My Combined Approach For Training
(to getting that shirt really ironed...)
1)
Analyze
composers whose works inspire you, regardless of the style
2) Analyze your own works as in-depth as you would works by any other composer
3) Create compositional games or projects that focus on your weak area(s)
4) Compose pieces without any restrictions
5) Develop any basic skill (instrumental/vocal/theoretical/rhythmic/etc.) that might be
holding you back
6) Listen to new composers, styles, and music from other cultures that challenge
your comfort levels and aesthetic assumptions,
as well as familiar composers
and styles for greater depth
These half-dozen approaches have always felt very natural to me and have been successful
with students who do medium- and long-term work.
When I do short-term work with a
student for a session or two, I’m usually looking at a specific
project or issue that will likely
draw upon just one or two approaches.
From that, I’ll frequently assign them projects using
one or more modalities to address a particular weakness in their writing.
Yet, over many decades of teaching, I’ve noticed that none of my students have ever been
exposed to this range of approaches; one or two, occasionally three, but never more.
I began to wonder about why this is the case, and thought it would be fruitful to examine
where and how musicians typically get training in composing.
Where To Learn To Compose
(other than privately...)
Here are the most typical scenarios where musicians become trained in composition
other than private lessons:
Conservatory
(or University)
Here you’d enter a composition program and spend most of your time studying and
composing in various classical techniques (counterpoint, serialism, orchestration) along
with detailed analyses of various classical composers from different eras.
Free composing
generally happens toward the end of the program.
Exposure to student and faculty works,
access to various performance ensembles and highly specialized equipment, and of course
certification, are key benefits to studying in this setting.
Still, others find the personal and
musical relationships that come out of this experience to be invaluable.
You’ll hear
MYTH #6
often circulating here.
Apprentice
Though you will likely be in frequent proximity to them, the majority of time with a mentor
will be spent performing logistical and administrative tasks.
You will be observing them in
a variety of contexts, and eventually you will likely be entrusted with tasks of a more artistic
nature.
The decision of an artist to take on an apprentice is very individual, i.e. some do it
based upon timing, some do it based upon the personality of the applicant, and some never
take on an apprentice at all.
As a result, you’d be wise not to take their decision to reject
(or accept) you personally.
The opportunity to work closely with an artist whom you revere
can be highly rewarding.
MYTH #3
has been known to appear here.
Workshop
The focus here is creating a new piece, usually in a specific pr
e-existing form, e.g. a 12-bar
blues, a call-and-response chant, a verse-chorus song, etc.
Following the form and being
exposed to significant exemplars of the style or form at hand ar
e the primary features.
(A smaller number of workshops do not restrict the style and allow your piece to be completely
open-ended).
The comments on your piece may come solely from the instructor or from the
participants, or both.
The format of a single day (or time slot) devoted to just one piece can
be very attractive, as are the opportunities to network and meet like-minded musicians.
You might hear
MYTH #5
in this environment.
Band
In either joining or forming a band, the primary goal is to
foster and
feature original works.
The promise of performing and/or recording original songs is so powerful that many writers
are involved with more than one band.
Songs are created either as a group, from a pair
within the band, or solo, and
instruction usually
comes more from the mixing of the band
members’ strengths rather than teaching per se.
Real coaching can happen depending on
members’ backgrounds and communication skills.
Bands that focus on original compositions
tend to be very catalytic because of the immediate feedback
opportunity from constant
rehearsing.
MYTHS #4 & #7
frequently appear here.
Art-As-Expression
Typically you’d enter a liberal arts type of program that centers on Art-As-Expression.
High priority is given to authentic self-expression rather than analysis of prominent musical
icons.
Significant focus is put on examining the motivation of your dec
ision-making process,
and establishing a clear criteria for making your pieces feel genuine.
These programs tend
to be interdisciplinary, and encourage you to include other art forms (movement, writing,
film, etc.) to complete the piece’s concept and enhance the process.
Programs like this can
be very personally healing and are excellent preparation for work in any art-related therapy
career.
You might hear
MYTH #7
circulating here.
Self-Education
Self-Education is ideal for someone who is very motivated and has a history of designing
and carrying out projects on their own.
The resources may include textbooks, workbooks,
and online tutorials.
Self-pacing and the ability to design a highly individual program are
the main attractions.
Students often use this path in conjunction with modalities that have contact with other
people
such as periodic sessions with an instructor, attending live concerts and/or open
rehearsals, and even composing collaboratively with others either in-person or over the
internet.
It has been my observation that students, regardless of their interests or learning styles,
still require a healthy dose of both support and accountability to develop their musicality.
Joining or forming a peer-oriented group
can generate tangible results without an
instructor if the participants are highly motivated.
Group support
and publicly-declared,
time-specific promises to its members are central to that kind o
f program.
Also, in-group
and public performances, along with guest presenters, can greatly strengthen the impact
of the experience.
Examples of this format would be a Meetup, Mastermind, or
Artist
Anonymous
group.
In fact, all of the above venues, include support and accountability
as an integral part of their structure.
At this point I should state that depending upon the needs and timing of the student,
any one of the above learning models might be an excellent vehicle for their growth.
They can also be used in combination to produce dramatic results, as I have personally
experienced.
Let’s recap the six different modalities that I’ve recommended, with abbreviated labels:
1) Analysis
2) Self-Analysis
3) Games
4) Free Writing
5) Skill Building
6) Listening
In Part III I take a look at what each one has to offer a composer...
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