Say you were to write the curriculum to an introduction to composition class...

Well, that is specifically what I'm doing, and if I can get some backing, it may be used at my college. Of course, if everything goes over well, I'll try and spread it to High Schools as well.

Now here's the deal-- a lot of us young composers are self-taught, and so we know, more than anyone else around, what is needed to compose. See, instead of taking a lot of time on obscure harmony or counterpoint, the self-taught group has a clear focus on the necessary tools to compose. An entire forum of young composers is an extremely powerful method of feedback here!

So let's use this thread as sort of a sounding board. Feel free to answer any of the following questions:

-if you were writing a curriculum for an introduction to composition, what are the most important lessons you would want to teach?

-what have you learned in various music composition classes that is most useful to actually composing?

-what have you learned in classes that is LEAST applicable to actually composing? What would you get rid of in classes?

-of course, what are the most important lessons and traits in teaching oneself to compose?

I'm thinking about doing a primarily tonal course that emphasizes Life Long Learning, that is, instead of teaching someone how to compose, to also teach them how to teach them self how to compose. That is, when it all comes down to it, even more valuable for an introduction course.

Anyhow, please leave your feedback of any sort!

I have found, over many years of both studying and actually composing, that there are a few things that are crucial to understanding composition. I was VERY much pig-headed about elarning them when I was younger, and ended up regretting it much later on.

Understanding harmony. Rules of harmony which apply to common-practice harmony have a sound basis in accoustics. Once they are understood, many of the principles apply to music that is quite far outside the realm of common-practice harmony.

Voice leading. Part of the learning process of basic harmony, voice leading is another one of those "rules" that seem to apply only to common practice harmony, but end up being so crucial to good orchestration and solid harmonic foundations, regardles of the actual harmonic language.

Counterpoint. Probably the MOST boring course I ever took in university... and oh how I regretted not paying closer attention later on in life. I had to go back and basically re-learn it all over. A good, solid foundation of counterpoint is one of the best tools ANY composer can have at his disposal, again regardless of harmonic language.

Instrumentation. The first step to orchestration is understanding the instruments of the orchestra, on a one-to-one basis. becoming familiar with what each instrumetn is capable of, in what register, at what dynamic. It's completely useles to want to write a piece for large orchestra if one does not understand the limitations and qualities of the different instruments.

Orchestration. Once instrumentation is well under way, understanding how to put two instruments together. Then three, and more. Understanding how different groups of instruments interact with each other, how they can complement each other, or contrast. How to blend them, how to contrast them, how to create colour and texture. Understanding the principles of foreground, background and mid-ground harmonic planes.

Yes, those are all crucial. Another aspect I would add if I were to design an Intro to Composition class would be Ear Training/Sight Singing. To be able to hear my ideas and write them down without needing technology has proved extremely valuable to me. In the case of my first symphony, the idea came in the middle of a bus ride with no piano near me, no computer with notation software... I thankfully had some ear training and was able to write down (successfully :thumbsup: ) the ideas that came to me.

Also, notation is pretty important to understand. There are basic rules when writing down music that are standard for Western musicians. To understand those is to be able to communicate one's ideas clearly.

I have found, over many years of both studying and actually composing, that there are a few things that are crucial to understanding composition. I was VERY much pig-headed about elarning them when I was younger, and ended up regretting it much later on.

Understanding harmony. Rules of harmony which apply to common-practice harmony have a sound basis in accoustics. Once they are understood, many of the principles apply to music that is quite far outside the realm of common-practice harmony.

Voice leading. Part of the learning process of basic harmony, voice leading is another one of those "rules" that seem to apply only to common practice harmony, but end up being so crucial to good orchestration and solid harmonic foundations, regardles of the actual harmonic language.

Counterpoint. Probably the MOST boring course I ever took in university... and oh how I regretted not paying closer attention later on in life. I had to go back and basically re-learn it all over. A good, solid foundation of counterpoint is one of the best tools ANY composer can have at his disposal, again regardless of harmonic language.

Instrumentation. The first step to orchestration is understanding the instruments of the orchestra, on a one-to-one basis. becoming familiar with what each instrumetn is capable of, in what register, at what dynamic. It's completely useles to want to write a piece for large orchestra if one does not understand the limitations and qualities of the different instruments.

Orchestration. Once instrumentation is well under way, understanding how to put two instruments together. Then three, and more. Understanding how different groups of instruments interact with each other, how they can complement each other, or contrast. How to blend them, how to contrast them, how to create colour and texture. Understanding the principles of foreground, background and mid-ground harmonic planes.

Exactly why I quit composing (and good thing I did too): I know theoretically nothing about all those things. Only stuff from hearing and seeing scores, and some things I heard here and there (like voice leading being moving as few voices as possible, etc.)

Oh how I wish I actually got the chance to take composition. Oh the things I had to learn the hard way.... :(

The CORE of my curriculum would be listening and singing exercises. A composer should be competent in teasing apart polyphonic melodies and harmonies, background and foreground. A composer should also be competent in melody and relative pitch. I suggest a capella solo, and vocal harmonization with transposition (maybe a barbershop quartet exercise). I think that would not only force the students to hear pitch relations but also to develop an intuition for harmony, voice leading, and coping with multiple lines in general. At least they may enjoy it more than writing out repetitive 4-part harmony exercises. The "rules" make more sense when the students derive them on their own. It also sets up a nice foundation for counterpoint. :thumbsup:

Other suggestions would be to have students listen to familiar larger works (maybe a movement of a Mozart concerto) and unfamiliar works. Let them make notes on as many things as they can about the pieces and the the importance of what they hear (like why was a clarinet used instead of an oboe for a certain line?). Then let them all discuss and compare notes and then follow the music again with the scores to get a fuller picture. My guess is that there would be a lot more missed in the more familiar pieces :)

To help their actual writing process, have them develop random themes on the spot (can they settle on one they like within 2 minutes at the piano) or have them improvise for a little while. They'd be surprised at what they can come up with.

Hmm, well the only intro the comp. class I took (well, more audited that really taken) was quite strange. It started off with writing a simple chance piece ala Cage, then followed by a simple melody for the next project. The final project involved making your own "instrument". It was really weird and unconventional, but I think it was certainly one of the more enlightening classes I've taken as of yet.

There are two basic steps to composing.

1. Decide what you want to say.

2. Say it.

They are simple yet huge subjects. The first thing I have my students understand is that music is a language and a universal one at that. The whole point of composition is to communicate. In order to communicate, we have to know what we need/want to say. (We've all been in discussions with people who had no idea!) One excercise to try in a classroom setting is to cover the students mouths with tape and instruct them to have a conversation with eachother about anything they can. They are not allowed to write anything. Only gestures etc. This shows them that it is possible to communicate without words.

I also have my students boil all the things they want to say into the most basic human experience/feeling. Then writing music to fit that mood. I tell my students to create a 'movie' in their head and put suitable music to the scene in order to give the movie is Mojo, to quote Austin Powers.

I also tell my students that they shouldn't start to compose without having a specific idea in mind. Then, going for that idea.

This causes some problems because they don't quite know what harmonies to use etc. Necessity is the mother of invention, so I have them experiment. Then, have them look at what they came up with and decide what worked, what didn't and why. The 'why' part has almost more value than anything because when we understand why something works, we are quick to reproduce other things that work.

Composers in general need to not get attached to our notes. Just because we wrote it doesn't make it good. One lesson my teacher taught me that I use with my students is what my teacher called the 'basketball' method. You write a page of music as fast as possible (like the masters were able to do) and then crumple it up and throw it out. Don't even give yourself the chance to read through it.

Teaching improvising is also very much needed in order to teach composing.

This is just a start.

Cheers!