TECHNIQUES of the CONTEMPORARY COMPOSER DAVID COPE2 B. CONTENTS Introduction xt BASICS 1 Approaches to Composition 1 Skills and Tools 4 The Profession 7 Rudiments of Orchestration and Form 8 ‘THE TONAL LEGACY 2 Basic Key Concepts. 12 Chromaticism 15 Expansions and Planing 17 Polytonality 19 NEW ROLES OF MELODY 26 Seales 26 Motives 28 Basic Melodic Concepts 29 Extended Melodic Lines 32 Accompaniments 34 HARMONY, COUNTERPOINT, AND HIERARCHY 38 ‘The Overtone Series 38 Texture 39 Consonance and Dissonance 39 Interval Strengths 40 Roots 41 Progression Strengths and Chromaticism 42. INTERVAL EXPLORATION 46 Basic Concepts. 46 Fifth and Fourth Chords Second and Seventh Chords. 50 Interval Combinations 5518, 19. 20. CONTENTS MEDIA FORMS: 206 Multimedia 206 Mixed Media 209 Intermedia 212 Vireual Reality 214 MINIMALISM 216 Silence as Minimalism 216 Concept Music 217 Brevity Works 218) Continuivies 218 Phase and Pattern Music 219 EXPERIMENTAL MUSIC 222 Situation and Circumstance Music 222 Soundscapes 223, Biomusic 224 Antimusic 22 DECATEGORIZATION 230 Fclecticism 231 Quotation 22 Sectionalization 233 Overlays 234 Integration 236 Bibliography 239 Indes 247 INTRODUCTION If there is one characteristic ofthe arts that remains constant, itis change. Although, ‘Western Classical music, co the inexperienced listener, may seem predictable and reli- ably consistent, i is not. Over the course of centuries, harmonic vocabularies that ‘originated in medieval organum with open parallel fourths and fifths have proceeded through triads and seventh and ninth chords to the dissonant, clusterlike chords of the twentieth century. Melodic vocabularies have likewise developed from stepwise 4istonic chants through triadic leaping to extreme chromaticism and pointlism Rhythm, timbre, and texture have followed similar paths from simple to complex, though less quickly. “Those who refuse to accept change, or who canonize common-practice music of the seventeenth to nineteenth centuries to the detriment of contemporary music, Jack the vision necessary to understand the inevitable nature of change. Though ‘many a masterpiece was produced during Western music's tonal centuries, biliance ‘of craft and musicianship are evident in thousands of works written before and afer those years. “Techniques ofthe Contemporary Composer covers many of the changes that have taken place recently and even suggests afew that may yet occur. Central to the book are three basic concepts 1, There is no right way to compose music, no righ style, only different ones. Each individual must decide on his or her own mode of expression. 2. There is no progress in art. While it may at frst seem plausible that, for ‘example, a late Romantic symphony is superior to a simple tenth-century 3, careful consideration may prove the contrary. A comparison of ogress in the arts to, for instance, progress inthe sciences is inappropriate. 3. However musi is defined (and it macters little in the final analysis), i pos sesses elements that make craftand consistency fundamental to its quality. ‘Techniques of the Contemporary Composer is designed to cover the techniques, esources, and technologies of composition of the twentieth and early ewenty-ftst ‘centuries while placing an emphasis on the music of more recent years. Most music ‘omposition books deal almost exclusively with traditional techniques, inclusive of Principal music of the early to middle ewentieth century. Those that do include ontraditional techniques usually cover only 2 few contemporary idioms. The pre book, however, includes as many areas of contemporary composition as possiblesii INTRODUCTION in an inclusive single volume and in as objective a manner as posible. Ie assumes that knowledge ofas many procedures as posible produces cue freedom of expression. By studying and carefully evaluating the ideas presented here, readers may lead them- selves to developing their own individual syle. Techniques of the Contemporary Composer encompasses twenty-one chapters, or8a- nized to coincide roughly with two semesters or three academic quarters of composi tion, with time left fr review. This can be expanded to a two~ oF three-year format, with one chapeer assigned every two or three weeks instead of one per week. The book also provides both teacher and student with examples, bibliographic references (keyed by parenthetical pointets in the text), and composing suggestions. The bibliography includes a beef list of relevant books and scores for further study and analysis, ‘The beginning chapters provide a transition from common-practice study and gently bridge the gap from learned bias to the exploration of new ideas. The order of the chapters themselves is logical but does not always reflect historical chronology Nor does the chapter order reflect any particular progression toward better, more complex, or more definivive techniques. While subsequent chapters do build to some extent on the techniques of previous chapters, this organication should not ead to assumptions that later chapters have more substantial worth. If any progression ‘occurs here, it one from tradition towad innovation, with the last chapter sum. ring up ts predecessors. Chapters ae aso grouped around sinilar ideas. Chapters 6 and 7, for example, have much in common. Chapters 11 and 12 have likewise sim lar subject matter, as do chapters 15, 16, 17, and 18. Each chapter presents only an ineroduction wo its subject sad should no be considered exhaustive The musical examples are primarily my own and were composed not a represen- tations of my personal style but as demonstrations of the points under discussion, ‘As a composition teacher using this book asa classroom tex, [ require all compos- ing assignments to be performed, atleast inthe classroom. This requirement extends 28 well co most of che examples in each chapter as well as to many of the works listed inthe bibliography: Many ofthe book's examples also exist in standard MIDI file for ‘mat and are available an downloadable from my Internet site: hep/ars.ues.ed faculeylcoperhome. Students are encouraged to work on larger projects that may ot ‘may not interact with the classroom assignments chus obtaining practical and usable techaiques, resources, and technologies from a variety of new styles in adltion c completing large works more demanding in form and content. 1 wish to thank my wifey Mary Jane, and the many students I have had over my thiry years of teaching music composition. In many says, these individuals have taught me as much as I them. Certainly, che order of chapters and the manner of pre sentation are due as much to their suggestions, direct and inditect, over the years as to my own ideas. I hope that some of these exchanges of influence have proved 38 tusefl co chem in their endeavors as composers zad educators as they have to me: | also wish to thank Jil Lectka for her insights, advice, and help and David Roen for copying most ofthe musical examples. Somerset Maugham once noted that there are three rules for writing @ novel, but tunforcunately, no one knows what they are. While this may be te for writing music —_ INTRODUCTION xiii ‘as well, itis important to point out that potential novelists and composers alike have fgecess to a great many resources that ean enable them to discover those rules for themselves. The present book isnot, therefore, about rules, but about resources. Ie is ‘with these concepts in mind that I hope to aid readers in discovering the techniques ‘of the contemporary composer. David CopeCHAPTER | BASICS THIS CHAPTER IDENTIFIES a few good composition habits lists ideas for preparing scores, and presents suggestions for developing performance and publi ‘cation opportunities. I also covers the basic rudiments of orchestration and musical form. While such practical matters are often neglected in books on music composi- ton, they represent important strategies for enduring as a composer and not just dab- ng in the craft (Rochberg 1984). to Composition I overviews are stressed throughout much of this book. Such usually consist of visual graphics, narratives, or outlines from which tech- and materials can be derived (Stravinsky 1947). Overviews help composers the problems often encountered in compositions rhat are nor prestmucrured: a of fdeas from various composing sessions spaced over days, weeks, and even Overviews, while malleable co the very last note of a resulting composition, frameworks for composing more consistent music in larger forms Figure 11 shows a series of overviews of a work for chamber orchestra titled om. Figure I.la demonstrates how the work might appear on a three-by-five- index cand. The horizontal lines here describe texture and dynamics and, along th the vertical and angled bars, define the three main sections of the form. Figure b presents a more detailed version of the work with a few rhythmic ideas sketched appropriate locations. This overview also shows more details about the types of ls in each section. Figure I.Ic gives more definition to the main ideas, with ‘ome of the more important musical ideas written out in traditional notation, ‘overviews on the wall above the primary composing workplace can help __t® Femind composers oftheir current context in a work. 7 Beginning a composition from an overview can be as effective as beginning a com- Petition from a melody, motive, or harmonic structure. Sketching a work (even in hic terms) in its complete form before @ note of chord has been written, expand- ‘ ourward through latger and larger sketches, often helps composers visualize hear works in larger forms. Some composers actualy begin with the double bar © end before composing their compositions (Stravinsky 1947). "This helps them e Intultion suggests—thus more naturally—and not just where the music's ‘currently happens to stop.