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 Wow... that;s is becoming a master piece! I was thinking that maybe the patterns in m. 45-46 should continue for a bit before switching to triplets. You are doing a great job! Watch the new video, it might give you new ideas about what to do next.
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Antonella Di Giulio Thank you so much for your guidance. I appreciate it! Will work on continuing the patterns based on m. 45-46... I'll also watch the new video. Thank you! How exciting!
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Antonella Di Giulio Fabulous video! Wow. You're simply awesome! So comprehensive and articulate. I really feel so honored to be studying with you in this course... Thank you so much for everything!
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Rudelle Gaje It is entirely my pleasure to be here. <3
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Antonella Di Giulio Am just letting you know, I worked on my transitions this morning, that is, it's worked out on manuscript paper... I yet need some time today to transcribe it into MuseScore script... Am excited to run by you the now-patterns in the 4/4 section! Thank you so much for being so wonderful and patient with me!
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Rudelle Gaje awesome! Take your time… :) You already did an amazing work with this piece.
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Antonella Di Giulio
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Antonella Di Giulio Thank you so much!
This took a little more time in revision and working on but am hoping this is sounding more complete... -
Rudelle Gaje Wow.... look at the first section you sent last week, and look at this now! Impressive! I would take a few days maybe away from the piece, listen to something else, or improvise something completely different and come back to it later.
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Antonella Di Giulio Thank you so much! I appreciate your suggestions.
Will stay away from my piece a few days and maybe try improvising something different… -
Antonella Di Giulio I couldn't help my self as you have so inspired me! I had to try my hand at a Theme & Variation (started working on it this evening then it became early morning
)... The theme is simple but I hope this sketch is a good starting point... Thank you so much for taking a look and for being willing to give me feedback! -
Rudelle Gaje ohhh wow… that is great! I see that somebody has truly unleashed a creative flow
maybe you can add a few more variations. The last variation is usually a summary of the many elements that emerged in the entire piece.
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Antonella Di Giulio Thank you so much for your guidance! I appreciate it!
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Rudelle Gaje Wow! Pretty impressive work Rudelle! You are going to have a whole set of publishable pieces soon!
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Vidhya Bashyam (That is what I thought too...:) )
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Vidhya Bashyam You're very kind! Thank you so much!
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Antonella Di Giulio Coming from you, that means a lot! You've so inspired me and your guidance is precious and so appreciated... Thank you so much!
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Antonella Di Giulio Hello again, Dr. Antonella! Thank you for taking a look at my piece...
My variations VI and VII are kind of outside the box...and my Var. VIII is a mashup of all the others...
(I hope it works!) -
Rudelle Gaje That is amazing! I like the variety of ideas you have used into these variations!
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Antonella Di Giulio Thank you so much, Dr. Antonella! Am so glad you like the variations!
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Antonella Di Giulio Have revisited my piece "Reflections" having sat away from it a few days... Came back to it. Did some subtle revisions... I so hope it flows better. Please let me know what I can do to make it better. (This piece and the Theme & Variation one, too, please.) Many thanks!
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Rudelle Gaje WOW! SO many small improvements. Now try to look to unify it a bit more and make it more deep in meaning through the use of your own personal musical codes :)
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Thank you so much!
May I ask, please, what is meant by ‘personal musical codes’?…is it something that I’ve put in the piece that only I know about? Please elaborate…Thank you so much. -
Rudelle Gaje Imagine that you are giving a speech about "Reflections." Your main topic is "reflections" and you might want to convey a specific message, maybe about a reflective state of mind. You would probably use certain words and combine these words in the entire speech so that you can deliver a message with more or less the meaning you imagined.
In music, we have the same. You might think about a "reflection" code, something recurring in the piece that recalls the "reflection" attitude. Or it might be a specific rhythmic pattern that you add here and there to give more meaning and depth to your piece.
If you look up the definition of "code": "code is a system of rules to convert information—such as a letter, word, sound, image, or gesture—into another form, sometimes shortened or secret, for communication through a communication channel or storage in a storage medium."
When I analyze a piece of music, as a music theorist, I always look for those specific signs that help me unlock the thought of a composer. Now, because you are the composer, you might want to think about how your music can become more meaningful.
I am going to copy to you an analysis I wrote for a piece by Dallapiccola...
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Rudelle Gaje Here the file... It is in the middle of a chapter about deictic spaces in music and points of orientation. But I wanted to give you an example of how a piece crafter according to some specific codes look like from an analytical perspective. (I loved analyzing this small piece!)
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