teaching-composition

Photo: Kerstin Schomburg I'm a composer and lecturer at the University of Leeds, UK. As part of our undergraduate composition teaching we introduce various flexible generative techniques, and an expectation that students write a commentary that outlines their compositional process. To give the students another example of how this can be done, I've decided to compose a piece [jump to final piece ] for the student new-music ensemble that explores several of these techniques; to augment existing examples, and give a more first-person account of using them. This blog follows my process as I compose using some techniques that I've taught often but wouldn't normally used myself: see here for examples of what I do usually. [Impatient? go straight to the  finished score , or watch the video ] Here's what I begin with: the ensemble is unusual to say the least, but I like a challenge! 3 fl, 2 cl,  sax, tpt, cornet, euphonium, perc, piano, guitar, cello Rehea

Cello solo v1 The cello solo will use my prepared cello: not a million miles from a prepared piano as mentioned in  previous blog post . The preparations make pitch quite indeterminate, so rather than generate a stream of pitches (like for the guitar/piano) what I wanted to generate was essentially a tablature score for the cellist to create a stream of actions that would limit the indeterminate pitches in different ways to create loose patterns. Tablature notation differs from standard notation be being more about telling the player what do (what actions to carry out, where to put fingers etc.) rather than what sound/note to make. It can be especially useful in situations where the specific pitch result is indeterminate so instead the notation deals with timing, positions etc. See Aaron Cassidy 's scores and writings on this as a good example. Below is a page of his solo for any bowed-string instrument, with staves for: (top) fingerings and bowing on the four strings; (middle)