Introduction [BMA A possible strategy for creating a piece of music ‘Annotated version of the flow chart (algorithm) ‘A possible strategy for creating, ‘a plece of music’, printed on page 8 of the students’ book 1 Experimenting exploring ideas 7 1-3 Composing ad ponies, deciding on Experiment/exlore (continously © the ype of sound sours) and ‘eas /pesbites/sounds aking) the inde of sound to be sed 2 Selecting those most, sable rejocting others A 3 Composing, bung up the ples — ontnoousy crating Game | Orzaizn strctre — ‘dens may of our, neta as Compose (vay evltig) thoy compas) 4 tf workdgina group fesding to * ina groupleadhe ites Gapecewiinced 4 ahearse/pracise 4 Performing fo be rmrsed: a hl performance wl require practise T 5 Recordings perfomance of tener s Perform and record jg ———_ 6 Uscning othe recording and A t 6-7 useing, agpraargthe piece —diisingand 6 lay back ~ Listens ‘oprairglevating ‘rating te compoon Appraae = dacusfovkate ashstnghetring (Ged petap a the performance Sod the quay ofthe recog) 7 5 7 ralating wi probably No tend wo adsing Saison? ‘as rofeo ‘eting=and recording ves ¥ 8 Choosing the most 7 a #10 Noining eproprate way to note 8 os ene recording, sori the musi, making tas and/or graphic . ear and azure ss possible ¥ 9 Wesing or recordings comment, decrbnghow 9g Wie or record the lec ered fom commentary al sl eae othe ‘efed ral verion 10 Storing the refined fend-product nfely— notated, and or recorded, or steredin acompusera li lit (er le) Lit lil WL Ww BABEL 4 4 introduction ma In the case of students’ own work, self-evaluation is an ongoing activity. Besides evaluation of the refined, final product there should also be continuous evaluation of the process leading to it: © evaluating at every possible stage during the creating of a composition (‘Is this how I ‘want it to sound”); © evaluating while practising or rehearsing (Am I playing/singing the right notes, at the right time, in the right way?’). A Possible interpretations of the word evaluate might include: ‘determine or assess the value of", investigate, and decide the worth of’, ‘reflect critically and constructively upon’. Central to all evaluating, of course, is active, critical listening — from which, with increasing experience, knowledge and understanding, will stem informed judgements, decisions, and reasoned argument. Items from the Linked Listening lists at the end of each chapter in the students’ book provide many opportunities for evaltiating complete pieces. Evaluating a composition Some criteria which may be taken into account when evaluating a composition are given below and again, in question form, on pages 158 and 159 as copymaster sheets for students. The questions could be answered by students individually, or used as a basis for ‘group discussion. Not all of them will, of course, be appropriate to all compositions, or to all styles or genres. And others, not included here, may be of crucial importance in evaluating certain pieces. For example, in ‘experimental’ music, some elements mentioned in connection with variety/contrast may need to be replaced by density, articulation, duration, nuance, location. Ithas been the intention to formulate the questions in such a way that they will fit whether students are evaluating: © their own composition; ‘© a composition by one or more fellow students; ‘© a composition by an established composer. Possible criteria: 1. impact and overall impression of the piece; whether it holds the listener’s attention variety/contrast —e.g. of dynamics, timbre, pitch, melody, rhythm, texture exploration, appropriate use, and control of musical elements unity —consistenty of style form — overall shape, design, structure, organization of ideas effective use of climax originality of ideas — explored, extended, developed, in effective ways exvyounan choice of medium — instrument(s)/voice(s)/sound-source(s) — used effectively, and with understanding 9° mood and character ~ appropriateness to the title and/or words of the piece 10 clarity and accuracy of chosen notation; clear performance directionsD: COMPOSITION DR GRAEME WRIGHT DENNISS Teaching Composition Fundamentals 1 Melody and Harmony — Which comes first? ‘This is a hands-on session with delegates needing’ Manuscript paper, Pencils and an Eraser. Practical Melody Writing Historieal besis for musio making. Barly forms of melody. Listening examples from Medieval, Ethnic, Westem Music upto the Twentieth Century What is a Melody? How do we organise the succession of sounds? ‘Template for successful melody waiting, AMEB style: Planning the harmony Adding Harmony to your melody. Pace of chord change — Rate of Harmonic Flow. Using your harmony as a basis for a different melody. ‘The importance and function of form. ‘ “Elements of Song form Page 32 CAIRNS MUSIC CONFERENCE 2008TEACHING COMPOSITION PART 2 | DR GRAEME WRIGHT-DENNIS Teaching Composition Fundamentals 2 ‘Starting from the Bottom up — A Linear Approach ‘Dis is the second session designed for Secondary Classroom Teachers who teach Compos! ‘the Music Curriculum, and anyone interested in Music Composition ‘This is a hands-on session with delegates needing: ‘MANUSCRIPT PAPER, PENCILS AND AN ERASER in order to create their own compositions. (The originel material inthis booklet is Copyright to Graeme Wright Denniss 2010) Creating layers of sound above the bass ‘The session builds on the techniques explored inthe Firs session, and extends them using a more linear approach. We begin by looking at some historical precedents for this style of composition. Listening examples from Renaissance and Baroque periods, Barly forms: Chaccone, Passacaglia and Ground Bass ‘The formal and expressive aspects ofthis technique, 7wentieth Century Listening examples from Film, Opera, Pop and Contemporary Classical Music. Minimtalist composers have adopted this technique as their own, often with preat success. Those contemporary composers have many of the same expressive goals as their predecessors Rhythm, Timbre and Texture ‘The delegates willbe invited to write ther own Ground Bass composition following these steps: 1, Set expressive parameters before you begin, with choices made about: ‘Tonality Rhythmic figures and time signature Tempo ‘Mood/atmosphere 2. How to organise your layers: Choose pitches and voices/instruments based on the traditional areas of the Bass, Tenor, Alto and Soprano registers, ‘Use different combinations of timbres and rhythms to create interest as you build p the texture, 3. Shape of the Bassline, balance between Intervals and Steps. jfamonic implications of your bassline the usefulness of inversions to generate new layers of sound and new ‘harmonies within the set parameters, ‘4. Melodie Invention within the set harmony ~ short motifs or long phrases? ‘The direction of the melody. Continuous variation or repetition. Use of ostinati and developing ostinat Polyphonic techniques Page 44 CAIRNS MUSIC CONFERENCE 2010 = eo me mee ee ma MmTEACHING COMPOSITION PART 2 | DR GRAEME WRIGHT-DENNIS 5, Aspects of Rhythm How the tempo and rhythmic figures create the Feel of music. ‘The “Rules of Harmony” and how they apply to Composition ‘An assessment of the practical and poetic value of Classical harmony, including: 1 Consecutive and/or Exposed Fifths and Octaves - Not always something to bs too concemed about, as Jong asthe underlying harmony is strong. Classical harmony tends to emphasise contrary motion between the outer parts, but some compositions ufilise parallel harmony with great effect. 2. Part writing. The “Rules” are very useful for writing the bassline and inner parts, dealing with voicings and voice-leading, avoiding overlapping parts and augmented intervals. Skillful use of Counterpoint and polyphony in general arise from understanding these opereting procedures 4, Range’ and tessituras of voices or instruments, and spacing between paris - Absolutely vital, a ‘practicality not always understood or implemented by students. Example from Graeme’s Compositions for Music Education A La Mode” for Intermediate String Orchestra, 6" Movement “Myxolydian —Pessacaglia” QUOTE “The Cellos play a 4 bar bassine which continues throughout the piece, although later on it becomes the melody, A polyphonie texture is created above the bass. Brief Performance of your Ground Bass Compositions elegetes may wish to play their compositions, or get Graeme to play them. Listening Examples: “Pachelbel — Albinoni — Lae (Mainline Records) Henry Purcell "Dido and Aeneas” (EMI Classics) ‘Viadimic Godar—"Miter" (ECM) ‘Michael Nyman — “The Essential Michael Nyman. Band” (Argo) Philip Glass —“Koyeanisqetsi” (sland Masters) Roy Orbison — “Monumental Hits” (EMI) Graeme Wright Denniss —“A la Mode” ~ Movement 6 “Mixolydian — Passacaglia MIDI file References: Theory of Music, Standard Texts and evaluations ‘Page 45 CAIRNS MUSIC CONFERENCE 2010TEACHING COMPOSITION PART 2 | DR GRAEME WRIGHT-DENNIS At the eatly stages of learning composition, understanding the basics is best achieved by the study of Music Theory. There do not appear to be marty Composition texts written for this level of student. Gordon Spearritt — “Essential Music Theory” (Allans Educational) Concise explanations, some very good pages on General Knowledge, but his language can be a bit academic which puts some students off ‘Samantha Coates — “How to Blitz Theory” (A and $ Coates Pty Ltd) ‘The Blitz books are well written for students and are fun and approachable, with attractive fonts, Coates has a tendency to make rules that only lest for the grade of the book, then the students have to learn new rules as they progress, which can be confusing. Better forthe lower grades, up to Grade 3 or possibly Grade 4. Dulcie Holland — “Master your Theory” (EMI) Painstaking and thorough, with many exercises for students, the books tend to be repetitive and somewhat boring in approach, Other useful texts: JSBach~“101 Chorales” (Schmitt, Hall and McCreary Co) ‘JSBach “371 Four Part Chorals” in2 volumes (Kalmus) George Loughlin ~ “Diatonic Harmony” in 2 parts (Alans) RO Morris “Introduction to Counterpoint” (OUP) JA Steele — “Free Counterpoint in Two Parts” (Allens) William Lovelock —“Free Counterpoint” (William Elkin Music Services) Bbenezer Prout — Harmony: Its Theory and Practice. (Augener) Greeme's website www.deomposition.com Page 46 CAIRNS MUSIC CONFERENCE 2010 Meh huj Hl } tu 4 ta Jou ts cs ts Lo La La a D: COMPOSITION DE GRAEME WRIGHT-DENNIS. Teaching Composition Fundamantals 3 Minimalist and other Advanced Te ‘echniques This session is designed for ‘Secondary Classroom Music Teachers who teach Composition as ‘part of the: Syllabus, and anyone interested in Composing Music. It will explore various techniques with reference to ‘Minimalist composers and Graeme’s own compositior x Ecological Composition — the Value of Recycling your Material A brief Introduction to Minimalism, its historical background and musical antecedents: Reaction to the academic avant-garde and serialism, return to tonality, influences from ethnic music, philosophical intentions, fusion of styles and genres from Renaissance to Contemporary Clossead ond bese Why i it called Minimalism? Listening examples More about Form - Micro and Macro How to extend your composition by using your existing material in new ways, Maintaining mood or atmosphere - the use of minimalist techniques for waiting film music, Utilising your material on a Micro level to generate new music, ‘Large soctions and how they relate fo each other — Form on a Macro level. Process Compositions - how to use number sequences, phasing and other abstract processes for expressive purposes, _PePloration of Post Minimalist techniques ~ Fusion of Wester, Eastom, Ethnic and Jaz styles ~ “Anything goes in the Twenty-first Century”, Examples of minimalist music in Graeme’s works for music education. Meant” “AT Mode” for Intermediate String Orchestra, A suite of 7 movements writin in each of the Gregorian ‘Modes ALaMode 1. Dorian Amegreteeta cog 09 Z See PS SS ea tents f cmoiera cmon F ‘This movement is bused on a single 8 bar melody, which is repeated with changing textures, Page 77 CAIRNS MUSIC CONFERENCE 2010D:COMPOSITION DR GRAEME WRIGHT-DENNIS 2. “Lydian” Based on a one bar melodie fragment, the motif is repeated in sequence, inverted and treated contrepuntaly. Yovdran, ostinako. ~ where ostirahs 5 page) ALa Mode 2. Lydian oe ao = cf 1 £ vad ve wPvy ‘ect 2m ome i 3. “A Book of Homswoggles” 6* Movement “G Force” Each chord has G as its top note, and lasts for one bar. ‘New chords are added or subtracted according to number sequences which were worked out prior tothe creation of the melody. A Book of Hornswoggles 6. G Force Vivace J= 190 ‘race Wright Dent 201 ev 2009 Hom iaF Pian Const ©2009 Grae Wie De 4, “Preludes” for Solo Piano 2° Movement “B for Bass” ‘The bassline is simply written with the low B, a fifth above then the upper B, which lasts throughout the movement as an ostinato, with slight variation to create more momentum. ‘The Right Hand plays chordal melodies in a Romantic style Preludes 2. B for Bass (Grasme Wright Donsiss 2008 ‘Moderato J= 90 § ot Cepia © 2008 Grass Wight Demis. ‘Page 78 CAIRNS MUSIC CONFERENCE 2010a D: COMPOSITION DR GRAEME WRIGHT-DENNIS 5. “Ritmico Etudes” 3" Movement. “Pink Money” QUOTE ‘Written in a Jazz style in 7/4, the bassline consists of an unchanging ostinato, with a mixture of Quartal and Triadic harmony above. _. Ritmico Etudes 3. Pink Money _ oe (Grae Weg Dee: 2009 iam swing J . Site Comet © 209 Gene Wisk Denis 6. ‘Ritmico Etudes” 1*Movement “Contains Additives” QUOTE ‘Two contrasting developing ostinati are played off against each other using number processes, predominantly additive techniques. Ritmico Etudes 1. Contains Additives Allegro = 124 ese Wight Doi 2008 Comigh© 208 name Wie Denis Musical Examples: Mrekese” - Moot Chandi ae 1 . Michael Nyman ~“The Kiss and Other Movements” (Editions EG) ~ fluapes feuhray? Philip Glass — “Songs from the Trilogy” (CBS) ‘Arvo Part—“Alina” (BGM New Series) Adds hve ee hye , Chaiguys. Steve Reich ~ “New York Counterpoint” (Nonesuch) “P)g¢'n, | "laa Q : » ‘John Adams ~ “The Chairman Dances” (BBC) rads od ‘Henryk Gorecki — “Symphony No 3, Symphony of Sorrowfll Songs” (Naxos) ‘YouTube has many examples of Minimalist, Balinese and Indian music. ‘Look for the “Father of Minimalism”, Terry Riley and the first Minimalist piece “In C”, and any of the composers mentioned above, Movmabit p35 0 prt f ae misaness abot yyy ] as gee cba, rman OCGyESTOm ‘ ew d Dewelop ny ose abe - Page 79 CATRNSIMUSIC CONFERENCE 2010D:COMPOSITION DR GRAEME WRIGHT-DENNIS Musical Examples from Graeme’s Compositions “A La Mode” for Intermediate String Orchestra (formerly Amusica, now D:composition) “A Book of Homswoggles” for French Hom and Piano (D:composiios) “Preludes” for Solo Piano (D:composition) “Ritmico Etudes” for Solo Piano (D:composition) Ge ako eldihvat. References: Music Composition Toolbox ~ Hindson, Barbelier, Blom (Science Press) This book has many good suggestions for advanced techniques, possibly more suited to Tertiary levels than Secondary Websites: Gracme’s website www.deomposition.com ‘Australian Music Centre www.smeoz.com.au/ame (The original material in his booklet is Copyright to Graeme Weight Deniss 2010) Page 80 CAIRNS MUSIC CONFERENCE 2010i 7 7 2 m =e = = SS St = ae eee a . PX ETN Wes =,“ - - = = — = f | FA T eI lees ra + a. phrase wild £09 Me sts Ra 1+ > ehcp oneal, . oa we 66 esue. Addsive. 5 — —— oe & i — ipl es eee 7 of : ee zz Soot a T , aS = < =e oe ae pa. —24 68 ) . hs Sy Statue.» 224 sh P Z zu 616 34 18 4 % Wk Compose if You ule 4. use a a) of ; Vary - £RRSHOb OW Acts Lobo shovl JG je built ote The, ne bf og™ astnoke dulre