GUIDELINES FOR COMPOSITION IN THE MUSIC ENSEMBLE CLASS.pdf

8/9/2019 GUIDELINES FOR COMPOSITION IN THE MUSIC ENSEMBLE CLASS.pdf

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GUIDELINES FOR COMPOSITION IN THE MUSIC ENSEMBLE CLASS(From: Saint Paul Listens, a program of the American Composers Forum)

Start small

Student compositions do not need to be long or complex. Sixteen measures of music will provide plenty

of challenge and material for students to implement these concepts thoroughly.

Establish the composition’s theme

As a group, have students brainstorm possible themes. Guide them to keep the theme broad and

universal such as weather, migration, discovery, etc. By using broad themes, all students can be inspired

around one concept and it is easier for the teacher to utilize resources. Another possibility for a theme

is to use a folk tale, as Gao Hong did in her composition “The Ant and the Magpie.” Everyone in the

class should use the same theme.

Create a palette of sounds

Ask students to think about how they would represent the established theme on their individual

instruments. Then, as a class, create a palette of sounds. For example, if the theme is weather , you

might have students play sounds for different types of cloud activity.

Composing the first phrase

Have students think about the story behind the phrase they will create. How will they represent these

ideas musically? Each student should compose a phrase. This should be a complete musical idea, not

simply a motif. (If students do create motifs, guide them to use their motifs to create a complete

phrase.)

Understanding phrases

Guide students to determine the key, or tonal center of their phrase. Ask them to consider how the

beginning and ending of their phrase relates to that key or tonal center.

This will be a good time to have them discover that phrases typically sound complete when they end on

the tonic, or first note of the scale. They can also discover that phrases may sometimes end on the 5th

note of the scale, or the dominant, but the phrase may sound unfinished.

Working definition of phrase - a musical sentence.



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Compose first, notate later

Students should learn how to play the melody they are thinking of on their instrument, without

considering how it will be notated. After they have decided on a melody and can repeat it, they can

begin trying to write it down. (To be certain that the melody is established in their minds, have students

take a “break” for a few minutes and then see if they can still play the melody they have created.) Whenthey begin the notation process, have them begin with “guideposts,” trying to get the shape of the

phrase and most of its pitches. It is unlikely that students will be able to completely notate their melody

rhythmically. If they can write the pitches with some approximate rhythms, they will be able to have a

partner perform it, and then adjust the note values to the proper durations.

Composing a second phrase

Have students continue their composition by adding a second phrase. Ask them to consider the story

behind the next phrase and how it relates to the first. Then, have them follow the process they used for

composing the first phrase.

Working with a partner

Have students choose a musical partner who plays a different instrument. (Or, you can assign partners.)

They will interview their partner about how to compose for the partner’s instrument. Composers will

need to know the range, clef, and transposition of their partner’s instrument. Next, they will transpose

one of their phrase ideas for their partner to play. Hearing their partner play what they have written will

help the composer with the notation process.

Composing a Countermelody

Once students and their partners can play the melodies they have created, they may begin composing acountermelody or harmony part. It may be useful to have students record their primary themes using a

tape recorder or some basic computer-based technology like Apple’s Garage Band or Audacity

(freeware.) They can listen to their melody while composing the complimentary line or harmony.

Shaping the Music

Help students understand how a complete melody is made up of several phrases.

To keep the concept authentic, scaffold with phrase examples from music they are rehearsing in class.

Students will hear and experience how a song is put together.

Working definition of Form – the shape of the

music or the order of phrases. Ex. AABA



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Rehearse and perform

Whether or not the notation is perfect, students will be able to adequately communicate their intention

to their partner and perform the music accurately. In the end, notation is just a visual representation

and a means for the composer to communicate with the performers.

Reflect and Respond on the Composing Process

Create your own questions and reflection activities that make the experience most authentic in your

class. Some suggested questions to stimulate reflection:

What are some aspects of music that are more challenging when you are a composer than a

performer?

What are some of the aspects of music that are more challenging when you are performing

rather than the rehearsing?

What are some benefits of working with a composer?

What are some challenges of composing music you did not foresee at the start of this

assignment?

GUIDELINES FOR COMPOSITION IN THE MUSIC ENSEMBLE CLASS.pdf

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