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Composing with Constraints: 100 Practical Exercises in Music Composition provides an innovative approach to the instruction of the craft of music composition based on tailored exercises to help students develop their creativity. When composition is condensed to a series of logical steps, it can then be taught and learned more efficiently. With this approach in mind, Jorge Variego offers a variety of practical exercises to help student composers and instructors to create tangible work plans with high expectations and successful outcomes. Each chapter starts with a brief note on terminology and…mehr
Composing with Constraints: 100 Practical Exercises in Music Composition provides an innovative approach to the instruction of the craft of music composition based on tailored exercises to help students develop their creativity. When composition is condensed to a series of logical steps, it can then be taught and learned more efficiently. With this approach in mind, Jorge Variego offers a variety of practical exercises to help student composers and instructors to create tangible work plans with high expectations and successful outcomes. Each chapter starts with a brief note on terminology and general recommendations for the instructor. The first five chapters offer a variety of exercises that range from analysis and style imitation to the use of probabilities. The chapter about pre-compositional approaches offers original techniques that a student composer can implement in order to start a new work. Based on lateral thinking, the last section of the book fosters creative connections with other disciplines such as math, visual arts, and architectural acoustics. The one hundred exercises contain a unique set of guidelines and constraints that place students in a specific compositional framework. These compositional boundaries encourage students to produce creative work within a given structure. Using the methodologies in this book, students will be able to create their own outlines for their compositions, making intelligent and educated compositional choices that balance reasoning with intuition.
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Jorge Variego was born in Rosario, Argentina. He is a former Fulbright Scholar and is currently Lecturer in Music Theory at the University of Tennessee - Knoxville, where is also the Founding Director of the UT Electroacoustic Ensemble.
Inhaltsangabe
* Introduction * How to use the book * Recommendations for the instructor * Chapter I Melody (exercises 1 20) * Preliminary notes * Melody 1 focal point * Melody 2 using your own scale * Melody 3 using your own scale and a subset * Melody 4 using your own scale with a substitute pitch * Melody 5 a scale in a given order * Melody 6 a scale in a given order with ordered rhythm * Melody 7 concatenating triads * Melody 8 concatenating triads of any type * Melody 9 segments of equal duration * Melody 10 segments of unequal duration * Melody 11 the melody of an image * Melody 12 integer notation * Melody 13 integer notation collections and subsets * Melody 14 integer notation collections and transition subsets * Melody 15 simple probabilities * Melody 16 a twelve tone row * Melody 17 a twelve tone row in palindrome * Melody 18 intervallic content * Melody 19 leitmotifs * Melody 20 eliminations * Chapter II Harmony (exercises 21 40) * Preliminary notes * Harmony 21 composing transitions * Harmony 22 using segments, melody becomes harmony * Harmony 23 axis of symmetry Harmony 24 using the harmonic series * Harmony 25 using the harmonic series with a pedal tone * Harmony 26 just triads * Harmony 27 using integer notation * Harmony 28 diatonic? * Harmony 29 a twelve tone row * Harmony 30 alla circle progression * Harmony 31 triads that move in thirds * Harmony 32 triads that move in thirds and progressions within a progression * Harmony 33 polychords, triads over triads * Harmony 34 polytonality * Harmony 35 pedal tones * Harmony 36 ideas using parallel modes * Harmony 37 clusters * Harmony 38 sequences and patterns * Harmony 39 implied harmonies * Harmony 40 contrafacts * Chapter III Rhythm (exercises 41 60) * Preliminary notes * Rhythm 41 transformations using simple math * Rhythm 42 using segments * Rhythm 43 using segments per measure * Rhythm 44 non retrogradable rhythms * Rhythm 45 patterns within patterns * Rhythm 46 extracting the rhythm of a text * Rhythm 47 why meter? * Rhythm 48 short, long, long, short using Morse code * Rhythm 49 ostinato * Rhythm 50 playing with hemiolas * Rhythm 51 hemiolas and melodic construction * Rhythm 52 polymeter * Rhythm 53 metric modulations * Rhythm 54 using rhythmic motifs * Rhythm 55 motivic displacement * Rhythm 56 isorhythmic motets, talea and color * Rhythm 57 repeat signs, loops and internal spiraling * Rhythm 58 composing with unequal rests and pauses * Rhythm 59 eliminations, everything coming from the same tune * Rhythm 60 perceivable and non perceivable pulse * Chapter IV Texture (exercises 61 80) * Preliminary notes * Texture 61 analyzing Chopin * Texture 62 homorrythmic * Texture 63 leitmotifs * Texture 64 all the same but different * Texture 65 phasing * Texture 66 analyzing Debussy, plaining * Texture 67 Liszt, simple harmonies, complex texture * Texture 68 ostinatos * Texture 69 letting the performer make decisions * Texture 70 aleatoric counterpoint * Texture 71 micropoliphony * Texture 72 counterpoint, appropriating from Fux's species * Texture 73 counterpoint "tree; 1:1, 1:2, 1:3 and others combined * Texture 74 same chord, different color (orchestration) * Texture 75 the magic of the unison and timbral modulation * Texture 76 volume of orchestration * Texture 77 text painting, representing text with sounds * Texture 78 heterophony * Texture 79 using stratified layers alla Ives * Texture 80 sound masses * Chapter V Form (exercises 81 90) * Form 81 planning contrast * Form 82 composing with modules * Form 83 the one way trip composition, developing variations * Form 84 theme and variations * Form 85 spinning around A, rondo? * Form 86 form as process, minimalism * Form 87 palindromic structures * Form 88 available forms alla Brown * Form 89 monolithic structures * Form 90 game pieces * Chapter VI Pre compositional strategies (exercises 91 100) * Starting a new composition. Challenges and possible solutions. * Strategies. * Formal plans. * Using matrices. * Analysis and stylistic imitation. * Improvisation. * Soundscapes and nature. * Using the computer as assistant. * Pre composition 91 writing a compositional recipe * Pre composition 92 using a matrix * Pre composition 93 deconstructing and reconstructing I * Pre composition 94 deconstructing and reconstructing II * Pre composition 95 transcribing your own improvisations * Pre composition 96 bringing ideas from other "worlds" to your music * Pre composition 97 quotations as triggers * Pre composition 98 drawing sketches * Pre composition 99 oblique strategies by Brian Eno and Peter Schmidt * Pre composition 100 the computer as assistant * Appendix * A) Grading rubric * B) Sample curriculums for group composition classes or individual lessons * C) Select anthology of scales and musical examples * D) Table of instrument ranges and transpositions
* Introduction * How to use the book * Recommendations for the instructor * Chapter I Melody (exercises 1 20) * Preliminary notes * Melody 1 focal point * Melody 2 using your own scale * Melody 3 using your own scale and a subset * Melody 4 using your own scale with a substitute pitch * Melody 5 a scale in a given order * Melody 6 a scale in a given order with ordered rhythm * Melody 7 concatenating triads * Melody 8 concatenating triads of any type * Melody 9 segments of equal duration * Melody 10 segments of unequal duration * Melody 11 the melody of an image * Melody 12 integer notation * Melody 13 integer notation collections and subsets * Melody 14 integer notation collections and transition subsets * Melody 15 simple probabilities * Melody 16 a twelve tone row * Melody 17 a twelve tone row in palindrome * Melody 18 intervallic content * Melody 19 leitmotifs * Melody 20 eliminations * Chapter II Harmony (exercises 21 40) * Preliminary notes * Harmony 21 composing transitions * Harmony 22 using segments, melody becomes harmony * Harmony 23 axis of symmetry Harmony 24 using the harmonic series * Harmony 25 using the harmonic series with a pedal tone * Harmony 26 just triads * Harmony 27 using integer notation * Harmony 28 diatonic? * Harmony 29 a twelve tone row * Harmony 30 alla circle progression * Harmony 31 triads that move in thirds * Harmony 32 triads that move in thirds and progressions within a progression * Harmony 33 polychords, triads over triads * Harmony 34 polytonality * Harmony 35 pedal tones * Harmony 36 ideas using parallel modes * Harmony 37 clusters * Harmony 38 sequences and patterns * Harmony 39 implied harmonies * Harmony 40 contrafacts * Chapter III Rhythm (exercises 41 60) * Preliminary notes * Rhythm 41 transformations using simple math * Rhythm 42 using segments * Rhythm 43 using segments per measure * Rhythm 44 non retrogradable rhythms * Rhythm 45 patterns within patterns * Rhythm 46 extracting the rhythm of a text * Rhythm 47 why meter? * Rhythm 48 short, long, long, short using Morse code * Rhythm 49 ostinato * Rhythm 50 playing with hemiolas * Rhythm 51 hemiolas and melodic construction * Rhythm 52 polymeter * Rhythm 53 metric modulations * Rhythm 54 using rhythmic motifs * Rhythm 55 motivic displacement * Rhythm 56 isorhythmic motets, talea and color * Rhythm 57 repeat signs, loops and internal spiraling * Rhythm 58 composing with unequal rests and pauses * Rhythm 59 eliminations, everything coming from the same tune * Rhythm 60 perceivable and non perceivable pulse * Chapter IV Texture (exercises 61 80) * Preliminary notes * Texture 61 analyzing Chopin * Texture 62 homorrythmic * Texture 63 leitmotifs * Texture 64 all the same but different * Texture 65 phasing * Texture 66 analyzing Debussy, plaining * Texture 67 Liszt, simple harmonies, complex texture * Texture 68 ostinatos * Texture 69 letting the performer make decisions * Texture 70 aleatoric counterpoint * Texture 71 micropoliphony * Texture 72 counterpoint, appropriating from Fux's species * Texture 73 counterpoint "tree; 1:1, 1:2, 1:3 and others combined * Texture 74 same chord, different color (orchestration) * Texture 75 the magic of the unison and timbral modulation * Texture 76 volume of orchestration * Texture 77 text painting, representing text with sounds * Texture 78 heterophony * Texture 79 using stratified layers alla Ives * Texture 80 sound masses * Chapter V Form (exercises 81 90) * Form 81 planning contrast * Form 82 composing with modules * Form 83 the one way trip composition, developing variations * Form 84 theme and variations * Form 85 spinning around A, rondo? * Form 86 form as process, minimalism * Form 87 palindromic structures * Form 88 available forms alla Brown * Form 89 monolithic structures * Form 90 game pieces * Chapter VI Pre compositional strategies (exercises 91 100) * Starting a new composition. Challenges and possible solutions. * Strategies. * Formal plans. * Using matrices. * Analysis and stylistic imitation. * Improvisation. * Soundscapes and nature. * Using the computer as assistant. * Pre composition 91 writing a compositional recipe * Pre composition 92 using a matrix * Pre composition 93 deconstructing and reconstructing I * Pre composition 94 deconstructing and reconstructing II * Pre composition 95 transcribing your own improvisations * Pre composition 96 bringing ideas from other "worlds" to your music * Pre composition 97 quotations as triggers * Pre composition 98 drawing sketches * Pre composition 99 oblique strategies by Brian Eno and Peter Schmidt * Pre composition 100 the computer as assistant * Appendix * A) Grading rubric * B) Sample curriculums for group composition classes or individual lessons * C) Select anthology of scales and musical examples * D) Table of instrument ranges and transpositions
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