Composing Original Pieces with Students
I'm going to share ideas for how to create original pieces with students using barred instruments and unpitched percussion. There are many ways to go about this so this is not the only way to approach composition. This is something that I've done with my students and had success in helping them create an original piece. The outline I'll give is a great way to incorporate chord progressions, learning how to layer complementary rhythms, identifying parts of chords (roots/thirds/fifths) and chord progressions.
STEP ONE: Use I, IV and V chords from the key of C, F or G.
For this example, I'll be in the key of C Major.
So our chord progressions would be:
C - C/E/G is the I chord
F - F/A/C is the IV chord
G - G/B/D is the V chord
I would provide students with a four measure phrase in Meter of 4/4 that looks something like this:
C / F / C / G ** The measure is designated by the / .
A. Ask student to play four quarter notes for each chord root listed. They would then play this:
CCCC/FFFF/CCCC/GGGG
STEP TWO: Ask students to create a rhythmic pattern (ostinato) that can be repeated over each measure.
For example, students might play the following rhythm for each measure:
- ta ta titi ta
- syn-co-pa ta ta
- titi ta (rest) ta
- ta tikatika ta (rest)
If students have a difficult time creating ostinati, you might consider providing several rhythms for them to play over the progression as a class before inviting them to create their own. Sometimes they need ideas first before making their own.
** REMEMBER: RESTS ARE YOUR FRIEND. Thank you Chris Judah-Lauder for that line being in my head all. the. time. It is such a valuable thing to repeat to students and results in much more musical playing and a stronger composition. **
Choose one pattern created by a student to be the bass line for the piece.
STEP THREE: Add thirds for each chord.
Write the third above each chord root. Ask students to choose to play either the root or the third on the steady beat (same as in the first step for just the roots). Students will then add a different ostinato rhythmic pattern using roots/thirds. They can alternate between the pitches.
E A E B
CCCC/F F F F/CCCC/GGGG
Choose one pattern created by a student to become the alto line for the piece. Rehearse the bass and alto lines together as a class.
STEP FOUR: Add fifths for each chord
Repeat the same progression as done the previous time. Choose one pattern created by a student to become another alto line for the piece. Rehearse the bass and both alto lines together as a class.
G C G D
E A E B
CCCC/F F F F/CCCC/GGGG
STEP FIVE: How to create a lead melody
1. Write one yourself and teach to the class
2. Use a melody from one of the Music for Children Volumes
If you do this, you'll want to use the chord progression for this melody as the outline of the chord structure to which students create the bass/alto parts.
3. Students compose melody line
If you do this, students will choose one pitch from each chord to play across the progression. Guide students towards adding neighboring and passing tones. They'll need to understand that these tones occur on weaker beats and between strong beats. Choose one melody for students to learn and add to the other parts created.
STEP SIX: Add unpitched percussion
1. You can add other ostinato patterns on unpitched percussion instruments including tubano drums, triangle, hand drum, wood block, cowbell, and so on. Best tip I can give for this: Keep it sparse! It should be more of a 'color' part that comes in where there are spaces to fill. And not every space needs to be filled. (Again, rests are your friend!)
STEP SEVEN: Finishing touches
1. Students work with you to decide a final form for the piece
2. Add movement
3. Share with others!
I'm going to share ideas for how to create original pieces with students using barred instruments and unpitched percussion. There are many ways to go about this so this is not the only way to approach composition. This is something that I've done with my students and had success in helping them create an original piece. The outline I'll give is a great way to incorporate chord progressions, learning how to layer complementary rhythms, identifying parts of chords (roots/thirds/fifths) and chord progressions.
For this example, I'll be in the key of C Major.
So our chord progressions would be:
C - C/E/G is the I chord
F - F/A/C is the IV chord
G - G/B/D is the V chord
I would provide students with a four measure phrase in Meter of 4/4 that looks something like this:
C / F / C / G ** The measure is designated by the / .
A. Ask student to play four quarter notes for each chord root listed. They would then play this:
CCCC/FFFF/CCCC/GGGG
STEP TWO: Ask students to create a rhythmic pattern (ostinato) that can be repeated over each measure.
For example, students might play the following rhythm for each measure:
- ta ta titi ta
- syn-co-pa ta ta
- titi ta (rest) ta
- ta tikatika ta (rest)
If students have a difficult time creating ostinati, you might consider providing several rhythms for them to play over the progression as a class before inviting them to create their own. Sometimes they need ideas first before making their own.
** REMEMBER: RESTS ARE YOUR FRIEND. Thank you Chris Judah-Lauder for that line being in my head all. the. time. It is such a valuable thing to repeat to students and results in much more musical playing and a stronger composition. **
Choose one pattern created by a student to be the bass line for the piece.
STEP THREE: Add thirds for each chord.
Write the third above each chord root. Ask students to choose to play either the root or the third on the steady beat (same as in the first step for just the roots). Students will then add a different ostinato rhythmic pattern using roots/thirds. They can alternate between the pitches.
E A E B
CCCC/F F F F/CCCC/GGGG
Choose one pattern created by a student to become the alto line for the piece. Rehearse the bass and alto lines together as a class.
STEP FOUR: Add fifths for each chord
Repeat the same progression as done the previous time. Choose one pattern created by a student to become another alto line for the piece. Rehearse the bass and both alto lines together as a class.
G C G D
E A E B
CCCC/F F F F/CCCC/GGGG
STEP FIVE: How to create a lead melody
1. Write one yourself and teach to the class
2. Use a melody from one of the Music for Children Volumes
If you do this, you'll want to use the chord progression for this melody as the outline of the chord structure to which students create the bass/alto parts.
3. Students compose melody line
If you do this, students will choose one pitch from each chord to play across the progression. Guide students towards adding neighboring and passing tones. They'll need to understand that these tones occur on weaker beats and between strong beats. Choose one melody for students to learn and add to the other parts created.
STEP SIX: Add unpitched percussion
1. You can add other ostinato patterns on unpitched percussion instruments including tubano drums, triangle, hand drum, wood block, cowbell, and so on. Best tip I can give for this: Keep it sparse! It should be more of a 'color' part that comes in where there are spaces to fill. And not every space needs to be filled. (Again, rests are your friend!)
STEP SEVEN: Finishing touches
1. Students work with you to decide a final form for the piece
2. Add movement
3. Share with others!
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