Thomas J. West Music

Over this past school year, I have been making a concerted effort to incorporate more music improvisation and composition into the curriculum of my performing music ensembles. Musical creativity is an often-neglected part of traditional public school performing programs because 95% of available class time is spent learning and mastering music for the next public performance. This past school year, all of my students finished the year with some original composing, and they loved the opportunity to be expressive.

Here are suggestions for incorporating music improvisation and composition into the middle school and high school performing music classroom.

1. Work in some improvisation: Make improvisation a part of your ensemble warm-up a few times each marking period. Most people think that improvisation means jazz, but that is not the case at all. I actually begin my school year with my beginner strings by teaching them to pluck out a D Major pentatonic scale. Basic improvisation encourages original musical thinking and begins to lay the groundwork for the correct mindset, i.e. "You don't have to be right to be a composer or to improvise. The little black dots are not in charge."

2. Learn basic scale theory: Before students can begin composing, they need to understand some basic music theory. This should be accomplished experientially, not in a teacher lecture. Students should learn how to perform the most comfortable scale for their instrument (D Major for strings, Bb Major for winds). I always begin by teaching them the letter names first, then having them play the scale to letter names only. They don't see it in music notation until after they can successfully perform up and down one octave in whole notes or four quarter notes per pitch.

3. Learn basic chord theory: Once students can perform their most comfortable scale, teach them to play the tonic triad arpeggio. For the key of D, this is D, F#, and A. I also include the octave D to make this play nicely. I have students simply circle those letters on the scale sheet they wrote previously. Once they can play the tonic triad, teach them to build triads on scale degrees four and five.  Being able to play primary chords in their simplest key is an important part of understanding how to write a basic composition.

4. Learn basic melodic writing: In order to write a melody that has coherent phrasing and doesn't sound randomized, students need to learn basics about common melodies. I usually use "Danny Boy" as an example of a melody that has all of the components contained within. They can then practice these concepts in improv. Have the ensemble provide an ostinato using pitches from the three primary chords while individuals take turns playing short improv solos. Emphasize a differnt melodic concept with each attempt, such as outlining chord tones, using passing tones, beginning and ending on tonic, using repetition, and creating contoured phrases.

5. Compose a simple melody using a pre-determined chord structure: For their first attempt at composing, students should write a simple 8-bar melody using a chord progression you provide for them. The melody they write should follow the guidelines for melodic writing and should be performable by the student on their primary instrument. This first composition should be done on manuscript paper and not using music notation software. Writing the notation themselves teaches many concepts, including adhering to notation conventions and audiating the sounds without electronic assistance. For vocalists, have them write melodic material using a neutral syllable to begin with, or give them a short stanza to set to music.

6. Compose a simple melody in tiered assignments: Once you get to this stage, it's time to start letting student creativity drive the process. Create a version A, B, and C of this assignment. Version A is basically a repeat of step 5, but with the option of extending the assignment past 8 measures if they choose. Version B is the same assignment, but the student creates their own chord progression using primary chords. Version C is for the more advanced students, who can utilize additional sub-dominant chords or write in keys other than their most comfotable. Assignments should remain for solo instrument and piano accompaniment at this stage, unless you have an ambitious student who wants to attempt a two-part invention. At this stage, students can be introduced to music notation software. I have used Finale in the past, but I will be using Noteflight Classroom this coming year.

Other suggestions for getting students composing:

• Students need to drill basic rhythm patterns in common time signatures simultaneously while learning to play scales and arpeggios. I have found over the years that rhythmic notation holds more students back far more than tonal notation. Students should be drilled on basic rhythm pattern recognition down to combinations of eighths and sixteenths regularly.
• Students' ability to audiate both rhythm and pitch are critical to any kind of improvisation and composition work. Encourage students to vocalize music ideas by "scat singing".
• Record their performance of the finished product. It serves as a source of pride and also enables them to hear their creation and plan improvements for their next effort.

For this upcoming school year, I intend to start the year in compositional activities with my more experienced students right away. My beginners will start with basic improvisation. The most effective compositions will be featured on our Winter Concert. My goal is to have about 50% of our Winter Concert and 90% of our Spring Concert programs feature student compositions. 

Future composition curricula will include:

• Writing for various forms (ABA, Sonata-Allegro, Song Form)
• Setting a poem to music
• Two, three, and four-part writing
• Arranging/transcribing
  
• Scoring for large ensemble

There is no doubt that incorporating student creativity into their performance studies has numerous benefits - none more important than creating a personal connection with music that has the potential to last long after the high school performing ensemble is a distant memory.

This article (c) 2011 Thomas J. West. All content on ThomasJWestMusic dot com is licensed under a Creative Contributions Attribution-No Derivative Works 3.0 License. Please contact the author before publishing on or off-line.

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