Composition in the Classroom
Dr Ben Gaunt
Two Contrasting Constants
Two Contrasting Constants
All exam boards expect
candidates to present a
lot of high-quality work,
written in a short space
of time.
Two Contrasting 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.
Two Contrasting 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 Ideas – candidates are expected to compose 5-8
minutes of music in only 20 hours. I’m a professional composer and I don’t work that fast!
A riddle: how do you develop a student’s compositional
technique so that...
Riddle
A riddle: how do you develop a student’s compositional
technique so that...
Riddle
1. They become
competent,
confident composers
A riddle: how do you develop a student’s compositional
technique so that...
Riddle
1. They become
competent,
confident composers
2. They meet the
requirements of
length and
complexity exam
boards require
A riddle: how do you develop a student’s compositional
technique so that...
Riddle
1. They become
competent,
confident composers
2. They meet the
requirements of
length and
complexity exam
boards require
3. Their development
doesn’t eat into time
that should be spent
on other areas
A (doctor-recommended)
remedy...
Make composition part of their ‘musical diet’
Mini-compositions
triple action
Mini-compositions
triple action
1. Improve skill in composition
(practice like an instrument)
Mini-compositions
triple action
1. Improve skill in composition
(practice like an instrument)
2. Raise confidence levels
(starting each new piece will
be a little less intimidating)
Mini-compositions
triple action
1. 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)
Lesson Plan 1
Starter: Something
Main: Something else
Plenary: Composition task to consolidate
and test acquired knowledge
Saint Cerberus Comprehensive
Together Everyone Achieves More
Lesson Plan 2
Starter: Composition followed by another
composition
Main: A series of related compositions
Plenary: More composition
Saint Cerberus Comprehensive
Together Everyone Achieves More
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
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 minicomposition. Why?
Examples (Classical)
Shapes that work:
well-paced climax, fades convincingly
Examples (Classical)
Shapes that work:
well-paced climax, fades convincingly
a series of increasing climaxes
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
attempt
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.
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.)
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.
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!
Twelve-Tone Serialism
"Denken"/"Thinking" (October 1910)
by Arnold Schoenberg
Twelve-Tone Serialism
1. It demonstrates how self-imposed
restrictions can be good for both the
quality and speed of composition
2. It demonstrates how important it is
to develop existing material, rather
than to continuously devise new
material
"Denken"/"Thinking" (October 1910)
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
Lady Gaga NOT by Arnold
Schoenberg
Pop Song (chord sequence)
Pop Song (melody)
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!
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:
1. Nameable forms (e.g. rondo, strophic
etc.)
2. Conceptual forms (e.g. can you compose a
piece which begins low, quiet and slow and
ends highloud and fast?)
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, 4bar 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.
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.
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.
• 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)
Hints
Tips
Conclusions
Questions
• Mini-compositions allow for easy access to the
higher levels of Bloom’s Taxonomy:
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 extramusical 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
Hints
Tips
Conclusions
Questions