Teaching Composition in Music Technology

Teaching Composition in Music Technology

During a recent teaching experience with A-Level music technology, I found myself pondering my approach to composition and the role of experimentation in the creative process. I firmly believe that regular improvisation and experimentation yield the best results in composition, and I strive to foster environments where these practices are not only encouraged but expected.

Working with a group of students who wanted help in getting started, I introduced them to the pioneering works of Steve Reich, particularly "It’s Gonna Rain" and "Different Trains," as catalysts for their creative exploration.

Inspired by Reich's manipulation and repetitions of speech and sound, I challenged my students to engage in recording and manipulating speech patterns, aligning with the set text stimulus for component two. The resulting pitch material from these repeated loops was then notated, providing a foundation for potential melodic or harmonic development. This hands-on approach to learning proved to be particularly effective.

However, amidst the excitement of experimentation, many students encountered a common hurdle when attempting to translate their ideas into coherent compositions: structuring their work. They struggled to organise their concepts and transform their experimentation into cohesive musical narratives. This presented an opportunity to guide them through the process of visualising their compositions.

Sitting down and taking a step back, we embarked on a journey of graphical mapping. Starting with a simple line on a piece of paper, we delineated sections labelled as A, B, C, etc. Each section was assigned a specific purpose, whether introducing voice samples, exploring rhythm, or revisiting thematic material.

One student's progression from confusion to clarity exemplified the transformative power of looking at the structure and organisation of a work. As we plotted out the composition's architecture, a logical framework emerged, providing a roadmap for their creative expression. What initially seemed overwhelming became manageable, guided by the principles of their experimentations. My advice to them was to focus on developing the foundation of each section first, then refine and expand upon it as needed.

Reflecting on this experience, while spontaneity sparks innovation, structure lays the groundwork for organising ideas into a unified whole. And the delicate balance between spontaneity and structure in the creative journey is something that becomes easier with regular practice. 

This understanding extends beyond music composition to encompass various creative and life endeavours. It serves as a reminder to step back and assess the overarching design of our pursuits. By embracing both experimentation and organisation, we empower ourselves to unleash our creativity to its fullest potential.

Below is a short breakdown of how I approach the process of experimenting with electronic music. 

1.    Embrace Experimentation and Improvisation:

  • Record, notate, and write descriptions of your ideas and experiments.
  • Think in layers and consider the texture and function of each layer.

2.    Draw Inspiration from Model Works:

  • Choose a piece in the genre or style you're exploring and extract an element to kickstart your experimentation.

3.    Start with a Drone and Implied Harmonies:

  • Begin your composition with a drone, utilising implied harmonies to establish a harmonic foundation.
  • For example, in F minor, starting on the tonic (F) and moving to the dominant (C) creates a smooth harmonic progression.

4.    Work on a Small Section or Phrase:

Focus on crafting a 4-8 bar section, thinking about the layers and their functions:

  • Drone
  • Ostinato (pitch and/or rhythmic)
  • Chords or implied harmony (incorporate 9ths, 4ths, 7ths for harmonic colour while avoiding the third)
  • Melodic improvisation

5.    Layer Ideas and Create Contrast:

  • Build upon your initial section by adding layers and creating a contrasting idea while maintaining harmonic coherence.

6.    Arrange into a Structure:

  • Duplicate and rearrange your ideas into a cohesive structure, ensuring a logical introduction of material.
  • Delete or modify elements that become distracting or unappealing to the ear.

7.    Continue Refining:

  • Iterate on your composition, refining and modifying elements to develop the bare bones of your composition.
  • Consider adding additional material such as vocals, extended solos, or pre-recorded sounds to enhance the composition further.

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