Lesson with Oboehazzard

This is the start of our lessons, so let's see where it goes.

We will cover some ways of making musc that do not involve traditional analysis of harmony.

however, before getting off the ground, let's try a very simple exercise:

Write a simple phrase for piano, in tonal harmony, no more than eight measures long. It can have a very simple repetitive left hand part, and very simple melody in the right hand part.

What I would like to see you do is create a simple theme, but using repetitive melodic fragments that develop. For example, if your theme starts with a rising 3rd, then the next repetition could go on to a 4th, then a 5th, etc..

If the theme starts with a descending scale from the 4th degree, then the next repetition could start from the 5th scale degree, and then the 6th, and so on.

I am not looking for "originality", I am looking for effective use of material.

Use only simple chords, unless you feel particularly inspired. I will, however, be just as happy if you use only I - IV - V.

We are looking for a sense of linear development with this particular exercise, not harmonic complexity.

As we move on to other forms of musical expression, we will be relying heavily on this horizontal aspect rather than on harmonic analysis.

I think this is what you meant. I wrote an 8 measure phrase using tonal harmony. Did you want me to write that phrase over again, but starting on a different degree of the scale? At that part I was confused. But, I just wrote the 8 measure phrase in C major.

ok, close.

I want you to do it again, using ONLY the very first six beats as your thematic material.

what can you DO to those six beats to create a whole theme?

I'd like you to indicate with text what you did in the score. Don't worry if it gets messy.

Ok, I used the theme from the first six beats and used the rhythm of the theme and changed the chords accompanying it.

I would like you now to write a monophonic (ie: no accompaniment) theme for any instrument (ie: no instrument in particular) that uses ONLY certain intervals.

Think carefully on this.

For this first try I want you to write a theme that has only 3rds, 4ths, 5ths, and 6ths (in other words, no 2nds or 7ths). Your theme may not cover more than an octave and a half.

It must not sound "random".
It MUST have repeated elements - either rhythmical or in the musical outline.
It must go "from point A to point B"... in other words, I want it to sound as though it has direction.

Around 16 measures long.

Ok, I am having some trouble with what you mean. Do you mean that I should base the melody on chords that are 3rds, 4ths, 5ths, 6ths? Or that the intervals in the melody should only consist of 3rds, etc.? And if it is the latter, then do you mean 3rds, 4ths, etc. in relation to the tonic, or in relation to the previous note?

do not think in terms of chords.
think in terms of linearity... you are composing a melody.

you can use only 3rds, 4ths, 5ths and 6ths melodically.

let's say you start on C, then you are NOT allowed to use D, or B as the next note. (regardless of accidentals - no 2nds, no 7ths, in either direction, major, minor, augmented or diminished. and no cheating with diminished 3rds).

If you choose to use F as the next note, then the subsequant note can not be either G nor E.

get where this is going?

I am going to add another wrinkle to the rules - you may not use two 3rds in a row in the same direction.

Hehe. It came out sounding like Copland. And that exersize was extremely difficult! I never realized how much I depended on seconds and sevenths before. It was scary not having them to work with!

ok, you have demonstrated that you are fully capable of using the white keys of the piano....

now, let's see some accidentals.

I would like you to choose "zones" of notes.

do the same exercise (with a "C" btw, not an "S"), this time, I want you to shift the tonal frame at every two measures.

if for example you start with a basic C major tonal area, then the next two measures should add a sharp or a flat.

Don't think of this as "modulation". It's creating tonal zones, within which you will play around.

Remember that you should create a noticable motif to work with as well. It should come back at least once every 4 measures.

We are not looking for a "classically" structured phrase here. We are trying to break free a bit and explore new avenues of melodic creativity.

so again, monophonic line, no harmony, same rules - no 2nds, no 7ths, never play two 3rds in a row, and also, no melodic fragments that make up a "chord/arpeggio" (ie: a 3rd and a 4th make up a 1st inversion chord - so avoid at all costs). We are looking to avoid strong ties to traditional tonality.

In this sort of approach, the repetition of motifs and the return to grounding notes (a sort of tonal centre) is what creates the "tonality". Not the use of specific chord progressions.

How is this?

I spelled exercise correctly now! But being dyslexic without using spell check, you've got to give me some credit, eh?

Anyways, I used a different motif in this next exercise. I didn't think you wanted me to use the same motif as the last one.