Dr Ben Gaunt Two Contrast ing Constants Two Contrast ing Constants All exam boards expect candidates to present a lot of highquality work written in a short space of time Two Contrast ing Constants ID: 244280
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Slide1
Composition in the Classroom
Dr Ben GauntSlide2
Two Contrast
ing ConstantsSlide3
Two Contrast
ing Constants
All exam boards expect candidates to present a lot of high-quality work, written in a short space of time. Slide4
Two Contrast
ing Constants
All exam boards expect candidates to present a lot of high-quality work, written in a short space of time.
There is so much to do at A Level, that candidates don’t develop the ability to write effectively, at speed.Slide5
Two Contrast
ing Constants
All exam boards expect candidates to present a lot of high-quality work, written in a short space of time.
There is so much to do at A Level, that candidates don’t develop the ability to write effectively, at speed.
AQA A2 Unit 5 MUSC5 Developing Musical Id
eas – candidates are expected to compose 5-8
minutes of music in only 20 hours. I’m a prof
essional composer and I don’t work that fast!Slide6
Riddle
?
A riddle: how do you develop a student’s compositional technique so that...Slide7
Riddle
?
A riddle: how do you develop a student’s compositional technique so that...
They become competent, confident composersSlide8
Riddle
?
A riddle: how do you develop a student’s compositional technique so that...
They become competent, confident composers
They
m
eet the requirements of length and complexity exam boards requireSlide9
Riddle
?
A riddle: how do you develop a student’s compositional technique so that...
They become competent, confident composers
They
m
eet the requirements of length and complexity exam boards require
Their development doesn’t eat into time that should be spent on other areasSlide10
A (doctor-recommended) remedy...
Make composition part of their ‘musical diet’Slide11
Mini-compositions
triple actionSlide12
Mini-compositions
Improve skill in composition
(practice like an instrument)
triple actionSlide13
Mini-compositions
Improve skill in composition
(practice like an instrument)
2. Raise confidence levels
(starting each new piece will
be a little less intimidating)
triple actionSlide14
Mini-compositions
Improve skill in composition
(practice like an instrument)
2. Raise confidence levels
(starting each new piece will
be a little less intimidating)
3. Increase speed of composition
(including fluency with relevant software)
triple actionSlide15
Lesson Plan 1
Starter: Something
Main: Something else
Plenary: Composition task to consolidate
and test acquired knowledge
Saint Cerberus Comprehensive
Together Everyone Achieves MoreSlide16
Lesson Plan 2
Starter: Composition followed by another
composition
Main: A series of related compositions
Plenary: More composition
Saint Cerberus Comprehensive
Together Everyone Achieves MoreSlide17
Examples (Classical)
Melody mini-composition 1:
Not concerned with rhythm, dynamics, articulation – only pitch
No restrictions, no instrumentation
Good chance these pieces will be of poor quality – meandering and shapeless Slide18
Examples (Classical)
Improvisation task:
Use vocal sounds and body percussion to create a musical representation of a storm
Likely to have a more convincing shape than the previous melody mini-composition. Why?Slide19
Examples (Classical)
Shapes that work:
well-paced climax, fades convincinglySlide20
Examples (Classical)
Shapes that work:
well-paced climax, fades convincingly
a series of increasing climaxes Slide21
Examples (Classical)
Melody mini-composition 2:
Not concerned with rhythm, dynamics, articulation – only pitch
No restrictions, no instrumentation
Shape is important
Likely to be a more musically satisfying melody than the previous attemptSlide22
Students will learn that if they spend time planning
a piece of music, contemplating its overall shape,
the resultant composition is likely to be of higher
quality. Slide23
Examples (Classical)
Rhythm mini-composition:
Not concerned with pitch, dynamics, articulation – only rhythm
No restrictions, no instrumentation
Shape is important
Opportunity to teach/reinforce a number of rhythmic techniques (
ostinato
,
hemiola
, irregular time signatures, tuplets
etc.) Slide24
Students will learn that it is possible to create an
effective piece using rhythm alone, and that
rhythm might be considered as important as pitch.Slide25
Examples (Classical)
Melody mini-composition 3:
Not concerned with dynamics
or articulation – only pitch and rhythm
No restrictions, no instrumentation
Shape is important (how does shape influence both pitch and rhythm?)
Do not be afraid to improvise an example!Slide26Slide27
"
Denken
"/"Thinking" (October 1910) by Arnold Schoenberg
Twelve-Tone
Serialism
Slide28
"
Denken
"/"Thinking" (October 1910) by Arnold Schoenberg
Twelve-Tone
Serialism
It demonstrates how self-imposed restrictions can be good for both the quality and speed of composition
It demonstrates how important it is to develop existing material, rather than to continuously devise new materialSlide29
Lady Gaga NOT by Arnold Schoenberg
For exactly the same reasons, I teach a 6-chord pop song mini-composition, which also:
Shows how major and minor triads are derived from scales (C/Dm/
Em
/F/G/Am come from the C major scale)
Shows how major and minor pentatonic scales are constructed, and how they are useful for creating melodies Slide30
Pop Song (chord sequence)Slide31
Pop Song (melody)Slide32
Examples (Classical)
Counterpoint mini-composition:
Very simple definition of counterpoint (two or simultaneous melodies, activity in one part, inactivity in another)
For treble and bass clef (instruments unimportant)
Not concerned with dynamics or articulation – only pitch, harmony and rhythm
Advise students to consider previously learned principles and techniques (e.g. Do both melodies have a convincing shape?)
Do not be afraid to improvise an example!Slide33
Structure and Form
Thinking about shape will only get students so far – they must develop an awareness of structure and form. Broadly speaking, there are two species of form:
Nameable forms (e.g. rondo, strophic etc.)
Conceptual forms (e.g. can you compose a piece which begins low, quiet and slow and ends
highloud
and fast?)Slide34
Structure and Form
It is worth using mini-composition tasks to develop both species of form. For example, a rondo mini-composition might be only 20 bars long (4-bar A section, 4-bar B section, 4-bar A section, 4-bar C section, 4-bar A section) but it will still help students understand the usefulness of this form, and can lead to discussions on repetitious and contrasting material.Slide35
What if?
Given that mini-compositions are short, and are written quickly, a teacher has the power to ask ‘what if?’ questions, and see them acted upon by students almost immediately.Slide36
What if?
• This piano piece is interesting. What if the right hand and left hand roles were reversed?
• What would it sound like if the trumpet was half speed and the clarinet double speed?
• What if you started that loop half a bar later?
Students can test ideas quickly, efficiently and painlessly before implementing them ‘for real’ later. Slide37
Hints
Tips
Conclusions
Questions
Make composition an essential part of your students’ ‘musical diet’
Mini-compositions can be linked to current learning objectives
Mini-compositions can be used for any genre (and teaching the compositional techniques of one style of music is likely to help progress in another style)
Mini-compositions can be progressive (e.g. the melody exercises) or standalone
Mini-compositions should be fun, engaging, and (very important) confidence-boosting (rondo form is brilliant for confidence-boosting composition)Slide38
Hints
Tips
Conclusions
Questions
Mini-compositions allow for easy access to the higher levels of Bloom’s Taxonomy:Slide39
Hints
Tips
Conclusions
Questions
When developing instrumental technique, students learn by repetition and refinement – I see no reason why the same can’t apply to the development of compositional technique
If repeating a mini-composition task, vary extra-musical stimuli (this keeps things fresh, and also allows students to get used to ‘writing to a brief’)
When it comes to assessed compositions, students will be armed with a number of techniques and principles that will help them succeed
Any questions?
Email me at ben@bengaunt.com