!!
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Hello everyone,
Here is a first try at my piece. I have decided to change the meter to 6/8 and switch plan a little bit by introducing new ideas and modulating to different keys.
I am quite thrilled by the unlimited possibilty of composition, it makes me want to do more.It is also very nice to work on repertoire and compose at the same time as it gives a different perspective on the pieces we learn.
Antonella Di Giulio would you have any tips on improving this short piece?
Thank you
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Gauthier I thought I had answered to it ... sorry! Pianistically speaking, it might be a good idea to modify bit the playability of it. Maybe extend some of the phrases, for example, when you change the key. Where is the melody going?
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Antonella Di Giulio Many thanks for this, that is very helpful
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Oulala I have sent the wrong score
here it is :
