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

Composing with Constraints

100 Practical Exercises in Music Composition

• Gebundenes Buch

Produktdetails

• Verlag: Oxford University Press Inc
• Seitenzahl: 144
• Englisch
• Abmessung: 287mm x 221mm x 16mm
• Gewicht: 596g
• ISBN-13: 9780190057237
• Artikelnr.: 62080111

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