Sävellyksen tietopankki

Sävellyksen tietopankki

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40.

A composition making use of instrumental timbres

Here we explore extended playing techniques and the timbres that can be produced on various instruments. We learn how to reproduce these and then create a piece using these techniques. The result is an interesting and entertaining composition!

Assignment author
Sanna Ahvenjärvi

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Basics

Skill level
Advanced level
Introductory level
Medium level
Specialised level
Group size
Individual tuition
Large group
Small group (2 to 8)
Minimum time required
1 lessons
2 lessons
One month

Goal and output

Pedagogical goal

Exploring extended playing techniques and timbres on the students' own instruments and others' instruments, and using these as an element in a creative, improvisational process.

Concrete output

An improvised piece of music with a rich world of tonal colour.

Preparation

Students need to bring their own instruments to class. Classroom instruments may also be used. If the group is large enough to form several groups of 3 to 8 students, then each sub-group must have its own room.

Work progress

• Explore the concept of timbre, or tonal colour, and examine extended playing techniques by listening to contemporary pieces of music and by reading scores. Reference works may include: Penderecki: Threnody for the Victims of Hiroshima, or Saariaho: Noa Noa.

• Tell the students to ask their instrument teachers about extended playing techniques and how to produce them and to ask their teachers to instruct them how to perform them themselves.

• In structural awareness of music classes, students may demonstrate the timbres of their own instruments to the others by playing on their instruments themselves or using recordings.

• After the introductions, the students are to create a piece of music using a variety of timbres. The piece may be based on an image or a painting, a story or poem (whether an existing one or one made up on the spot), or any feeling or mood.

• Each section of the piece may be approached from a different angle: text, tonal colour, harmony, melody, rhythm, phrasing, counterpoint, mood, feeling.

• Extend the creating of the work over several lessons, 30 to 45 minutes at a time. Record the piece at the end of each lesson as a reference for next time.

• The recording is also useful for evaluating the timing and dramaturgy of the piece.

• You can guide the process by posing questions to the group to steer the creative process forward.

• The finished piece can be performed at a concert. It can also be recorded on audio and video, and the recording sent to students for watching at home.

Topics in the assignment

Musical elements
Form; dramaturgy of music
Harmony; chords
Melody
Rhythm
Tonal colour; extended playing techniques
Musical structures and analysis
Analysis
Dynamics; articulation
Intervals
Octaves, registers
Scales, keys
Texture
Playing an instrument & singing
Ensemble playing
Extended playing techniques
Interpretation
Playing by ear
Sight-reading; solfège
Solo/Tutti
Using one's own voice; singing
Listening
Active listening
Reference works
Notation & music terminology
Graphic notation
Music terminology
Score
Traditional notation
Arranging & parts
Arranging
Instrumentation; orchestration
Parts
Music technology
Music technology; music technology
Improvisation & interaction
Cooperation
Following sound and movement
Improvisation; soundscape
Reaction; taking turns
Styles & techniques
Aleatorics
Concrete music
Counterpoint
Field technique
Imitation
Minimalism
Pointillism
Polyphony
Imagination & other arts
Dance; movement
Mood; imagination
Music theatre
Narrative composition
Photo; image
Text

Tools

Classroom instruments
Computer, tablet or smartphone
Keyboard
Music paper
Music technology
Notation software
Own instrument
Own voice
Percussion instruments
Photographs; images
Recordings or sheet music
Sequencer software
Stationery for taking notes
TV, computer screen or video projector

Detailed description of tools

Reference works:

Krzysztof Penderecki: Threnody for the Victims of Hiroshima
Kaija Saariaho: Noa Noa

Remarks

Students tend to be very receptive to instrumental timbres and find many of them to be good fun.

Many students have acquired a more positive outlook on contemporary music after playing their own instrument in unusual ways.

Instrument teachers have reported that some students have become more relaxed after exploring extended playing techniques.

Further assignments

Assignment suitable for further study

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Info

The Opus 1 composition pedagogy databank is a gateway to the wide world of musical composition. It offers all teachers and institutions providing music education an inspiring perspective on introductory composition teaching, including a wide range of composition assignments particularly suited to teaching at music institutes, whether in large or small groups or as individual tuition.

This package was designed and delivered by a working group of specialists in composition and composition pedagogy. The project was supported financially by the Foundation for Finnish Art Music and the Society of Finnish Composers.
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Contact information

Please contact us if you want to know more or to submit your own assignments for inclusion: opus1@composers.fi

© The authors
Design: Farm / Antti Kangassalo
Code: Call to Action
Photos: Markku Klami
English translation: Jaakko Mäntyjärvi

Skill levels

  • Introductory level
  • Medium level
  • Advanced level
  • Specialised level

The basics

  • Listening
  • Imagination & other arts
  • Musical elements
  • Musical structures and analysis
  • Music technology
  • Notation & music terminology
  • Playing an instrument & singing
  • Styles & techniques
  • Interaction & cooperation
  • Arrangements & parts
  • ALL ASSIGNMENTS