Composition

Task

• Use compositional devices to generate a range of small musical motifs and from these develop and structure the two substantial original compositions. In the Resources section, you will find suggestions about how to develop your composition.
• As evidence for assessment for each of your two compositions, you must present:
  • an audio file, playable on a CD player or computer without specialised music software
  • a visual representation conveying your compositional intent as appropriate to the style/genre e.g. standard music notation, lyric and chord chart, lead sheet, tab with rhythmic indications, graphic notation, narrative description, or a combination of these:
  • If your composition includes improvised passages, you must play them yourself.
• A quality composition at this level should show:
  • understanding of idiomatic writing for specific instruments
  • effective use of scales and/or modes, such as major, minor, Dorian, Lydian, or personally devised mode(s)
  • development or manipulation of musical ideas using compositional devices such as sequence, decoration, extension, inversion, ostinato, diminution, augmentation, layering, fragmentation, and variation of texture, timbre, and harmony
  • use of subtle variation to avoid literal repetition
  • ability to structure ideas into a coherent whole (for example, the music has an appropriate balance of repetition and variety, a clear beginning, middle, and end, and a sense of shape and progression)
  • ability to create and/or maintain an assured sense of style and flair and to communicate with impact.

Developing your composition

Fragments and motifs

· Your teacher will introduce you to a range of music works in different styles and genres. Explore the way each composer develops and structures substantial pieces of music from fragments of musical ideas or motifs.

· Your teacher will then provide a number of musical motifs. Working as a class or in groups, develop these motifs into musical ideas using musical devices such as repetition, sequence, extension, melodic and rhythmic manipulation, decoration, fragmentation, diminution, augmentation, layering, inversion, and variation of timbre, texture, and harmony. You could use each device individually, or in combination with other devices.

· Share the ideas you have developed. You will see how one motif can be developed into a range of contrasting musical ideas.

The fragments of an idea

· Brainstorm to generate as many musical fragments and motifs of your own as you can. These may be short rhythmic and/or melodic figures, a chord, a short progression of chords, or melodic intervals. You are not composing a tune. Don’t rush this initial creative phase. Jot down these fragments and motifs on paper, sing them to help you store them in your memory, or record them. You may find that you have ideas when you are having breakfast or sitting on the bus, or that ideas come to you most freely when you are playing your instrument or singing.

· Select the musical fragments and motifs that interest you most.

· Develop these into longer musical ideas by using the compositional devices you have studied. You may create a series of musical phrases that will form one section of your final composition.

· As you develop your musical ideas, think about the instrument/s that will best express them. Take care to create musical ideas that suit the instruments you are composing for (for example, consider the range of the instrument).

· Notate your ideas in visual form using standard music notation, tab with rhythmic indications, lead sheet, graphic notation, narrative description, or a combination of these, either on paper or using a computer notation programme.

· You must record a performance of your composition, so check with your teacher to ensure your chosen instruments and players are available.

Structure your ideas

· Using the musical ideas you have developed from your initial musical fragments and motifs, structure them to create the first of your substantial music compositions. Aim to compose a piece of music that is at least two minutes in length, but remember that the quality of your music is more important than the quantity.

· Prepare a draft of your composition in visual form using standard music notation, lyric and chord chart, tablature, lead sheet, graphic notation, narrative description, or a combination of these, either on paper or using a computer notation programme.

Refine your composition

· Refine your draft composition (re-work it) until you think it is effective and convincing.

· Listen to a rehearsal of your composition. Ask your players if their musical lines are comfortable to play. Ask them if they have suggestions to make your composition more effective and convincing.

· Listen carefully to the advice of your players, and further refine (re-work) your draft. Repeat the refining process until you feel your composition is as effective and convincing as you can make it.

Present your composition

· Remember that if your composition includes improvised passages, you must play them yourself.

Second composition

· Repeat the process you followed for Task 2 to compose your second substantial piece of music.

· Your musical fragments and motifs will be the same, but your second composition must develop these to create a different and contrasting composition. You can create a contrasting composition by using different:

• instruments
• tempo (e.g if your first composition was a slow piece, your second could be fast.)
• time signature
• scales or modes
• compositional devices
• timbre and texture (for example, if your first piece is homophonic, you could try composing polyphonically for your second piece.)
• style
• form.