A Guide to the Developmental Processes of Improvisation and Composition

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1. Description:

A Guide to the Developmental Processes of Improvisation and Composition presents a unique and unifying approach to the development of compositional and improvisational craft. Chapters in this guide are sequentially organized by musical elements in the following order: (1) Melody, the horizontal component of music (monophony), (2) Melodic Development, Embellishment, and Expansion, (3) Texture, the combination of two or more independent melodies (polyphony), (4) Harmony, addressing the vertical component in music (homophony), (5) Rhythm and Metric Organization, and, (6) Form, the architecture of music. In addition, Chapter 7 presents a number of Complete Works by the author, which are offered for study and performance. Techniques for motivic development, variation, and organizational concepts described in this guide are illustrated with original compositions, excerpts, or improvisations. Each of the original compositions and transcribed improvisations has a description, analysis, and often a conceptual plan in which the evolution of its organization is recalled. In today's "serious music" (I include Contemporary Classical, Contemporary Jazz, and Classical music of World cultures in this category), the conceptual boundaries of texture, chordal/polychordal harmony, and tonality/polytonality are often obscured. For the purpose of organizing these individual concepts, each is presented in various ways to enable the reader to gain understanding from a variety of perspectives.

Each technique and concept in the book is organized by units and indexed. Therefore, the ideas presented in this book can be explored in any order. Suggestions for the reader's personal exploration of each concept, called "Activities", follow each unit, and, if advised, a CD of all musical examples could be included. In addition, a number of compositions used and discussed in the text are included on the authors CD's entitled Glimpse and journey2gether. It is hoped that this compendium of techniques and concepts will serve improvisers and composers regardless of style or genre, since the myriad of techniques can be employed universally.

The objectives of this book are to enable the reader:

• To gain flexibility and skill in the manipulation and management of the many developmental concepts explored herein
• To be aware of particular avenues of exploration and to provide a means of monitoring the on-going creative process
• To broaden one's style preferences and skills, thus broadening one's compositional and/or improvisational horizons and freedom of expression
• To be able to recognize which variation techniques are prevalent in a given section or work, and to identify how they are used as organizing devices or conceptual departures by the composer or improviser

2. Outline:

Contents

Preface
Similarities and Differences between Improvisation and Composition: Examining the Fundamental Processes
A Very Brief History of Improvisation and Composition
The Creative Process
Modus Operendi
Objectives

Introduction:
Why An In Depth Study of Composition and Improvisation?

What makes the process of improvisation and composition so engaging for both, the performer involved in the act, and the audience as recipient? The fascination and captivation we feel probably involves the ways in which composers and improvisers subject the musical elements to endless variation! The activity can truly be a unique and individualistic process. Through awareness of how the elements (melody, harmony, form, rhythm, texture, etc) interact, and how they are manipulated through exploration of developmental techniques, we gain more control in our work as improvisers or composers. These developmental techniques, which bring endless variety and interest to all musical works, are communicated to our audience as the works unfold. This reciprocal or mutual interchange between musician and audience should not be underestimated!

Keeping a Journal of the Evolution of Personal Musical Goals and Individual Works

Chapter 1 Melody

Accomplished improvisers and composers usually follow logical thought patterns and diverse processes in the combination of musical elements to create great music of lasting value. How a composer or improviser directs our attention to the important points in a work as it progresses through time is to a large degree psychological in nature. After all, improvisers or composers try to engage us, to hold our attention, to captivate us, and to convey musical meaning. A typical top 40 hit tune follows a proven and albeit simple formula where expectations are quickly delivered to give the listener of this genre instant satisfaction. As a result, we may "love" the tune for a few days, but it quickly becomes less appealing as we increasingly grow "sick of hearing it". In contrast, music of lasting value defers gratification by presenting novel ideas, musical uncertainty, and episodes of unexpected divergence along the its musical path. Berlyne (1971) describes this phenomenon is the "Inverted U" theory, where familiarity or novelty over time interacts with approval or appreciation. Music of lasting value requires undivided attention to appreciate and comprehend the architecture of the piece, as well as the inner dialog among its parts.

Melody is that property of a musical work that often has the most immediate appeal. When a melody grabs us, it may occupy our thoughts for hours. What about the construction of melody and melodic theme groups? Is it major, minor, modal (Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian, Ionian? Is it derived from modes of the ascending melodic minor scale (Dorian/b2nd, Lydian augmented, Lydian dominant, major mirror, Locrian/natural 2nd, Diminished Whole Tone, ascending melodic minor), or from synthetic scales? Is it atonal, or based on the 12-tone system of organization? How is it organized? Does it move by step or leap? What is the range of the melody? What is the range of the individual parts? What is the key? Does it modulate to other tonal centers? How many phrases make up the theme group? Are the melodic phrases of regular or irregular length? What are the phrase lengths in measures (4,6,8)?

Antecedent/Consequent Phrase Structure
Dynamics and Mood
Tonal Magnetism and Grouping Mechanisms in the Construction of Melody
Scalar Derivations of Melody
Modes Based on the Major Scale
Modes Based on the Ascending Melodic Minor Scale
Scale and Chord Relationships
Chord/Scale Relationships for Modes Based on the Major Scale
Chord/Scale Relationships for Modes Based on the Ascending Melodic Minor Scale
Examples of Modal Melodies
Thematic Transformation
Tonal Ambiguity
Overtone Series and a Basis for Tonality
Atonality, 12 Tone System

Chapter 2 Melodic Development, Embellishment, and Expansion

As one develops skills in the design and balance of phrase structure and theme groups, a vast array of possibilities for further melodic development, embellishment, and expansion can be explored. What can we look for with regard to melodic development, embellishment, and expansion of motives, phrases, and theme groups? Here are some suggestions for analysis of your own work and those of other prominent composers throughout history. What type of melodic formula, if any, does a particular melody incorporate? What are the foundation motives from which a particular melody is derived? Which of the abundant avenues for motivic development are used to alter and enhance the presentation of motives and expansion of theme groups?

Gap Fill and Changing-Note Melodic Formulas
Cambiata
Sequence
Diminution, Augmentation, Inversion, Retrogression, And, Interversion
Deflection
Subtraction
Transposition
Modes of Limited Transposition
Interval Sets as a basis for Improvisations and Compositions
Silence

Chapter 3 Texture

What can we listen for when we analyze the construction of pieces with regard to texture? Is the piece monophonic (1 voice line, unison), polyphonic (2 or more melodies at once), homophonic (melody with accompaniment), or is the form delineated by a combination of textures? Is the piece imitative (1 voice follows another)? Does the piece use voice pairs (2 or more voices moving in pairs and in similar rhythms? Is stretto used (imitation at close succession)? Is the piece fugal (containing the entrance of a theme in different voices as the texture thickens)? Is the piece countrapuntal (melody against melody; two or more lines that sound simultaneously)? Is the texture of the piece thick, or thin, or does it contain contrasting sections with both?

Imitation
Stretto
Canon
Guidelines for Sketchbook - Canon
Showcasing Melody in a Variety of Textures
Auditory Stream Segregation, by Deflection, Octave
Displacement, Interval Expansion, Polytonality, and
Polychordal Progressions
Dynamics and Mood

Chapter 4 Harmony

Composers and improvisers capture our interest by applying the dichotomy between tension and repose in the creation melody. The cadences at the end of melodic phrases can be antecedent; or consequent. The dimension of harmony can enhance or reinforce melodic cadence points by adding a vertical component (chords) making the implied tonic/dominant function in melody more polar and thus more obvious to the listener. While harmony is an important element in western music, the music of other world cultures achieves the same effect, often without the element of harmony.

What can we notice about the relationship between harmony and melody? Are scale/chord relationships clearly featured? Are the important chords placed to reinforce agogic accent at cadence points? Does the chord progression function to reinforce the melodic cadences, and/or is there an element of non-functional harmony to "color" the melody? What type of harmonic language is used? What is the key? Does it modulate to other tonal centers? Is the piece tonal, polytonal, or atonal? What is the harmonic rhythm of the piece?

Modulation
Substitutions
Elision
Harmonic Rhythm
Non-Functional Harmony and Pedals
Use of Cycles as a Form-Building Device
Quartal, Quintal, and Cluster Harmonies
Composition with Chord Progression as Impetus
Guidelines for Sketchbook - Melody with Progression as Impetus
Addition and Subtraction
Basing a Composition on Polytonal Constructions
Bitonality, Polytonality, Polymodality, Pantonality, and Pandiatonicism

Chapter 5 Rhythm and Metric Organization

Acting alone, rhythm, as performed on solo drums, can be quite driving and compelling. In conjunction with the other elements of music, the role of rhythm is extended to define motion in time through the tendencies of strong and weak beats. Rhythmic schemes of meter bring meaning to the resolution of intervals in melody, and in the establishment of chord progressions and harmonic rhythm. Thus, rhythm is an inseparable part of the musical whole.

Steady beat, a regularly occurring pulse, is grouped by the mind into strong and weak configurations, which are organized to form meter. For example, when we listen to a train going down the track, the mind wants to organize these seemingly random accents into metric groupings of two and three (1,2, 1,2, 1,2,3, 1,2,3, 1,2, 1,2, etc.). Rhythm, in turn, brings vitality and endless variety to music when it is imposed on meter. Activities of walking, running, skipping, jumping, as well as sounds in the body such as heartbeat, and breathing, are all sources of meter and, when combined, rhythm.

What can we look for in the organization of rhythm and meter? Is meter simple, compound, duple, triple, cut-time? Is there a prevalent rhythmic motive, which organizes or gives character to the piece? Does this rhythmic motive contribute to interest or drive or is it overused to a monotonous end? Does the rhythm have features of syncopation, hemiola, or are other rhythmic ratios used? What are the rhythmic motives of each section of a work? How are they derived? Is the piece multi-metric (containing frequent changing meter, or polymetric (employing two or more meters simultaneously)? Does the beat orientation change as in metric modulation? How is space used?

Metric Delineation by Anacrusis
Syncopation, Hemiola, and Rhythmic Ratios
Polyrhythmic and Polymetric Designs
Multimetric Designs
Diminution, Augmentation, and Retrogression in Rhythm
Non-Retrogradable Rhythm Metric Modulationo, Prolation Ametric Examples
Pieces Constructed on Ragas
Sequence as a Form-Building Device

Chapter 6 Form

What do we listen for in compositions with regard to creating framework or formal structure? What about the construction of melody and melodic theme groups? What are the main ideas, or themes? How are they presented, organized, and developed with regard to harmony and texture? How do they interact to present a formal design? What is the key scheme, tonal language, or organization of the piece? Are sections delineated as a result of any changes in tonality, harmony, texture, rhythm, etc.? Is there a balance of sameness and difference among sections? What type of established form, if any, does the piece employ? Are the "seams" in the form obvious? Does the piece sound like its parts are poured into a predictable mold, or does the piece seem to generate and expand its own form as a result of manipulation of motives or other musical elements? Are there any subtle differences in the main motives each time they are presented? Do these subtle differences alter the harmony or key centers, which, in turn, further delineate the form of the piece?

Some Thoughts on Organization of Compositions and Improvisations
Binary, ternary, Rondo, and Sonata-Allegro Forms
Passacaglia, Chaconne, and Ostinato
Fragmentation
The Cyclic Concept in Form
Guidelines for Sketchbook - Multi-Movement Works
Contrafactum
Anagram
Form in and free Improvisation, and open improvisation on Modes, Ragas, or other Conceptual Organizing Devices Interval Sets
Aleatory/Indeterminacy
Extended Techniques
A Few Additional Perceptual Ideas for Writing Pieces

Chapter 7 Complete Works

Caravan Bacchanal
Nota Cambiata
Suite for Clarinet and Double Bass
Spiral Dance
4 Interpolations
Oracle
Shela's Samba
Storyteller
Another Place
Ruhpolding Songbirds
Paraphrase on B.A.C.H. for Trumpet and Double Bass
Moment

Subject Index

Bibliography

Subject Index

3. Outstanding Features:

• A quite complete compendium of techniques for motivic development and organization are illustrated with original compositions, excerpts, or improvisations.
• Complete Works by the author are offered for study and performance.
• Each original composition and transcribed improvisation has a description, analysis, and often a conceptual plan in which the evolution of its organization is recalled.
• Each concept is presented in various ways to enable the reader to gain understanding from a variety of perspectives.
• Techniques and concepts in the book are organized by units and indexed, thereby, enabling the reader to explore them in any order.
• Suggestions for the reader's personal exploration of each concept, called "Activities", follow each unit.
• A CD of all musical examples could be included.
• Techniques and concepts serve improvisers and composers regardless of style or genre, since the myriad of techniques can be employed universally.
• Psychological aspects of compositional and improvisational processes are discussed
• The ideas presented in this book can be explored in any order.
• The text can be used as a reference for self-exploration of any of the concepts and organizational devices included within.
• A bit of personal life experience/humor.

4. Apparatus:

The book includes musical examples, questions, problems, bibliography, references, and appendices. Below is an index of musical illustrations.

Chapter 1 Melody

1.01 Tastee Freeze Jingle
1.02 Diabolus in Musica
1.03 Celebration for Kirsten's Homecoming
1.04 Some Typical Intervallic Resolutions
1.05 Minor Pentatonic Scale and Blues Scale
1.06 Table I: Tetrachord Construction - Modes Based on the Major Scale
1.07 Modes Based on the Major Scale (notation)
1.08 Table II: Tetrachord Construction - Modes Based on the Ascending Melodic Minor Scale
1.09 Modes Based on the Ascending Melodic Minor Scale (notation)
1.10 Table 3: Chord/Scale Relationships - Modes Based on the Major Scale
1.11 Table 4: Chord/Scale Relationships - Modes Based on the Ascending Melodic Minor Scale 1.12 Major Mirror
1.13 Caravan Bacchanal and Progression in E Phrygian
1.14 Caravan Bacchanal and Progression in E Diminished/Whole Tone
1.15 Overtone Series
1.16 Lydian Dominant - Scale/Chord Relationship
1.17 Oracle - B Section
1.18 12 Tone row in Original, Inversion, Retrograde, and Retrograde Inversion
1.19 Serial Phrase - Relating Rhythm to Intervals

Chapter 2 Melodic Development, Embellishment, and Expansion

2.01 "Gap Fill" - Bebop Fragment - Up by Chord/Down by Scale
2.02 "Gap Fill" - Phrase from Embedded Figures
2.03 "Changing Note" - Melodies in Increased Complexity
2.04 Cambiata - Ascending and Descending
2.05 Additional Examples of Cambiata
2.06 Theme from Nota Cambiata with Analysis
2.07 Pooravi Mode and Original Motive
2.08 Diatonic Sequence on Pooravi Mode
2.09 Diatonic 3rds and 4ths
2.10 Chromatic 3rds and 4ths
2.11 Change of Interval
2.12 Sequence - Diminution
2.13 Sequence - Augmentation
2.14 Original Motive and Inversion
2.15 Original Motive and Retrograde
2.16 Diatonic Retrogression - Sequence on Pooravi Mode
2.17 Suite for Clarinet and Double Bass - II Movement (excerpt) - Retrogression
2.18 Sequence Retrograde Inversion
2.19 Descending 7th Scale
2.20 Chromatic Neighboring Tones with Chord Tones as Destination Notes
2.21 Deflection by Chromatic Neighboring Tones - Bebop Chromaticism
2.22 Melodic Fragment based on a Tritone Substitution
2.23 Subtraction - I
2.24 Subtraction - II
2.25 Subtraction - III
2.26 Storyteller (excerpt) - Mediant Modulation
2.27 2nd Mode of Limited Transposition - Scale
2.28 Permutation Exercise for 2nd Mode of Limited Transposition
2.29 Embedded Figures (excerpt)
2.30 Incantation- Introit

Chapter 3 Texture

3.01 Two-Part /Imitative Counterpoint - from Suite for Clarinet and Double Bass - I Movement 3.02 Spiral Dance - Melody with bass Line (excerpt)
3.03 Spiral Dance - Canon I (excerpt)
3.04 Spiral Dance - Canon II (excerpt)
3.05 Suite for Clarinet and Double Bass - IV. Movement - (excerpt) - Octave Displacement
3.06 4 Interpolations - Chords/Synthetic Scales
3.07 Interpolation I (excerpt)
3.08 Interpolation II (excerpt)
3.09 Interpolation III (excerpt)
3.10 Interpolation IV (excerpt)

Chapter 4 Harmony

4.01 Overtone Series - Tonal Implications
4.02 Cmajor/F#major - "ii - V7 - I" - Progressions
4.03 Half Nelson by Tadd Dameron - Chord Progression
4.04 Some Substitution Types
4.05 Elision
4.06 Elision - from A Garland of Ragas
4.07 Harmonic Rhythm
4.08 Shela's Samba (excerpt) - Closing Cadence
4.09 Tonal Ambiguity - Chordal Illustration - I
4.10 Tonal Ambiguity - Chordal Illustration - II
4.11 Storyteller - Static Chords (excerpt)
4.12 Storyteller - Pedalpoint (excerpt)
4.13 A Motive in 6/4 - Set in Series around the Cycle of Fifths
4.14 A Motive in Sixteenth-notes, two measures in duration - Set in Series around the Cycle of Fifths
4.15 The Sixteenth-note Motive - - Set in Series around the Diatonic Cycle
4.16 Retrogression of a Motive; then, Combined with its Inversion
4.17 Bridge from Another Place (excerpt)
4.18 Cycle of Minor7th Chords - Presented in Ascending Minor Thirds; and , Insertion of Major7th Chords - Two Cycles Embedded
4.19 Harmonization of Nota Cambiata (excerpt)
4.20 Extended Chords
4.21 Addition - in Building Chords
4.22 Addition - in Building Altered Chords
4.23 Cluster/Secundal Chords
4.24 C7/D Overtone Series/Chords - The Role of Instruments
4.25 Euphoethos - Pan-tonality

Chapter 5 Rhythm

5.01 Waltz Intro
5.02 Rumba Intro
5.03 Tango Example
5.04 Syncopation - from Suite for Clarinet and Double Bass - IV Movement (excerpt)
5.05 Bob McEntyre's Examples of Rhythmic Deception
5.06 Counter Rhythms over 4/4 Meter
5.07 A Garland of Ragas - Closing Theme
5.08 Furiant - by Dvorak (excerpt)
5.09 3:2 Ratio
5.10 3:4 Ratio
5.11 5:4 Ratio
5.12 7:4 Ratio
5.13 Original Motive
5.14 Sequence - Diminution
5.15 Sequence - Augmentation
5.16 Retrograde
5.17 Non-Retrogradable Rhythms
5.18 Addition and Subtraction in Non-Retrogradable Rhythms
5.19 Candrukala Rhythm
5.20 Metric Addition - Candrukala Rhythm
5.21 Vasanta Rhythm
5.22 Metric Addition - Vasanta Rhythm
5.23 Non-Retrogradable Rhythm - from A Garland of Ragas
5.24 A Garland of Ragas - Melodic/Rhythmic Cadence I
5.25 A Garland of Ragas - Melodic/Rhythmic Cadence II
5.26 The "Three Speeds" in Indian Classical Music

Chapter 6 Form

6.01 from Beethoven's 5th Symphony - Opening Motive and Sequence
6.02 Shela's Samba - Opening Motive
6.03 Fragmentation - Expansion
6.04 Suite for Clarinet and Double Bass - Foundation Motive
6.05 Paraphrase on B.A.C.H. - Anagram - Opening Phrase
6.06 Paraphrase on B.A.C.H. - 1st Ending
6.07 Paraphrase on B.A.C.H. - 2nd Ending
6.08 Paraphrase on B.A.C.H. - Opening of B Section - Pedalpoint
6.09 Paraphrase on B.A.C.H. - Quarter-note triplet motive as Example of Pan-tonality
6.10 Paraphrase on B.A.C.H. - Ending Phrase - Thematic Transformation
6.11 Moment - Opening Phrase
6.12 A Garland of Ragas - Final Melody
6.13 Nota Cambiata - Ideas for Improvisation

5. Competition: It is my impression that there are a large number of improvisation books on the market which are often lacking in scope and thoroughness. Further, they do not attempt to bridge the gap between improvisational and compositional skills, a point, which served as the main departure for my work described here. Improvisation is a highly developed skill (a process) in which the player spontaneously conveys musical ideas within specific parameters. When one considers the spontaneous interaction among musicians in live situations, the process of improvisation can present sizeable challenges. In contrast, the composer develops musical pieces (products) by working through the elements of music without the immediacy and spontaneity of performance. The depth with which a composer develops his/her works through systematic inquiry (which often cannot be conceived spontaneously) is similarly a sizeable challenge.

copyright 2006 Koehler INC.