For the LOVE of Music!
A common practice is to add a few extra bars at the end of the form in order to signal a crisp and clear sense of closure... A standard idea is to "turnaround" to the V7 chord and to postpone full resolution of the melody for a few more bars. Notice how the extra four … Continue reading Composition & Improvisation: Case Study: Part 24 of 24: Add Ending
A well-crafted Introduction can create a sense of anticipation, establish a mood, and build musical momentum going into "the top" of the piece... Here are two simple examples for your consideration... One common practice is to "vamp" on the accompaniment until the melody arrives... learn more... Composition & Improvisation: Case Study: Part 24 of 24: Idea: Add Ending
Rhythm is an extremely powerful organizing force in music, oftentimes moreso than the pitches... Here are two (of arguably an infinite number of) possibilities for your consideration... It is crucial to think about and especially to feel these rhythm patterns within the context of the overall form, not just "beat by beat" or "measure by … Continue reading Composition & Improvisation: Case Study: Part 22 of 24: Rhythmic Motives
Here is a two-fisted melody consisting exclusively of chord tones played as alternating pairs in both hands... Notice how much melodic material your can derive from the creative use of only chord tones! Special Note: The music above is not nearly as complicated as it looks on the surface. Here is a "simplified" view of … Continue reading Composition & Improvisation: Case Study: Part 21 of 24: Two-Handed Chord Melody
There is no rule that says that a song or chorus must begin on the first downbeat... Pickups are a great way to build momentum in anticipation of the upcoming chord changes as well as a way to play "through" the bar lines. Here the idea is to play scale-wise into a chord tone on … Continue reading Composition & Improvisation: Case Study: Part 20 of 24: Pickups
A Sequence is a pattern with a characteristic melodic shape and rhythm that moves through the chord changes... Notice how the chord tones typically fall on the strong beats... learn more... Composition & Improvisation: Case Study: Part 20 of 24: Pickups
Pedal Point means to maintain a single note in the bass as the chords change above... A common pedal point is to play the tonic Do under both the I and V7 chords... learn more... Composition & Improvisation: Case Study: Part 19 of 24: Melodic Sequence
One way to Subdivide the Beat is to play triplet chords in the left hand... learn more... Composition & Improvisation: Case Study: Part 18 of 24: Pedal Point
Trying harmonizing the melody in Sixths going up and down the C major scale... learn more... Composition & Improvisation: Case Study: Part 17 of 24: Subdivide Beat into Triplets
There is no rule that says that the melody must be played in the right hand and chords must be played in the left.. Here is a simple chord tone melody in the left hand with block chord accompaniment in the right. Notice the rhythmic interplay between the left and right hands: Left hand melody … Continue reading Composition & Improvisation: Case Study: Part 15 of 24: Left Hand Melody