Jorge Variego (Lecturer in Music Theory, Lecturer in Music Theory,

Composing with Constraints

100 Practical Exercises in Music Composition

• Broschiertes Buch

Produktbeschreibung

Composing with Constraints provides an innovative approach to the instruction of the craft of music composition based on tailored exercises to help students develop their creativity. The 100 exercises that are included contain a unique set of guidelines and constraints intended to place the student in a specific compositional framework. By 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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Produktdetails

• Verlag: Oxford University Press Inc
• Seitenzahl: 144
• Erscheinungstermin: 27. Juli 2021
• Englisch
• Abmessung: 275mm x 212mm x 10mm
• Gewicht: 362g
• ISBN-13: 9780190057244
• ISBN-10: 0190057246
• Artikelnr.: 61648054

Autorenporträt

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