There are several ways that we can use compositions as models.
Transcribing
1) I have already described copying out a composer’s composition by hand. This comes first.
Discover the melody and the accompaniment.
Notice that the melody is usually a single line one note at a line and in the treble. This emphasizes the human voice as the basis of western melody. Bass melody comes later.
Notice that the accompaniment tends to have 2 parts which work together; chords (3 or more notes played in unison) and (a single note) bass. These are combined in various formations such as the Alberti Bass, an Om Pah Om Pah, Om Pah Pah etc. Some times the bass is a counter melody as well. Octave doubling in the melody or bass don’t concern us yet.
Notice the phrases; antecedent and consequent and how they work in action.
1. Study how dissonance in the melody is resolved into consonance.
2. Notice the differences between passage work and legato sections or stretto and imitation.
3. Harmonic rhythm -How long does a harmony last in each measure?
4. Notice pattern and motive.
5. How does the harmony work?
6. What harmonies predominate?
7. How do the rules of Harmony and Counterpoint actually work in real music?
8. Notice registers and how the music lies; melody as the top line, harmony in the middle and the bass – as the bottom.
9. The bass can sometimes be the lowest note of the harmony but can be elaborated as a counter melody.
10. Notice how musical textures constantly change and repeat. Why?
Adaption
2)It is also possible to arrange a work from one medium to another. For example: arrange a piano sonata for string quartet, a string quartet for a symphony, etc. This is more advanced, but included here as it is related work. It is an excellent way to learn orchestration.
2a)When arranging and transcribing a composers work from one medium to another, from piano sonata to symphony for example, be sure to note the differences between accompaniments in each of these compositional types.
linear Modeling
Where you to add your own melodies, accompaniments to previously composed materials.
a)Copy out the first 4 or 8 measures (depending on the phrase) of a piano sonata (or sonatina) by Clementi, Mozart, Haydn, or Schubert. Copy everything but the melody then compose your own melody to fit. Compare with the original. Then continue.
Remember depending on how authentic you want to be to the style in question you need to keep in mind the rules of harmony and voice leading that is; no parallel 5th or octaves. Also keep in mind the 3 kinds of linear motion; parallel, oblique, and opposite.
b)Now try it the other way around, use the original melody and compose a new accompaniment.
c)This time try replacing just the bass.
I would call this technique of working with musical lines linear modeling.
You can combine these techniques as needed to focus in on the aspects of composition you wish to perfect. For example you could use these techniques to focus on: thematic structure, harmonic structure, phrase structure, development, etc. I suggest working with one concept at a time so you won’t get confused and frustrated. Don’t push yourself to fast!
Don’t forget get yourself a music dictionary and look up all the italicized words!
When you completely understand a concept then move on to the next one!
Integrated Modeling
Modeling form:
To work with and understand form, I use a technique that I call integrated modeling, which means that you compose both parts, treble and bass, melody and accompaniment, at once.
Copy out an antecedent phrase, bass and treble line (melody and accompaniment) from your choice of composer, this will be about 8 measures, then compose your own consequent phrase to answer it.
Continue and compare with the originals.
Some composers will choose a work as a model and then recompose the entire composition.
Which composers do I use for models?
Of course you can use any composer for a model. But start easy, someone like Clementi and work your way up. Mozart, Haydn, Rossini, Schubert, Schumann, Brahms, Chopin. Baroque, Late Romantic, and Renaissance styles are more difficult.
Piano/keyboard music is a good place to start.
1. Start with a sonatina book.
2. Use simple 2 part textures; bass and melody
3. Or accompaniment and melody –see note
4. or 3 part textures; bass, accompaniment melody
Note: in classical music sometimes the bass is not notated as a distinct part. This can happen in; Aberti bass, block chord, or arpeggiated accompaniments.
The lowest note in these formations still represent the bass.
Why start with classical music?
Modeling has been the principal means of composition study since composers composed; imitate, subsume, and then surpass.
Baroque composer Telemann composed many simple two part compositions for the keyboard. The problem is that performers typically improvised additional harmony notes to these textures. This technique was called figured bass. Its a technique worth learning but would complicate your modeling process.
If you have these tools by all means use them.
More on Figures bass later!
If you your wondering why I have not mentioned Bach, or his simpler compositions as models, be forewarned — Bach is hard. Bach also requires a study of strict counterpoint. You should certainly include counterpoint in your studies but don’t start with Bach. (Saltzer/Schacter Counterpoint in Composition and Schoenberg’s book will do).
Formatting your models
Oh! It might be efficient if your first hand copy of the composition and your subsequent recompositions were the same size and format. That way you could overlay your recompositions on to the originals for comparison.
For other techniques and styles.
Its easy to substitute technology for the above concepts.
For songwriters I suggest trying different accompaniments and style approaches for their songs.
Bach as a model
Bach himself used Vivaldi as a transcription model. Pretty good idea that. Marcello, Scarlatti, or Pergolesi are not bad models either.
One challenge with Bach is his use of polyphonic melody–that is a multifarious melody that at the same time outlines more than one melodic part. Usually this is done by making the high and low notes outline their own melodies.
Since Bach’s complexity can’t be over looked I suggest the following:
Use his 2 part inventions as models first, then the 3 part inventions.
Stick with two part compositions to start. Don’t be fooled by the instrumentation or the apparent lack of figured bass. Bach’s solo violin and cello works are not in 2 parts. Hence tackle these later.
The arpeggio style works
The prelude in C is a work that has been imitated by bunches of folks including Gounod who composed an vocal obbligato for “his” Ave Maria.
Strict forms
The Art of the fugue has inspired many composers from Beethoven to Busoni, not to mention Serabji.
The Art of the fugue has some 2 part cannons that are worth more than a look. But with strict cannons your choice of modeling is irrelevant–as Melody B strictly follows Melody A.
Rather study the building blocks and try to compose your own cannons.
Assignments:
Lesson 2, modeling, is a life time course in itself. That’s because the more you understand the more details you can find. Since there is no end to this study plan your time line to your needs. Here is an example:
1. Hand copy works for 3-6 months while familiarizing yourself with the musical definitions.
2. Then start modeling simple works for 4-6 months then move on to more complex music.
3. Mix it up don’t study just one composer,
4. Start with sonatinas first.
5. Take as long as you need.
6. Hand copy the works you use as models before you model, then try after.
7. No reason not to compose your own music at the same time as the above.
8. Not a bad idea to study an instrument as well.
So your not necessarily working on these things discretely, rather you can work holistically.
Homework
1. Familiarize yourself with three new composers of varying styles. Find out about their styles and composition choices. Listen to their music.
2. Read: Marion Bauer’s Twentieth Century Music (out of print) for background.
3. Get a piano sonatina book (M. Clementi) (this was in previous lesson):
· take one piece identify the chords
· copy the piece out by hand
· copy out the melody line and write a new accompaniment
· write a new melody/top line to go with the original accompaniment. Compare your work with the original.
4 Define Program music, absolute music, concerto, atonal, quotation music, phase music
Good Luck!