MU1112 Creative Composition Techniques
ASSIGNMENT PACK (Term 1)
Aims
This course will:
• introduce you to some of the fundamental techniques of contemporary classical music composition.
Learning outcomes
By the end of this course, you should be able to:
• use and manipulate compositional techniques in your own creative work;
• demonstrate the development of a coherent harmonic language and a critical attitude to rhythmic construction;
• discuss and present ideas about some of the concepts and methodologies used in contemporary composition.
Course content
The course will cover some of the following topics:
• Soundworlds and scale formations
• The vertical dimension: chords and simultaneities
• The horizontal dimension: melody and voice leading
• Developments in rhythm
• Developments in harmonic vocabulary and tonalities
• Form. and material in contemporary composition
• Acoustic timbre and texture
The precise topics taught may change each year depending on the research interests of the staff responsible for teaching the course.
Teaching & learning methods
The course will be taught in fortnightly sessions during the autumn and spring terms totalling a maximum of 20 hours alongside some 130 hours of private study, resulting in the notional total of 150 hours of study for the course.
The fortnightly sessions will divide into three areas:
• Lectures, in which representative works will be used to explore compositional techniques and as potential models for your own creative ideas. Lectures will draw on a wide variety of mostly, but not exclusively, contemporary art music to illustrate the techniques being explored.
• Small group tutorials, in which individual coursework will be discussed, to give in-depth help, advice and feedback.
• Practical sessions drawing on instrumentalists and singers from the class (term 1), and a professional ensemble (term 2)
Assessment overview
Formative Assessment & Feedback
Formative feedback will be given during small group tutorial sessions in which each piece of work to be submitted will be discussed with a course tutor. Workshops will include group discussions and question- and-answer sessions. Summative feedback will be given in the form. of a written comment and/or annotations on returned coursework. A weekly office hour is available for individual consultation with course tutors.
Summative Assessment
Exam: n/a
Coursework:
• Portfolio of composition technique exercises 1 (50%)
• A composition for small chamber ensemble (50%)
Assignment deadlines
Submission details can be found on the Department of Music General Information Moodle page. Please note, these may not have been finalised at the start of term. You will be kept informed about how to submit your work.
• Portfolio of composition technique exercises No. 1 (50%) To be submitted by 12.00pm on Wednesday, 4 December 2024
• A composition for small chamber ensemble (50%) To be submitted by 12.00pm on Thursday, 8 May 2025
You should upload ONE .PDF COPY of a completed portfolio to the Assignment page on Moodle containing the following assignments:
1. Cover Sheet
2. Portfolio of composition technique exercises (summative)
3. Appendix (optional; including sketches, workings out, etc.)
MU1112 | Portfolio of compositional techniques No. 1
EXERCISE 1 Scale formations
Complete these exercises using pencil and manuscript. paper rather than notation software.
1. Construct a scale of your own invention using only two or three different intervals:
2. Transpose the scale to create a new version by beginning on the second degree of your original scale:
3. Compose a short melody of 4-6 bars for the instrument assigned within your creative partnership, using your invented scale and its transposition:
PLEASE NOTE: If this is a melody or line for a harmony instrument (e.g. piano, harp, guitar, etc.), this maybe the upper part such as the right-hand of the pianist.
EXERCISE 2 The horizontal dimension
Complete these exercises using pencil and manuscript. paper rather than notation software.
Developing a cell
To begin this part of the exercise …
• Compose a three-note cell that has been inspired by your invented scale from Exercise 1:
• Now create an inversion of this cell:
• And now a mirror inversion (also known as a retrograde):
• Finally, create a retrograde inversion:
Next step …
Using your original cell, the inversion, the retrograde and the retrograde inversion compose a second melody for the instrument assigned within your creative partnership. Make transpositions of the cells to create interest. This second melody should contrast your melody from exercise 1.
Give your melody a clear shape and try to create contrast and interest. Don’t forget to use performance directions in your piece including tempo, dynamics, and articulation.
EXERCISE 3 Developments in rhythm
Complete these exercises using pencil and manuscript. paper rather than notation software.
1. Constructing rhythms using simple number patterns
• Find or create a simple number pattern with around eight or nine numbers.
• Using either a semiquaver or a quaver as the basic pulse, transform. the pattern into rhythmic durations. Don’t use time signatures or barlines at this stage:
• Next, make a retrograde version of the rhythm:
• Combine the original rhythm with the retrograde, one on top of the other, to make a two-part rhythmic passage:
• Finally, choose a time signature for the two-part passage and write it out using barlines and the correct metric beaming:
2. Augmentation and diminution
• Augment your original rhythm by extending all durations by the same proportion (a half or a third, for example), use a time signature and barlines:
• Diminish the rhythm by decreasing all durations by the same proportion, use a time signature and barlines:
EXERCISE 4 Chords and simultaneities
Complete these exercises using either pencil and manuscript. paper or notation software.
1. Compose a harmonic piano accompaniment for the melody and countermelody you composed for the instrument assigned within your creative partnership, in exercises 1 and 2. Your countermelody may act as a response (or ‘answer’) to your initial melody, or you may wish to rewrite and combine them. You can create your own chords using your invented scale and its transposition:
PLEASE NOTE: If this is an accompaniment for a harmony instrument (e.g. piano, harp, guitar, etc.), this maybe the lower part such as the left-hand of the pianist.
And finally …
2. Using the exercises completed throughout exercises 1-4, finalise a short work of between 20-30 bars for the instrument assigned within your creative partnership. You should aim to include at least 2-3 of the exercises.
Give your melody a clear shape and try to create contrast and interest. Don’t forget to use performance directions in your piece including tempo, dynamics, and articulation.