There is a kind of myth out there that composition is impossible to teach. That is absolutely untrue! Perhaps when music schools begin offering pedagogy of composition we will demystify the process. Until then, I have had to seek resources on my own, digging through libraries and trawling the internet. I have built up a little library of resources which I use in my studio, but the one I turn to again and again is Piano Teacher’s Guide to Creative Composition by Carol Klose. I like this book because Klose does a great job of breaking down the process of composing into easily identifiable and teachable steps, and she does it in a flexible format that can easily be incorporated as a short component within a piano lesson, or expanded into a longer comp-only lesson. Klose divides the process into 5 parts: laying the groundwork, a student’s library of compositional tools, mapping a composition, lesson plans for teachers, and tips for refining a composition. The appendix allows quick reference to specific exercises and helpful online and print resources.
In part one, Klose shows us how to initiate creative ideas and offers a variety of activities to help students stretch their ears
beyond I-IV-V-I cadences (pedaled sonorities, polytonality, color chords, parallel 7ths, whole tone scales etc.)
In part two Klose provides a chart of ‘building blocks” including descriptions of forms, types of rhythms and meters, pitch, melody, harmony and expanded elements such as the character of the piece, the performance setting, transition techniques, special effects etc. This “toolbox” can also be used to help students analyze pieces in their performance repertoire.
Part three helps students (and teachers) get a handle on one of the most difficult aspects of composition—the “big picture”—with the aid of a graph. Klose’s graph begins as a rough outline of the piece to which refining details can be gradually added in future lessons. At the most basic level students graph the relative levels of “excitement” and the overall form (A-B, A-B-A etc.). As they continue refining the piece the same graph can be used to chart more precise details such as the progression of dynamics, mood or tempo from beginning to end, characteristics that define each section (calm, active, slowing) and so on. Klose shows teachers how to generate assignments from the graph for elementary through advanced level students. The graph is also a great analytical tool for pieces in their repertoire.
Part four includes lesson plans which allow teachers to add a five minute composition component to the regular lesson for five weeks and beyond. For busy teachers, this section is invaluable.
Part five helps with another of the most difficult tasks for the teacher and student alike—turning a few good ideas into a larger, well-structured composition. It includes topics such as tips for harmonizing a melody, developing interesting accompaniments, creating more variety, ways to connect large sections and how to create an effective ending. These crucial steps in the compositional process can be the most difficult to learn and to teach. It is one thing to generate a series of acceptable phrases, but much more difficult to learn to put them together in a meaningful and satisfying way! It also works well as a
checklist for students who are considering entering a competition.
Piano Teacher’s Guide to Creative Composition is simply a must-have for any teacher’s library. Concise, well-written and specifically designed to break the process down into manageable chunks, it is also a terrific tool to enable students and teachers to talk about and understand the nuts and bolts of music both as performers and as composers.
Performer, teacher and clinician, Carol Klose worked for over 35 years in the music publishing field with original works for piano, and chamber music as well as many pieces in the Hal Leonard Student Piano Library. Unfortunately, she died of cancer earlier this year. But I have no doubt that her book and the Student Composition Contest Hal Leonard has created in her memory, will ensure she is remembered for a long time to come.
* For more information about this book visit: http://www.halleonard.com
** For more about the Carol Klose—Hal Leonard Composition Contest visit: http://www.halleonard.com/klosecompetition/2014requirements.jsp
In part one, Klose shows us how to initiate creative ideas and offers a variety of activities to help students stretch their ears
beyond I-IV-V-I cadences (pedaled sonorities, polytonality, color chords, parallel 7ths, whole tone scales etc.)
In part two Klose provides a chart of ‘building blocks” including descriptions of forms, types of rhythms and meters, pitch, melody, harmony and expanded elements such as the character of the piece, the performance setting, transition techniques, special effects etc. This “toolbox” can also be used to help students analyze pieces in their performance repertoire.
Part three helps students (and teachers) get a handle on one of the most difficult aspects of composition—the “big picture”—with the aid of a graph. Klose’s graph begins as a rough outline of the piece to which refining details can be gradually added in future lessons. At the most basic level students graph the relative levels of “excitement” and the overall form (A-B, A-B-A etc.). As they continue refining the piece the same graph can be used to chart more precise details such as the progression of dynamics, mood or tempo from beginning to end, characteristics that define each section (calm, active, slowing) and so on. Klose shows teachers how to generate assignments from the graph for elementary through advanced level students. The graph is also a great analytical tool for pieces in their repertoire.
Part four includes lesson plans which allow teachers to add a five minute composition component to the regular lesson for five weeks and beyond. For busy teachers, this section is invaluable.
Part five helps with another of the most difficult tasks for the teacher and student alike—turning a few good ideas into a larger, well-structured composition. It includes topics such as tips for harmonizing a melody, developing interesting accompaniments, creating more variety, ways to connect large sections and how to create an effective ending. These crucial steps in the compositional process can be the most difficult to learn and to teach. It is one thing to generate a series of acceptable phrases, but much more difficult to learn to put them together in a meaningful and satisfying way! It also works well as a
checklist for students who are considering entering a competition.
Piano Teacher’s Guide to Creative Composition is simply a must-have for any teacher’s library. Concise, well-written and specifically designed to break the process down into manageable chunks, it is also a terrific tool to enable students and teachers to talk about and understand the nuts and bolts of music both as performers and as composers.
Performer, teacher and clinician, Carol Klose worked for over 35 years in the music publishing field with original works for piano, and chamber music as well as many pieces in the Hal Leonard Student Piano Library. Unfortunately, she died of cancer earlier this year. But I have no doubt that her book and the Student Composition Contest Hal Leonard has created in her memory, will ensure she is remembered for a long time to come.
* For more information about this book visit: http://www.halleonard.com
** For more about the Carol Klose—Hal Leonard Composition Contest visit: http://www.halleonard.com/klosecompetition/2014requirements.jsp
RSS Feed