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MELODY 2
4. Ask each of the small groups to pick one of the four chords they invented in workshop 1, and play the six notes one by one to make a melody.
- Each group should decide how to orchestrate the melody as well as the length of each individual note.
4.1 Within the group identify a sub-group to follow the melody in canon. This need not be a strict canon in terms of the rhythms used. Let the sub-group vary the distance between them and the original group by using lager or smaller note values.
4.2 Continue this by adding the six notes left over to complete a twelve note set.
4.3 Listen to all the new melodies and their canons together.
4.4 Students may wish to decorate the melodies with trills and grace notes.
TEXTURE (you may want to refer to the texture page in the composing section of the site)
5. Sit in a circle and listen to the sounds of all the instruments one by one.
- Listen to the different kinds of attack and decay and notice that even two metallophones can sound different.
5.1 Ask each member of the group to find three different ways of playing the same note on their instrument.
5.2 Moving round the circle one by one ask each person to play a short phrase demonstrating the first new playing technique before resting for a few seconds and then repeating the phrase with the second new playing technique.
- As more and more people join in, listen to how the surface texture of the music changes constantly.
5.3 Listen to different combinations of instruments in smaller groups and find out which ones blend well together.
- This exercise could be done with random pitches or on a given note or chord.
5.4 Splitting the large group in half, ask each person to play through the same series of six pitches slowly and in free time.
- Students may decorate each note with trills or grace notes or add rests.
- They may even oscillate for a time between two pitches in the series.
- Encourage them to use one or two of the playing techniques invented earlier in order to change the sound of the music.
This creates a type of heterophony, and with everyone playing and resting at different times but playing through the same series of notes, many different combinations of textures should be discovered.
5.5 Listen to both groups and comment on issues of balance and blending.
- Changing dynamics will also effect the overall texture as different timbres will be allowed to come into focus and fade into the background again.
Introduction : Workshop 1 : Workshop 2 : Workshop 3 : Workshop 4 : L.S. 1 : L.S. 2 : L.S. 3 : L.S. 4 : Helpfiles : Membersboulez : composing : workshops : support : contact