Composer Boot Camp 101 - 50 Exercises For Educators, Students and Music Professionals

COMPOSER BOOT CAMP 101:
50 Exercises for Educators, Students and Music Professionals
Sabrina Peña Young

Copyright © 2016 Sabrina Pena Young
All rights reserved.
ISBN: 1530441064
ISBN-13: 978-1530441068
DEDICATION ♪
This workbook is dedicated to Dr. Clare Shore, Dr. Kristine Burns, Professor Paul Reller, Frederick
Kaufman, Dr. Orlando Garcia, Chuck Owen, Hilton Jones, and the many amazing music professionals
that I have encountered in my music career that have inspired me to create music that inspires a
generation. Thank you for all that you have done. Your direction guides every note I write.
CONTENTS
Acknowledgments i
Introduction 2
1 How to Use This Workbook Pg 3
2 Beginning Exercises Pg 10
3 Intermediate Exercises Pg 22
4 Advanced Exercises Pg 38
5 Technology Pg 51
6 Conclusion Pg 62
7 Additional Resources Pg 63
About the Author Pg 65
ACKNOWLEDGMENTS ♪
The over fifty exercises that you will encounter here are an amalgam of helpful tips and practical
exercises that I have collected over the past twenty years from my own extensive training and
instruction. I would like to specifically thank Dr. Clare Shore, Paul Reller, Frederick Kaufman, and Dr.
Kristine Burns for providing me with a solid compositional foundation, as well as the dozens of
amazing music theory professors and percussion instructors that put up with one very ambitious and
energetic young musician.
I would also like to thank my incredibly talented sister, pianist and music educator Christina Sidaras,
whose own dedication to education and musicianship is an inspiration to an entire generation of
students.
INTRODUCTION ♫
This workbook is designed to help educators, students, and seasoned professionals to hone their
compositional craft. There are a series of exercises, helpful tips, resources, and more to help the
musician prepare a solid foundation in music composition. The main exercises are divided into three
separate sections depending on difficulty level. There are exercises on many aspects of composition,
from songwriting and lyrics to rhythm and melody. An additional section has been added that addresses
technology.
A PRACTICAL WORKBOOK OF COMPOSER EXERCISES
Unlike a complex method book, this book focuses on practical exercises that I have used as a
composer or when instructing students. Educators will find a wide expanse of exercises here focuses on
inspiration, melody, rhythm orchestration, and harmony. Students and composers will find exercises
that will hone their musical skills substantially. An extra section on Technology brings composition to
the 21st century and covers basic exercises for advanced students, educators, and composers to practice
composing to multimedia.
This book attempts to unravel some of the mystique surrounding composition through simple, well-
thought out exercises and practical tips. While there is no substitution for a regular composition
instructor or classical training, this book can be use quickly by any musician regardless of level. For
those that are established songwriters, arrangers, composers, and orchestrators, there are a variety of
exercises for the seasoned professional.
FOR EDUCATORS
I hope that you find exercises here that inspire your students to create. Feel free to adjust the level
and difficulty of the exercises or add your own unique talents to their execution. If you wish to keep in
touch with the Composer Boot Camp community, please feel free to join me at
www.facebook.com/newmusiccomposer/ or contact me through my website at
sabrinapenayoung.wordpress.com.
Thank you for giving me the opportunity to share my love of musical creation with you. I hope that
you find that this workbook encourages your creativity and helps you explore your hidden talents in
composition. I sincerely believe that any musician can become a composer. Composition is such a wide
field, covering everything from writing folk tunes to soundtracks to symphonies, every person can find
their niche in this field.
1. HOW TO USE THIS WORKBOOK

This workbook is designed to help educators, students, and professional
musicians regardless of their level of expertise in composition. Whether a
high school student writing their first piano piece, a songwriting developing
their musicality, a professional looking to hone their skills, or a band director
learning how to arrange a favorite song for their ensemble, there is an
exercise here for you. Some settings that you might use these exercises
include:
Private Lessons
University Classrooms
Music Classes
Group Classes
Educator Workshop
Band Class
Choir Practice
Elementary and High School Music Classes
Lessons for Adult Learners
Band Director Workshops
Choral Director Workshops
Music Business Workshops
Composition Classes
Lectures
Music Presentations
The exercises develop some of the primary keys of good musicianship:
Inspiration
Melody
Rhythm
Harmony
Orchestration
The bulk of the book is divided into three sections based on difficulty:
1. Beginning Exercises
2. Intermediate Exercises
3. Advanced Exercises
BEGINNING EXERCISES
This section is designed for educators teaching beginners or for student
composers just starting out. A very basic understanding of music theory is
expected, although some exercises do not require the ability to read
notation. These exercises are designed for both students who cannot read
music or play an instrument or those who can on a very elementary level.
While these are suitable for children, they can also be adapted to the adult
learner.
This section covers a variety of skills from learning how to improvise
using three notes to singing melodies and learning how to use the I and V
chord. There is also a provided listening list of composers to develop the
ear.
INTERMEDIATE EXERCISES
The Intermediate Exercises are designed for students who have a working
knowledge of their instrument and a good understanding of basic music
theory. This section covers a variety of skills from more advanced
improvisation in harmony and rhythm and exercises dealing with
arranging and musical styles.
ADVANCED EXERCISES
The Advanced Exercises in this book are suitable for advanced college
composers and those that are music professionals. These are exercises
suitable for graduate students or even music educators that have a very
strong background in music theory. Exercises develop skills in
polyrhythms, orchestration, atonal theory, and more.
SOUND EXAMPLES
You will have access to sound examples available at:
https://sabrinapenayoung.wordpress.com/about/composer-boot-camp-101/
SCORE
EXAMPLES
My original score examples are included in this workbook from my
personal catalog, many with links to download the full score. For historical
classical scores, the online Petrucci Library provides free copies for
educational purposes:
http://imslp.org/wiki/Category:Composers
WHAT IS COVERED ♪
INSPIRATION
I included Inspiration since many of the roadblocks to successful
composition do not deal with skill but deal with a psychological barrier to
creative musical expression. The Inspiration exercises help break down
these “writer’s block” issues by giving very direct instructions to prompt
composition.
MELODY
Melody exercises work on developing motifs and melodies regardless of
musical background and ability. Improvisation plays a key role in
composition and is incorporated into the exercises.
RHYTHM
Simple exercises on vocal rhythm, basic rhythms, finding the beat, and
polyrhythms are incorporated into the workbook.
HARMONY
Starting with simple experimentation and basic chords, the exercises in
harmony develop the ear training skills needed to be a successful composer.
Additionally, the exercises delve into more complex tonalities as the
difficulty level progresses.
ORCHESTRATION
This section incorporates basics of orchestration and arranging.
Additionally, exercises that open up the ears through listening are
incorporated.
TECHNOLOGY
Additionally there is a section created entirely for music written for visual
media. In the 21st century, a basic understanding of writing music to
multimedia is increasingly a necessary skill for serious composer. These
exercises are in the Intermediate or Advanced levels, although beginning
composers may find it helpful to read through the exercises and adapt them to
their level.
COMMON QUESTIONS
Should I start at the beginning?

It is recommended that you look through the exercises in the book and
choose what to develop based on your skills like items from an expansive
menu. Some musicians will find that the rhythm exercises are easier while
orchestration is much more difficult. If you find that there is a skill that you
need to develop more, then be sure to complete all the exercises in this book
and repeat the exercises on a daily or weekly basis until you are comfortable.
Adapting the Exercises

Many of these exercises include helpful hints for adapting the exercises to
a variety of learning abilities and styles. Be sure to read over the tips and feel
free to adjust as needed.
Do I need to read music?

Most of the Beginner Exercises do not require you to read or write music
notation. The Intermediate, Advanced, and Technology sections will require
you to read and notate music. If you find that you do not know enough to
accomplish this, work on the Beginner Exercises while also developing your
music theory skills. Even if you are only able to notate a little bit, you can
progress to the Intermediate Exercises and adapt them to your skills. To be a
composer, you need to master music theory, aural theory, and musical form,
though each composer has their strengths and weaknesses in each of these
areas. The easiest way to overcome a lack of music theory skills is to take up
an instrument like the piano, which is comprehensive in using harmony,
melody, and rhythm.
Do I need to play an instrument or sing?

For the Beginner Exercises, you will only need a rudimentary knowledge
of the piano or need to sing a simple melody. The Intermediate Exercises
have differing requirements for each exercise. Pick the ones that suit your
level now, and as you progress in your musical skills, you can try the
exercises that are more difficult. The Advanced Exercises presume skills in
piano and singing, and a good understanding of orchestration. The
Technology Exercises are the only exercises requiring computer skills,
although other exercises do allow for notating through software if that is
available. If you have access to musicians, I highly recommend having them
read through your composition in the Intermediate and Advanced Exercises
sections. Ask them for their insight and how you could improve your
composition.
Do I need to use a computer?

Almost all of the exercises in the Beginner, Intermediate, and Advanced
can be accomplished without a computer. A few exercises require you to
record yourself, and you may choose to notate on software instead of by hand
for some of these exercises. The Technology section can be completed a
variety of ways – writing compositions by hand and working with a computer
or device, writing scores in a digital audio workstation like Logic or
ProTools, or using a program like Finale to accomplish your goals. The goal
of the Technology Exercises is not to master software, since software
changes all the time, but to practice combining music with visual media,
regardless of the technology available.
Questions?
If you have questions regarding how to use this book or some of the
exercises involved, please feel free to contact me online through
www.facebook.com/newmusiccomposer or go to my website
sabrinapenayoung.wordpress.com. Share your comments and compositions. I
would love to hear from you!
FULL LIST OF EXERCISES
BEGINNER
INSPIRATION:
Exercise 1: Animal Song
Exercise 2: Musical Emotions
Exercise 3: Draw Your Composition
MELODY
Exercise 1: Singing a Poem
Exercise 2: Improvise on 3 Notes
RHYTHM
Exercise 1: Melody Rhythm Improvise
Exercise 2: Clap Along with the Radio
HARMONY
Exercise 1: Chord Experimentation
Exercise 2: Improvise in the Key of C
Exercise 3: I-V Chord Improvisation
ORCHESTRATION
Exercise 1: 10 Composer Listening List
INTERMEDIATE
INSPIRATION
Exercise 1: Compose to a Painting
Exercise 2: Pictures at an Exhibition
MELODY
Exercise 1: Melodies 5 Ways
Exercise 2: Inverting the Melody
Exercise 3: Changing Melody Rhythm
Exercise 4: Improvising on a 5 Note Motif
RHYTHM
Exercise 1: Write a Short Percussion Piece
Exercise 2: Dictate Rhythms
HARMONY
Exercise 1: Using I, IV, V chords
Exercise 3: Improvising in Different Scales
ORCHESTRATION
Exercise 1: Listening to World Music
Exercises 2: Arrange a Piano Solo for a Vocal Duet
Exercise 3: Arrange a Piano Solo for an Instrumental Trio
ADVANCED
INSPIRATION:
Exercise 1: Random Word Choral Piece SATB (like pauls’s)
Exercise 2: Postcard Compositions
MELODY
Exercise 1: Matrix with Schoenberg
Exercise 2: Improvise on a Tone Row
RHYTHM
Exercise 1: Develop Melodic Rhythm Through Poetry (kaufman exercises)
Exercise 2: Polyrhythms
Exercise 3: World Rhythms
HARMONY
Exercise 1: Borrow from Beethoven (borrow harmonies from Beethoven for
composition, suggest other composers as well)
Exercise 2: Stravinsky Piano Transcription
Exercise 3: Advanced Jazz Chord Improvisation
ORCHESTRATION
1. Exercise 1: Orchestrate Out of a Hat (random ensemble)
2. Exercise 2: Arrange in 3 Ways (string quartet, jazz band, perc ensemble, or SATB)
3. Exercise 3: Musical Styles 3 Ways (same song in three different styles)
TECHNOLOGY
INSPIRATION:
1. Exercise 1: Write to an Image
MELODY
2. Exercise 1: Develop Melodies to Commercials
3. Exercise 2: Film Themes to Youtube
RHYTHM
1. Exercise 1: Transcribe an Action Film Score
HARMONY
2. Exercise 1: Keyboard Chord Improv in Front of the TV
3. Exercise 2: Different Chords Under TV Shows
ORCHESTRATION
1. Exercise 1: Compose a Score to Your Favorite Films
2. BEGINNING EXERCISES ♬
These exercises are for beginning musicians and educators that teach
beginning musicians. These exercises are both for those who can read music
and those that cannot. Educators may choose to use these exercises on a
weekly or monthly basis, or repeat the exercises several times until the
student has mastered the skill. Adapt these exercises as needed for adult
beginners. Students are not expected to complete every exercise in this
section, but being able to work on each of these exercises without difficult is
a sign that the skills have been developed.
Many of these exercises focus on listening skills, which develops
composition skills. When teaching young children, please take into account
their limited attention span. A few of these exercises may be too simple for
an adult learner but can be adapted. For example, instead of the “Animal
Song”, an adult learner can make up a love song. As you read through the
exercises, you may find that you can expand their use for multiple skill
levels.
INSPIRATION:
MELODY
RHYTHM
HARMONY
ORCHESTRATION
INSPIRATION
In this exercises you will improvise a short composition based on an

animal.
1. Create flashcards with pictures of different animals

2. Place the flashcards in a box
3. Pick one card from the box
4. List five characteristics of the animal (ex. Loud, soft, swimmer,
predator, fluffy)
5. Using percussion instruments, your voice, a band instrument, or a
keyboard (depending on skill level), improvise a short one minute
composition based on these characteristics.
For example, if you pick a card that has a “nightingale”, descriptive words
may be simple like beautiful, feathers, small, or flying. Using the instruments
you have available, or your voice, you might develop a simple melody that
imitates a bird song, or perhaps with light shakers you can tap out a simple
rhythmic composition that imitates the patter of a bird’s small feet on the
ground.
Variations:
For a Group - Each student can have an instrument available or can use
their voice. Have them sit in a circle. As the box is passed around, each
student picks out a card. They improvise a short melody or rhythm based on
the animal. Discuss the importance of dynamics and tempo. You might
discuss instrument choice or which improvisation most closely represented
their animal.
Animal Suite - Instead of choosing only one card, choose three different
animal cards. Each card will be a movement in the composition. Each must
be a slightly different style. Improvise three short compositions based on the
animals in the cards. Discuss dynamics, instrument choice, tempo, and even
movement order. This may be a good opportunity to discuss form.
Written - For those who can write music, record your improvisation and
transcribe it by hand or in a notation program like Finale.
Turtle Song for 2 Pianos 1
The Turtle Songs Suite, originally written for the piano studio of Christina Sidaras, was inspired by the
movements of the turtle and was meant as a simple pedagogical piece for beginning pianists. Nature
inspires musical expression. Full score:
http://imslp.org/wiki/Turtle_Songs_Suite_(Young,_Sabrina_Pena)
In this exercise, you will use emotions to improvise a short composition.
1. Create flashcards based on emotions like “sadness”, “love”, “loss”, and

“anger”
2. Pick one card
3. Think about what musical elements the emotion brings (ex. Loudness,
rhythmic, soft, slow)
4. Come up with a title for the composition before improvising
5. Improvise a short one minute composition (a miniature) based on the
title and the musical elements relating to the emotion
6. If you can, record the improvisation and transcribe the composition by
hand or using a notation program
Variations:
Develop the Composition - Develop the improvisation into a longer three

to five minute piece. Record your composition. Play the recording for other
people. Ask them for their reactions. Can they guess which emotion you were
trying to represent through your song? Why or why not? Play the recording a
week from now and listen. What elements successfully convey the emotion.
Which do not?
Group Activity - Give each student a card. Allow them to perform their
composition in front of the group at your next meeting without telling anyone
what their emotion was. See if the students can guess which emotion the
student was trying to convey. Discuss how music is linked to emotion.
In this exercise, you will use graphic notation to write a piece about a
season.
What is Graphic Notation?

For many centuries, western culture has had handwritten notation, a gift
that allows music from one century to pass to performers over a millennia.
You may have heard of Appalachian shape notation or even traditional
notation from the Middle Ages. In the contemporary sense, graphic notation
is often used by experimental composers to convey a particular sound like a
cluster chord (a chord made up of adjacent notes like C-C#-D-D#-E) or a
non-melodic vocalization.
In the example from Movement 1 of my Creation Oratorio below, I used
graphic notation in the sopranos and altos to convey how I would like them to
improvise their vocalizations. Listen to the sample at the Composer Boot
Camp website “Formado en un Lugar Secreto” at 0:48 or watch the video at
Youtube (https://www.youtube.com/watch?v=pYACsmSxzOg).
1. Take out a piece of paper

2. Use writing appropriate writing utensils. Younger students can use
crayons or markers. Adults and teens may choose a notation program,
pencil, or even paint
3. Choose a season as inspiration for your composition
4. Using percussion instruments, your voice, or an instrument, improvise a
short two minute work based on the season
5. Using shapes, colors, lines, and abstract imagery, try to use graphics to
illustrate how to perform the work
6. Once you are complete, title the work and share it with another musician
and encourage them to play the piece
The point of this exercise is not to create an accurate representation of your

work, but to correlate what is on the paper with what you hear. A small child,
for instance, may draw a “frowny” face to represent hitting the cymbals or a
series of wavy lines can represent a flourish on the piano.
More examples of Graphic Notation:
A giggling sound from “Hartline #6”.
Using Graphic Notation for Voice
Score from “Knock 10” for Voice and Drums, inspired by the incessant
knocking of the neighbor downstairs.
Knock 10 Uses Graphic Notation
MELODY
This exercise uses poetry to work on melodic composition.

1. Select a favorite poem or several lines from a favorite book
2. With your voice, sing a simple melody to the lines
3. Notice the rhythm of your voice
4. Notice if you choose to go up or down at the end of the line
5. Add in dynamics and play with the tempo, like going slow to fast
6. Record the melody
7. Alter the melody to make it happier or sadder, louder or quieter
8. If possible, notate the melody by hand or with a notation program
Lonely Mother's Cry from Libertaria 1

“Lonely Mother’s Cry” from Libertaria: The Virtual Opera was inspired by simple children’s lullabies
and nursery rhymes, with a simple rhythmic scheme and gentle melody. Sometimes the most beautiful
and memorably melodies are birthed in the music of childhood. Hear “Lonely Mother’s Cry” at
Composer Boot Camp: https://sabrinapenayoung.wordpress.com/about/composer-boot-camp-101/
In this exercise you will develop a three note motif through improvisation.
1. Choose a scale
2. Write the notes of the scale on notecards
3. Put the notecards in a hat
4. Select three cards
5. Use the notes on those cards for this exercise (Ex. A, C#, E)
6. Improvise on these three notes with your voice or on your instrument
7. Try to use as many variations as you can to make the line interesting (ex.
Speeding it up, repeating notes, playing a recognizable rhythmic pattern,
adding dynamics)
8. Add in more notes, one at a time, but always keep your motif
recognizable
RHYTHM
In this exercise you will take a familiar melody and experiment with
rhythm.
1. Choose a favorite simple melody or song. Nursery rhymes are good

examples for beginning musicians
2. Sing the line as it is original written
3. Now alter the rhythm of the line (Ex. Sing it slower)
4. Lengthen and shorten the rhythms of words
5. Repeat words or experiment with singing the line backwards
6. Repeat the exercise with other recognizable melodies
In this exercise you will practice recognizing familiar rhythms by clapping

with the radio.
1. Turn on the radio or your music player

2. Select a song with a simple rhythmic style (ex. Pop music). Songs with
strong drumbeats are good for beginners
3. Play the song several times until you can recognize the main rhythm in
the drums, rhythm section, or lead singer/instrumentalist
4. Clap or tap the rhythm
5. Be sure to stay in time with the song
6. Repeat this exercise with several songs in other musical styles (ex. Jazz,
Classical, Latin)
HARMONY
In this exercise you will develop your aural skills and recognizing the
quality of chords.
1. For this exercise you will need a keyboard instrument that can sustain
chords (Ex. Piano, vibraphone)
2. Play a major chord (Ex. C-E-G)
3. Hold the chord down and listen to the quality of the chord
4. What sounds make this chord a Major chord?
5. Play the chord slowly several times, really taking in the sound
6. How does this chord make you feel?
7. Now try a different chord (ex. C- E flat –G)
8. How does the quality of this chord differ from the first chord?
9. Play the second chord several times, very slowly, truly listening to the
difference
10. How does this chord make you feel?
11. Alternate between the first and second chord
12. Experiment with other chords and scales (ex. Whole tone, 7th chords
13. Always listen for how this chord will make you feel
In this exercise you will improvise a song in the key of C.
You may be familiar with Terry Riley’s work “In C”, which is a work for
as many, or as little, instrumentalists as possible, essentially playing a round
on a composition written entirely in the key of C Major. This work, a
minimalist standard, is an excellent example of how composition can be
made of the simplest elements yet still produce a memorable composition.
To listen to Terry Riley’s “In C” go to the Listening List:

1. For this exercise you will need a keyboard instrument (ex. Piano,
marimba)
2. Using only the “white keys”, improvise a short motif on four notes in the
key of C Major
3. Use this motif as the basis of an improvisation only in the key of C
Major (white keys)
4. Be sure to incorporate the entire instrument, from the low notes to the
high
5. Experiment with tempo, dynamics, and rhythm
6. Record your performance
7. If possible, write out the motif by hand or with notation software
Variation:
Group – For a group project, two to four students can share the keyboard.
The first student plays a simple quarter note rhythm in C Major. No more
than four measures is needed. The student repeats their part. The second
student plays straight 8th notes in C Major or can play an improvised melody
over the quarter note rhythm. The student repeats their melody. Keep adding
in students, each playing a repetitive simple rhythm in C Major. Record the
performance and discuss each student’s role in the composition.
Intermediate Students or Ensemble – Download the score for Terry

Riley’s “In C” at:
Have the students practice and/or perform “In C”. For younger students,
select only a few measures from “In C” and teach them the parts by ear.
Discuss how each part fits in the composition.
Harmonic Alteration – Create a new short composition using a different

scale like C minor or the whole tone scale. Compose eight measures that can
be repeated. Record and notate the composition. Try to play the piece with
multiple players starting at different places.
In this exercise you will improvise a simple melody over a I-V chord
progression.
1. For this exercise you will need a keyboard instrument (ex. Piano or
vibraphone)
2. Practice playing the I and V chord in the key of C Major
3. Hold down the I chord (or C and E for younger students) and with the
right hand improvise a simple melody in the key of C Major starting on
the note C
4. Move the chord to the V chord (or G and B for younger students)
5. Improvise a short melody starting on the note G
6. As you grow comfortable moving from I to V, play the chord changes
faster
7. Once you are comfortable, try to improvise a single melody over I
and V chord changes
I and V Chords in C Major 1
ORCHESTRATION
If you do not have the recordings already available you can go to the
following website to listen to clips from these works:
https://sabrinapenayoung.wordpress.com/about/composer-boot-camp-101/ .
Under the Listening List section, listen to the following pieces:
Terry Riley “In C”

Jennifer Higdon “Blue Cathedral”
Igor Stravinsky “Rite of Spring”
Debussy “La Mer”
Arnold Schoenberg “Pierrot Lunaire”
Laurie Anderson “Oh Superman”
John Luther Adams “Become Ocean”
George Gershwin “Porgy and Bess”
Tan Dun Score from “Crouching Tiger Hidden Dragon”
John Cage “First Construction”
This list specifically avoids the traditional classical canon as many

individuals are very familiar with the works from the Classical and Romantic
Eras. These works provide a spectrum of styles from minimalism and
Impressionism to electronic. By no means is this list meant to be exhaustive,
but simply an introduction to differing musical styles. These works do not
delve into “popular music” like country music or hip hop, but instead are
works considered to be part of the classical realm, even if they are
electroacoustic, like Laurie Anderson’s “Oh Superman”.
When listening to these songs, listen for the following: Rhythm,
Harmony, Melody, Motifs, Orchestration. Besides the traditional strings,
brass, and woodwinds, listen for choice in percussion instrument or the use of
electronics. Try to identify the different instruments that you hear. Part of
being a masterful composer is being able to instantly recall the sounds of
instruments, melodies, and harmonies, rhythms and styles, in your head.
While every composer does research when composing, it is this internal
library that truly marks the difference between a beginner and a seasoned
composer. The seasoned composer knows when a viola will sound better than
a violin, whether a minor or major chord would better serve his or her
musical purposes, or whether an ensemble should be a quartet or entire
symphony orchestra. And this is only learned through years of listening to the
works of other composers. Begin this habit now, and you will be amazed at
how much you will learn simply through listening.
Ask yourself if the music makes you feel any emotion or makes you
think of any particular scene from life. What do you like and dislike
about each work? What would you imitate? What would you avoid if
you were the composer?
Variation:
Advanced Students – Take the time to transcribe the melodies and

harmonic progressions from two works from above that are of different
musical styles.
3. INTERMEDIATE EXERCISES ♬
BEFORE YOU START
These exercises are designed for intermediate students and educators for
intermediate students and are appropriate for high school and college
students, and musicians that have a good grasp of music theory and can read
and write music notation. The skill levels neededs are varied. If an exercise is
difficult or easy, then adapt it to your skill level. Educators can incorporate
these exercises into the classroom. When teaching children, please take into
consideration limited attention span. At this stage that composers should
make a habit of having works performed in front of others. It is imperative
that compositions are performed live as often as possible to develop skill.
INSPIRATION
MELODY
RHYTHM
HARMONY
ORCHESTRATION
Exercises 2: Arrange a Piano Solo for a Vocal Duet
INSPIRATION

In this work you will visit a museum for inspiration. While there are many
amazing visual works available online, I highly recommend visiting the
artwork in person to truly take in the full scope of the artist’s vision. Once
you are home you can use online images to help remember the work.
Younger students may need adult assistance to complete this assignment. The
guiding hand of a parent or teacher can help them better understand the
abstract and aesthetic qualities of visual art and translate these elements into
music.
1. Visit a local museum or art gallery, and bring a notebook

2. Peruse the artwork over the period of at least thirty minutes
3. Choose one piece like a painting or sculpture that you enjoy
4. Write feelings, thoughts, and memories that the artwork conveys
5. Close your eyes
6. Envision a melody in your head or hum a melody quietly that relates to
the art
7. Try to remember this melody
8. When you are again near an instrument (or can sing freely) then
compose a short composition based on the melody
9. Perform the composition for an audience, whether it is for your teacher,
your friends and family, or at a recital
Art can inspire Music

Composer Modest Mussorgsky wrote a famous piano composition, later

orchestrated by Maurice Ravel, based on a series of visual works that the
Russian Composer saw by artist Viktor Hartmann. The ten movements each
correspond to a different work by the artist. You can listen to this work at
home or go to the website Listening List to hear the music:
https://sabrinapenayoung.wordpress.com/about/composer-boot-camp-101/.
Listen to the Mussorgsky’s “Pictures at an Exhibition”.

How does the melody and musical movement relate to the visual
works?
How does the “Great Gate of Kiev” reveal pomp and circumstance in
the music?
Listen to “The Catacombs”. What makes this movement somber and
grave?
Listen to the “Ballet of Unhatched Chicks in their Shells” and hear
how he uses rhythm, dynamics, and melody to reflect the sound of
little birds
What elements would you use in your own music? Which would you
avoid?
How does Ravel’s orchestration impact the piece, which was
originally written for piano?
MELODY
In this exercise you will experiment with writing a melody in a number of

styles.
1. Develop a short melody of six to ten notes for piano or voice

2. Notate the melody by hand or with a music notation program
3. If possible, add in a basic bass line or piano accompaniment
4. Staying generally with the same original notes, rewrite the melody in a
variety of styles like jazz, waltz, etc. Change the accompaniment as
well if you added it earlier.
5. What do you do to change the melody? How did the different style
affect its melodic line, rhythm, harmony, and movement? What
changed? What stayed the same?
In this exercise you will experiment with a variety of compositional tools

based on serialism to help you manipulate the melody in a variety of ways.
1. Begin with a simple melody (C-D-A-G)
2. Notate the melody
3. Reverse the melody (G-A-D-C)
4. Play or sing the new melody
5. Combine the original melody with the inverse into one continuous
melodic line (C-D-A-G-A-D-C)
6. Play or sing this longer melody
Variation:
Advanced Students – Take the melody and write a duet, using the original
melody for the first instrument or voice and variations on the melody for the
second. As you are composing, try to develop a simple harmonic structure
using I-IV-V or another chord progression underneath the variations.
Experiment with retrograde and inverted versions of the melody.
In this exercise you will experiment with taking a single melody and
altering its rhythm through simple compositional practices.
1. Compose a melody
2. Notate the melody by hand or with notation software
3. Alter the initial melodic rhythm by doubling the length of each note (ex.
A quarter note becomes a half note)
4. Notate the new melody
5. Play or sing the original melody followed by the altered melody
6. Take the original melody and alter the rhythmic notation by halving the
length of each note (ex. A quarter note becomes an eighth note)
7. Play or sing the reduced melody
8. Go back to the original melody and alternate between halving, doubling,
or keeping the length the same while rewriting the melody (ex. Note 1 is
doubled, Note 2 stays the same, Note 3 is halved)
9. Play or sing the new melodic rhythm
10. How does the change in rhythm change the melody? If you are
singing the melody, how can changing the rhythm affect the vocalist?
In this exercise you will compose a work using an improvised five note
motif.
1. For this exercise you will need a keyboard or instrument

2. Write a short motif using five notes
3. Memorize the motif
4. Using the motif as a base, improvise on the motif for at least twenty to
thirty minutes
5. You may find closing your eyes and playing helpful
6. Record your improvisation
7. After improvising for thirty minutes, start to develop your composition
through playing
8. Record your efforts
9. Notate a short composition two minutes in length based on your
improvisation
10. Finalize the score
11. Arrange a live performance of the work, either with friends, in class,
or in recital
12. Record the work
13. Critique the success of the composition. What worked? What did
not work? What did your performer think about the work?
14. Repeat the process using longer motifs
RHYTHM
In this exercise you will write a short solo percussion composition using
non-melodic instruments. You will need access to percussion instruments and
noisemakers. If you do not have access to drums, shakers, and other
percussion instruments, then explore what you have available like pots and
pans, a bottle full of beads, or even clapping. What matters for this piece is
not what you are playing but how you are using the instruments musically.
Up to this point we have not discussed how to notate percussion music.

Unlike melodic percussion that uses the treble or bass clef, the percussion
clef can be used for the percussion ensemble. Typically a percussion chart is
given, as each space or line in the staff represents a different percussion
instrument. For this exercise, write your percussion piece by hand. This will
give you the freedom to use the notation that you want without having to
worry about figuring out how to notate percussion music in a software
programs, which often can be complex and frustrating.
Percussion Symbol Chart - Agape

For Agape for Marimba Quartet a symbol chart lets each performer know how to read the score. Notice
how different sounds are assigned different notes and have alternate notation like triangles, boxes, or
diamonds. There are some standard practices like diamonds typically mean cymbals and lower pitched
instruments are lower on the staff than higher pitched. Full Score:
http://imslp.org/wiki/Agape_(Young,_Sabrina_Pena)
Another note about this exercise: Many composers make the mistake of
assuming that percussionists have multiple hidden limbs capable of playing
any number of instruments simultaneously. While percussionists probably
win the multi-tasking award of the orchestra, be sure to write your piece
logically. In other words, can a percussionist crash hand cymbals and play
triangle at the same time, followed immediately by an intricate tambourine
solo and drum set interlude? Probably not, and I only say probably since as a
percussionist myself, I have played the equivalent of four percussionists’
parts simultaneously by attaching various instruments to my limbs and
waving around like a madwoman. All this to say that it is important to be able
to logically play out your percussion parts. Even if you cannot play the parts
up to speed, please take the time to visualize what the percussionist is going
to do and make sure that it makes sense.
Percussion Symbol Chart - Agape

You can assign your own symbols to the percussion instruments, but be sure to remain consistent.
Typically drums have standard noteheads and are spaced with the lower pitched instruments lower on
the staff (ex. Bass Drum) and higher pitched instruments (ex. Bongos) higher on the staff.
You will be writing a percussion solo, not an ensemble piece. However, a

talented solo percussionist often is able to play the parts of two people by
themselves, as long as it is well-thought out. This first percussion solo should
be playable by you, unless you have access to a percussionist that is willing
to work with you as you compose.
1. Gather each of your instruments

2. Test out the sounds of each instrument
3. Assign each instrument to a line or space on the staff (Ex. The snare
drum is the second space on the staff, the bass drum right below the
staff)
4. Spend time improvising with the instruments
5. Organize the instruments around you as if you were a percussion
soloist. Use music stands or a small folding table to hold hand
instruments. Use cymbal stands for both cymbals and handheld
instruments. Use triangle clips or even large clothespins for hanging
finger cymbals, triangles, and beaded necklaces that jingle. Make sure
that each instrument is easily in reach. You may have to be creative for
sticks and mallets, keeping extras around you in case a mallet falls
6. For this work, you will write a work titled “Running and falling”, in
which you will write a percussion part that imitates “running” and
“falling”
7. Using the instruments available, write a rhythmic part that is fast
moving to represent the “running”. Try to use a variety of instruments
8. Notate the “running” rhythm
9. For the “falling” part, create as loud and boisterous a sound that you can
using the instruments at your disposal, but keep the piece musical. For
example, you may start with a rapid snare solo then move to a large
gong hit, ending with a triangle hit
10. Notate the composition by hand, being sure that you are consistent
in the percussion notation
11. Once completed, perform “Running and Falling”, even if you have
to play it at a slower speed
12. Record your performance
13. If possible, hand the piece off to a percussionist and ask them to
play the work
14. Ask them for insight on your composition. What was challenging?
What was easy? What made sense? Do they have any suggestions for
further pieces?
Azulake for Percussion Ensemble

In Azulake, I wrote a short percussion ensemble work based on Afro-Cuban rhythms and sounds. In this
example you can see that several different instruments were used, some pitched and some unpitched.
While standard notation was used for some of the instruments, I gave short notes like “Floor Tom” to
add ease for the percussionists. Download full score:
http://imslp.org/wiki/Azulake_(Young,_Sabrina_Pena)
In this exercise you will practice dictating rhythms. Learning how to

dictate melody, rhythm, and harmony are key skills. Most composers have an
area of weakness, usually dependent on what their primary instrument is. For
example, composers who are vocalists may struggle with rhythmic dictation
while a percussionist may struggle with harmony. For this exercise you will
need to work with a partner. You may write the notation by hand or use a
computer. All of these examples are from the percussion trio Journey. You
can practice more rhythms from this work. Download from the Petrucci
Library: http://imslp.org/wiki/Journey_(Young,_Sabrina_Pena).
1. Your partner tells you the time signature and counts off two measures
before playing the example
2. Write down the rhythm that you heard by hand
3. Check your rhythm against the notation
6/8 Time Signature Example 1

Variation:
Improvise with a partner – Take turns with a partner, each of you creating
your own rhythm. Your partner plays a rhythm, then you notate it, and vice
versa. Start with shorter rhythms and as you progress, develop longer and
more complicated rhythms. Record your improvisations to double-check the
rhythms
HARMONY
In this exercise you will practice improvising a melody over a simple I-IV-
V progression.
1. Develop a simple repeating eight bar chord progression using I-IV-V.
You may use the C Major Scale, but it is recommended that you start
experimenting with different scales that have varied sharps and flats in
the key
2. Practice playing the chord progression
3. Sing a simple melody over the chord progression on the syllable “La”.
Listen if you are in tune and what natural movements you are making as
you sing
4. Play a simple melody over the chord progression. Be sure that your
melody is leading to the next chord and that any non-chord tones work
with the overall harmonic progression
5. Improvise with your voice and/or instrument over the chord progression
for at least thirty minutes. This may seem like a long time, but in an era
of instantaneous melodies created by a computer or app, it is imperative
that composers realize that writing music takes time. You may soon find
that once you become comfortable improvising and composing music,
that thirty minutes is nowhere near enough time for your musical
expression
6. Notate your melody
7. Now adapt the chord progression to the melody by altering rhythm,
adding in rests, and trying a familiar pattern like a waltz, march, or
tango in the left hand
8. If you chose a vocal line, add in lyrics that work with your melody.
Composers both need to know how to write a melody to a lyric and
write a lyric to a melody, and this is good practice
9. Once you are comfortable with the melody, repeat the exercise
again in the relative minor scale
Exercise 2: Improvise in the Key of A Minor
In this exercise you will practice improvising harmonic progressions in the

key of A Minor. I have found that one of the primary reasons that individuals
do not pursue composition is because they “don't know what to write”. For
this reason, I encourage continued improvisation on a regular basis, along
with listening to various musical styles, in order to overcome this obstacle.
Creating music is really not that difficult, what is difficult is finding a way to
write it so it can be easily executable by a performer.
1. Develop a twenty bar chord progression in A minor, following

traditional harmony
2. Improvise on this chord progression, altering rhythm, tempo, dynamics,
feel, and musical style
3. Memorize the chord progression
4. Once the chord progression is committed to memory and you can play it
in any number of ways, then begin improvising a melody over the chord
progression
5. Develop harmony to your melody
6. Notate the results
7. Add in articulations, dynamics, musical style notes, etc.
8. Hand the score to another performer and listen to their performance
9. Make revisions
10. Rewrite the piece for a different instrument
11. Hand this arrangement to a performer
12. Make revisions as needed
In this exercise you will practice writing a song in two different keys and
practice transitioning from one key to another. If you have not had a chance
to study modulation, I highly recommend taking the time to work on this
skill. The transition from one key to another is one of the most difficult parts
of composition because a poor transition leaves the listener feeling jarred and
robbed in some way. There are many, many ways to transition from one key
to the other. This is one of the simpler ways.
Sample Chord Progression
1. For this exercise you will use a chord progression that progresses from
one key to another (ex. C-F-G-C-D-G)
2. Practice the chord progression
3. Memorize the chord progression
4. Using the chords as a guide, develop a melody that goes from C Major
solidly to G Major
5. Adjust rhythms, tempo, and articulations to smooth over the transition
6. Notate the exercise
7. Watch for errors like moving from one key to another too abruptly,
mistakes in the harmony, and awkward transitions
8. Once you are happy with the piece, have another musician play the
composition
9. Make revisions as needed until the transitions are smooth and
natural
ORCHESTRATION
In this exercise you will be listening to global music and paying attention
to key musical aspects of each global style. Examples are available at:
1. Collect ten samples from global music. Some examples may be: West
African drumming, traditional Japanese music, salsa music, jazz, blues,
classical Indian music, Native America chant, Australian aborigine
chant, music of Latin America, traditional Celtic music, German
electroacoustic music, K-Pop, sacred chant, etc.
2. Pull out a notebook and make five columns: Melody, Rhythm,
Harmony, Orchestration, Style
3. For each example, write down at least three characteristics in each
column. For example, you may write “polyrhythmic” for a sample of
drumming from Ghana or “synthesized” under orchestration for an
electronic piece
4. Choose eight characteristics from the entire sheet
5. Write a short forty bar musical etude that incorporates all eight
characteristics. Remember this is an exercise, not necessarily a
composition, but it will help you think outside the traditional
6. Repeat this exercise on a weekly. Reach out to international
musicians online to keep abreast of the latest musical trends around
the globe
Moronobu utsushi torioi zu print

Library of Congress, Public Domain
Exercises 2: Arrange a Vocal duet for Piano
In this exercise you will arrange a simple vocal duet for piano. For this
exercise you will need to download a duet from the classical canon. It is
recommended that you find a public domain work, which may be available
through the online Petrucci Library and other sources. Find a simple work
that is simple in style for a vocal duet without accompaniment. Writing works
that are “idiomatic” (or a work that is perfectly written for the instrument or
voice) is a key skill. One way to work on this skill is to practice arranging a
piece for one instrument or voice to another, and making the necessary
changes to adjust to the new instrument.
1. Listen to a recording of the duet

2. Play the duet on the piano
3. Listen for important pauses and moments in the piece
4. As a preliminary sketch, write the higher voice in the right hand and the
lower voice in the left hand
5. Adjust the octaves to reflect the piano's broad range. For example, you
may choose to start the melody in the right hand very high, then drop it
down an octave on the second pass. Try to mimic the original
composer's intention in terms of sections that are meant to be exciting,
pauses, emotional, rubato, etc.
6. Using the notes in the duet as a guide, develop a harmonic progression.
Depending on your training this may be the most difficult or the easiest
part of this exercise for you. If this is simple, then experiment with
altering the obvious progressions. If this is difficult, and you chose a
work that generally follows common harmony, then start with simple I-
V chords and then add in additional chords as necessary. If you must
stick to those two chords only, use the notes in the duet as a clue to what
chords are being used. For example, in the key of C Major, the notes C
and E in the melody may mean that it is a I chord or it could be the vi
chord. Listening for clear pauses and the overall mood of the piece can
be a key.
7. Once you are comfortable with your chord progression, begin
experimenting with the left hand part, adding in notes and rhythms
based on the chord progression. For example, you may want to alter the
rhythm by adding in a simple waltz or march beat in the left hand, or
might want to hold out full chords, adding in non-chord tones for
variety
8. In the right hand, add in minor flourishes that would be common in a
piano solo like trills or solo runs
9. Add in pedal markings and other articulations in your score
10. Continue developing the duet melodically, rhythmically, and
harmonically until it is a convincing piano piece
11. Play the full score
12. Have a seasoned pianist play your piano arrangement and ask them
for constructive criticism
13. Make revisions according to their suggestions
14. Repeat this exercise on a regular basis, using various vocal
works as a basis for a piano solo

In this exercise you will take a classical piano solo and rewrite it for an
instrumental trio to develop orchestration skills. For this exercise it is
recommended that you be familiar with at least two of the three instruments
in the trio. Composers often write best for their own instrument or voice type,
and by writing for an instrument that you already know, the exercise will be
more fruitful. Once again it is recommended that you find a public domain
work or a relatively simple work. You might want to use a Broadway
songbook for this exercise as an alternative. It is recommended, however that
you avoid using a pop music book for this exercise as pop music is often very
simplistic. However, a pop piece may be useful for younger students or
beginners. This exercise also makes use of visualization techniques that many
composers use. For your instrumentation, you can choose. For example, you
may want to write a percussion trio for marimba, vibes, and timpani, or write
a string trio with violin, viola, and cello. You can mix up instrument families
like a flute, marimba, and cello trio. The online Petrucci Music Library has
many public domain works: http://imslp.org/wiki/Main_Page
1. Listen to a recording of the original piano work

2. Play through the piano work, if possible
3. Close your eyes and play through the song in your head
4. Now imagine the main melody being played by a different instrument
like a flute or guitar. This may be difficult for you the first time. If you
find that you cannot readily bring up the correct sound for an instrument
in your head, then take the time to listen to several recordings of that
instrument before proceeding
5. Close your eyes and imagine what the accompaniment will sound like in
another instrument of your choice, like a bass or trombone
6. Select the three instruments for your trio. In any combination, you
generally will want a “melodic” higher pitched instrument, a mid-range
instrument, and an instrument that will play the lower parts and
accompaniment. While it is common to switch roles in a piece, for this
exercise, keeping to these general parts will simplify the exercise's
execution
7. In your initial composition sketches, notate the piano right hand melodic
part in the highest instrument (ex. Flute or violin) and the piano left
hand part in the lowest pitched instrument (ex. Tuba or marimba)
8. At this point, you will probably find out that not all notes played on the
piano can be played on your instrument. For example, a chord can be
played on a vibraphone but not on a clarinet. Circle these parts
9. Choose which circled parts you wish to keep in and assign these to the
midrange instrument. For example, if the low trombone is holding out a
note and you want to hear the chord, then have the midrange instrument
(ex. Clarinet) play another note in the chord or do a series of
arpeggiations based on the harmonic structure
10. Check the range of your sketches thus far. Do the melody,
accompaniment, etc. fall within the logical range of the instrument?
Check an orchestration book like Samuel Adler's to check your work.
You may have to change octaves, clefs, or key signatures to better
reflect the instrumental trio
11. Will the notes fall on the most pleasing ranges for the instruments?
For example, you don't want to write a line over the clarinet's natural
break or write a soft melody so high the flute sounds like a dying bird
12. Is the music idiomatic? Does the melodic line look like it needs to
be played on piano or have you adapted it for the trumpet well enough
that it looks like a trumpet part?
13. Add in articulations, expression, dynamics, tempo markings, etc.
14. If possible, have a trio of performers play your work. If this is not
available, repeat the exercise again and write the new piece for
performers you know
15. Show the individual parts to performers to check for accuracy. For
example, have your percussion part looked at by a percussionist, or have
a tuba player check your brass parts
16. If this exercise was too difficult for you, pick up an orchestration
book or take an orchestration or band arrangement course and learn the
basics of orchestration
4. ADVANCED EXERCISES ♬
BEFORE YOU START
These exercises are designed for advanced composition students, educators

with a very good understanding of music theory, and professionals. These
exercises are appropriate for songwriters, arrangers, and other creative music
professionals that have some understanding of one aspect of composition but
need to develop other skills. These exercises are best for college age students
and adults, or with teenagers who have been composing for a few. Most of
exercises can be repeated with different parameters. The musician should be
able to can play intermediate piano, sing, and notate a full score.
INSPIRATION:
Exercise 1: Random Word Choral Piece SATB
MELODY
RHYTHM
Exercise 1: Develop Melodic Rhythm Through Poetry
HARMONY
Exercise 1: Borrow from Beethoven
ORCHESTRATION
Exercise 1: Orchestrate Out of a Hat
Exercise 2: Arrange in 3 Ways
Exercise 3: Musical Styles 3 Ways
INSPIRATION
Exercise 1: Random Word Choral Piece SATB
In this exercise you will write an entire choral arrangement based on a

random text. This exercise is partially adapted and inspired by an exercise
that my composition professor Paul Reller required of all of his students. My
work ended up being about nuclear fusion and atomic energy, straight out of
a textbook. And no, this work was never performed in concert though you are
welcome to look it up and download it under the title of “Rellerisms”. The
merit of this exercise is forcing the composer to write a musical work off of a
text that truly means nothing to them. It is easy to write a song from a love
poem or common text like a biblical text. This forces the composer to deal
with strictly musical elements, trying to find a satisfying way to execute a
successful composition without the benefit of incredibly meaningful text. Of
course, there is the off chance that the book you randomly select is
Shakespeare, but I would encourage you to find a very difficult text to set for
this exercise.
1. Go to your local library
2. Go to the adult nonfiction book section
3. Spin three times
4. Walk straight ahead towards a book shelf, finger pointed out
5. The first book that your finger touches will have your text for this piece
6. Turn to a page that is a multiple of 3 (you may choose which page)
7. Photocopy that page
8. This page is your text for this exercise
9. Notate the logical vocal rhythm for this text
10. Develop a melody
11. Make musical decisions like which part should be the chorus, which
parts are best sung by a secondary voice, etc.
12. Work out your harmonic structure
13. Compose an entire work for unaccompanied SATB based on this
text
14. If possible, have a choir read through your work
15. Ask for suggestions
16. Revise as necessary
First line of Rellerisms
In this exercise you will write a work entirely based on a random postcard.
You will need a box of postcards for this project. If you do not have
postcards, photographs or even printed images from the Internet or cut-up
magazines will do. The point is to have variety and to have randomness.
1. Select a postcard
2. Write a short work for voice and piano based on the postcard
3. Select two more postcards and create a musical suite with the three
postcards
4. For additional difficulty, change the instrumentation to string quarter or
full orchestra or choir
5. Treat this piece like a composition for performance
6. Have an ensemble read through the piece and arrange for a live
performance of your “Postcard Suite”
Pagoda - Courtesy Library of Congress, Public Domain
MELODY
In this exercise you will use techniques from serialism to create a new
string quartet composition. If you are not familiar with serialism, I encourage
you to pick up a book like the Kamien music theory book or look online for
resources on atonal music. While the purest forms of atonal music are not
commonly used today, the techniques to manipulate not only melody, but
rhythm and dynamics, still find their way into contemporary compositions. If
you do not know how to create a matrix for this exercise in serialism, there
are a number of websites and apps that will construct one for you that you
may use. As of the writing of this workbook, you can access a matrix
calculator at [http://www.musictheory.net/calculators/matrix]. It is beyond
the scope of this workbook to cover serialism and tone rows adequately
enough to complete this exercise.
It is important that you have live performers play through your work.
While any composition can be played back by Finale or Logic, or any other
software program, the computer does not reflect what an actual performer
does. It is much like expecting a hot dog to taste like a steak. So take the time
to arrange for a reading or performance of your work. You may also choose
to pay a quartet to record the work via online collaboration, but you will learn
much by sitting in actual rehearsals with the musicians. A performance need
not be at a concert hall. You may arrange for a performance at a school,
church, or even as a “guerrilla” event that takes place in a public space. Video
streaming has become a popular mode of performance, and though not as
effective as a live performance, you can still get feedback on your work.
1. Construct a matrix with notes to develop your melodic material. You

may construct it from scratch or use an online matrix generator
2. Select four rows (ex. P7, RI8, I4, R11)
3. Assign each row to a different member of the string quartet (ex.
Violin I plays P7)
4. Using strict serialism (no variation from the tone row at all),
compose a short string quartet composition
5. Keep in mind musical movement, melody, emotion, dynamics, and
rhythm
6. You may use varied rhythms for the piece (ex. The Cello plays RI8 at
half speed to the Violin II’s part)
7. Be sure to use correct articulations and utilize the entire range of the
string instrument
8. Arrange for a reading of your string quartet by live performers
9. Ask for suggestions
10. Listen for elements that were successful and those that were not
11. Make revisions
12. Arrange for a live performance of your work
Sample Matrix - MusicTheory.net
In this exercise you will improvise a simple song for voice and piano using
a tone row. You may use the tone row from the previous exercise or develop
an entirely new tone row. The point of this exercise is to learn how to take
difficult melodic material and making it still singable and playable by
performers. Often we fall into the same melodic patterns, and by
experimenting with much more difficult material than we typically hear, say,
on the radio or even in the average classical recital, we can develop the other
skills needed to develop a good song and melody.
1. Write a simple tone melody based on your tone row

2. Set a poem to the melody
3. Work on the tone row, slightly altering tones, dynamics, rhythm,
expression, articulation, etc. until you have created a solid melody
that is singable
4. Write a short accompaniment part. You may choose what
instrument should accompany the vocalist
5. Sing the melody that you have created
6. Pluck out the accompaniment on a piano, if needed, as you
compose
7. Have performers read through your composition
8. Ask for insight and help in making this type of difficult melodic
line more singable and manageable
9. Make revisions as necessary
10. Arrange for a performance of your work
RHYTHM
Exercise 1: Develop Natural Melodic Rhythm Through Poetry
In this exercise you will work on notating a rhythm based on a simple

poem. Younger students can do this exercise with nursery rhymes instead of a
poem.
1. Read the poem out loud and record your voice

2. Dictate the natural rhythm of the words
3. Read over your natural rhythm several times, correcting as necessary
4. Write a melody to your poem
5. Develop the melody into a short vocal work
6. Create a second version of the melody, altering the natural rhythm to
make a more singable line
7. Bring both versions to a singer
8. Have the singer read through your two solos
9. Discuss which lines were more singable
10. Revise as needed
11. Rewrite the poem into a solo work
12. Have the work performed
Wenye Masikio from Creation Oratorio

For the Creation, I used biblical texts in English, Swahili, and Spanish. This excerpt followed the
natural rhythm of the words in Swahili. Download the full score and study the vocal rhythms:
http://imslp.org/wiki/Creation_Oratorio_(Young,_Sabrina_Pena)
Lonely Mother's Cry from Libertaria

In this example, the natural rhythm is changed for a more melodic rhythm. Download the score:
http://imslp.org/wiki/Libertaria_(Young,_Sabrina_Pena)
In this exercise you will practice writing a short percussion work that uses
polyrhythms. Listen to works from West African music and some classical
Indian music with tabla, to explore some of the ways that global cultures
explore rhythm.
1. For this work you will write for three drummers

2. You may use notation software
3. Write a work 30 bars in 4/4 time and using a percussion clef
4. For Drum 1, use quarters, 8th notes, and 16th notes
5. For Drum 2, use triplets, quarter notes, and half notes
6. For Drum 3, use triplets, sixtuplets, quarter notes, and eighth notes
7. Add a repeat at the end of the work
8. Play through each line yourself
9. Add in dynamics, tempo changes, and make orchestral decisions like
adding in solo parts, “dueling” moments, excitement and pause.
10. Listen to playback on your computer and/or have live performers
play through your work
11. Listen carefully to the interplay between specific polyrhythms
like triplets against 16ths or eighth notes against triplets
Azulake for Percussion Ensemble
In this work you can hear an interplay between duple and triple rhythms, even odd-numbered figures
like quintuplets. Review the entire score: http://imslp.org/wiki/Azulake_(Young,_Sabrina_Pena)
In this exercise you will practice dictating the global rhythms. The
emphasis on global music is important because our world is increasingly
becoming international. Even the most remote places on this earth can
communicate and share their music with the world. Because of this, much of
the “popular” music or even popular classical music that we hear which
keeps to standard rhythms do not do justice to the wide plethora of rhythms
used throughout the world. A composer that wishes to remain competitive
and marketable in this climate needs to be able to not only write in a variety
of rhythmic styles, but must be able to incorporate this into their music to
increase complexity and musical variation. As a percussionist and composer,
I have found that many music schools do not place a massive emphasis on
rhythm, instead focusing on harmony and melody. I encourage composers,
songwriters, arrangers, and performers to explore complex rhythms. It is
quite a beautiful language.
1. For this exercise you will need three recordings of rhythmically

complex music from other countries (ex. Afro-Cuban drumming,
salsa music, Indian tabla music, Taiko drumming, complex jazz
music, percussion ensemble music)
2. Select the first recording. Listen to the entire recording several times
3. Select thirty seconds of the recording
4. Dictate every rhythm in those thirty seconds (ex. Piano part, drum
part, cowbell part)
5. Play back the rhythms
6. Revise as needed
7. Repeat for the other two recordings
8. Using these rhythms, write a short piano piece
9. Play through the piano piece or have a performer play the music
Courtesy Library of Congress, Public Domain
HARMONY
Exercise 1: Borrow from Beethoven
In this exercise you will borrow the harmonic progressions from classical
composers to develop a short composition. It is recommended that for the
first time that you complete this exercise that you use a work from the
Baroque or Classical periods. If you are comfortable with harmony, the
explore works from the later periods like the 1800s or early 20th century, or
even contemporary works. The reason I recommend earlier works is because
more modern works tend to stray from traditional tonal harmony and may be
more difficult to analyze. While this exercise includes the use of the score,
those with excellent ear training skills may not need a copy of the score,
instead choosing to figure out the harmonies by ear.
1. Select a classical work that has a well-defined harmonic progression

like a work from Bach or Beethoven and print a copy of the score
2. Analyze the first section of the work and write down the chords
3. Using these chords, write a short piano composition
4. Listen to how the chords naturally move from one note to the other
5. Develop a strong melody that clearly is in line with the tonal structure
6. Play through your work
7. Rearrange this work for voice
8. Have performers sing through this work
9. Listen to the difference between instrumentalists and vocalists
In this exercise you will transcribe a short excerpt from Stravinsky’s “Rite
of Spring”. This was a project that I was given in my orchestration class,
given by Hilton Jones who studied under Samuel Adler. Each student was
assigned a work based on their compositional style and skill level, and I was
given Stravinsky. This is a more trying exercise, but it is important that
composers learn how to dissect full orchestral scores to their bare minimum.
This way they can take their own music and develop any sort of musical
orchestration possible from a piano sketch and vice versa. This is an excellent
way to truly learn how to pick out the melody, harmony, accompaniment, and
rhythm of a work. Intermediate students can start with the earlier works of
Mozart or other simpler compositions. It is recommended that you repeat this
exercise periodically with various composers from the 20th and 21st century.
Many music schools end their instruction on music history, music analysis,
etc. at the 1930s. Because of this, it is highly recommended that the advanced
composition student and professional composer explore works of the last
century on a regular basis to keep their own work current.
1. Find a recording and score of Stravinsky’s “Rite of Spring”
2. Select thirty seconds or ten measures (whichever is shorter) from
Stravinsky’s “Rite of Spring”
3. Listen to excerpt over and over again
4. Listen for the different instruments, the melody, the harmonies, the
rhythms
5. Dictate each part for piano, being sure to pull out the most memorable
sections
6. After dictating the entire excerpt, check for inaccuracies and play back
the section
7. Add in articulations
8. Adjust the work as needed to make it playable by a single pianist
9. Play through your transcription
10. Take your transcription to another pianist and have them play
through it
11. Discuss how the work can be improved
13. Repeat with other 20th century and 21st century composers
In this exercise you will explore jazz chord progressions. While you can
develop your own chord progressions, you may also borrow from more
popular chord progressions like (Dm7–G7–CMAJ7–C6) and other
progressions. Use a jazz guitar chord progressions website or guide to help.
This is a good exercise for those who don’t often write for jazz. Experienced
jazz composers can move on to other exercises or take this same exercise but
write for string quartet instead of a jazz ensemble.
1. Using a jazz guitar chord progressions chart as a guide, create a twenty

bar chord progression
2. Score for a small jazz ensemble – Piano, bass, guitar, rhythm
3. Using the chord progression, write out a basic syncopated bass line
using the tonic of the chords
4. Use this bass line as a basis for the left hand piano work
5. Write out a simple melodic line for the guitar using the chord
progression. Improvisation on guitar is great here, if you can play. If
not, then write out an idiomatic part for the guitar
6. Add in “comp” chords for the piano
7. Mark in rhythm parts with standard slash and rhythm notation
8. Add in articulations
9. While your chords should direct your notes in your melody, avoid
writing something too simple or “stiff”
10. Write out the separate parts
11. Hand it off to a live band
12. Talk about how this score works and doesn’t work for the ensemble
14. Bring it back to the ensemble, and this time encourage improve over
the basic lines that you wrote
15. Record the session
16. Use the improvisations in the session as inspiration for a new
variation on the jazz piece
17. Repeat the exercise with longer and more complicated chord
progressions
ORCHESTRATION
Exercise 1: Orchestrate Out of a Hat
In this exercise you will write for an ensemble of randomly selected

instruments to work on orchestration. For this exercise, it is acceptable to use
a piano work that you have written before. Intermediate Composers can use a
work from a classical composer. When selecting your instruments and vocal
parts, try to select those that you would be able to have performed live. While
it may seem that there is emphasis on live performers and getting together
live ensembles, this is part of a composer’s job – to organize rehearsals of
their works, revise their music, and supervise or conduct rehearsals.
1. Write a short work for piano or take a previous work for piano that you
have written
2. Select a dozen instruments and/or vocal parts and write each one on a
card (ex. “bass trombone” or “soprano”)
3. Put all the cards in a hat or box
4. Select five random cards
5. Orchestrate your piano work for this ensemble
6. Have the work read by a live ensemble
8. Repeat the process with more or less cards (ex. A trio or full ten part
ensemble)
Exercise 2: Arrange in 3 Ways
In this exercise you will arrange a composition in for three different

musical ensembles. For this exercise you may use a piano composition you
have written in the past. For Intermediate composers, it is acceptable to use a
classical composer’s composition. Piano music is ideal for this type of
exercise because piano parts include melodic, harmonic, and rhythmic
material, therefore giving the composer all that he or she needs to write a
good orchestration.
1. Play through your piano composition

2. Select three entirely different musical ensembles that would be ideal for
this piece (ex. Jazz band, string quartet, SATB oratorio chorus, flute
solo, etc.)
3. Write the work for at least two players
4. Arrange the piano composition for the three different ensembles
5. Have a live ensemble play through your work
7. Repeat with other works
Exercise 3: Musical Styles 3 Ways
In this exercise you will arrange a composition in three different musical

styles or forms. For Intermediate composers, it is acceptable to use a classical
composer’s composition..
1. Play through your piano composition

2. Select three entirely different styles or forms of music that would be
ideal for this piece (ex. Tango, jazz, waltz, oratorio, full orchestral
symphonic, electronica, holiday, etc.)
3. Write the work for at least four players
4. Arrange the piano composition for the three different styles of music
5. Have a live ensemble play through your work
Imperial Ladies Orchestra 1

5. TECHNOLOGY
BEFORE YOU START
Unlike the other exercises in this book especially designed by level, these
exercises are meant to give you a basic understanding of how to write for
music and media or electronic music. In the 21st century, learning how to
write for media like film or video is an important practical skill. A composer
is more likely today to be hired to write a jingle for a company than to write a
string quartet. There are myriads of opportunities for composers that can
“compose on demand”, or write music based on what a filmmaker, project
director, company, or marketing expert needs.
While this seems less “inspirational” than writing purely for aesthetic
pleasure, the ability to compose, write lyrics or songs, orchestrate, or arrange
on demand makes a composer marketable. For this reason this section is
included. For these exercises, use of a digital audio workstation like ProTools
or Logic is acceptable and even preferred, as this is the technology that a
composer will use today. If you do not have access to software like ProTools
or even Finale, then continue with these exercises with traditional
handwritten notation. Save the best of these exercises for your private
portfolio.
INSPIRATION:
Exercise 1: Write to an Image
MELODY
Exercise 1: Develop Melodies to Commercials
Exercise 2: Film Themes to Youtube
RHYTHM
Exercise 1: Transcribe an Action Film Score
HARMONY
Exercise 1: Keyboard Chord Improv in Front of the TV
Exercise 2: Different Chords Under TV Shows
ORCHESTRATION
Exercise 1: Compose a Score to Your Favorite Films
INSPIRATION
Exercise 1: Write to an Image

In this exercise you will use random images as inspiration for a short
symphonic work. You may use any images from the Internet or from media
like TV or film for this piece. You will select images that have people in a
scene of some kind, for example, a funeral, wedding, lover’s quarrel, or
family picnic. You will use this image as inspiration for a work that
emphasizes the dramatic elements in the scene. This is an ideal exercise for
those wishing to write music for film/video or video games.
1. Select an image of a dramatic scene that includes at least one

character exhibiting a clear emotion (ex. Wedding, goodbye scene,
historical scene)
2. Write a short melody that conveys the emotions behind the scene
3. Write a short piano composition that conveys the emotions in the
work and tells a story through music
4. Arrange this work for full orchestra and use the playback function to
make a recording in your software program or arrange for a live
ensemble to perform the work
5. Play the piece or recording for a small audience without showing the
original image
6. Ask them what emotions and thoughts that your work evokes
7. Show them the image and play the work again with the image
8. Discuss how the image and music do or don’t work together
9. Repeat the exercise periodically, using different emotions
The Last Days of Pompeii Film

MELODY
Exercise 1: Develop Melodies to Commercials
In this exercise you will be writing simple melodies and “jingles” to

favorite commercials. It is recommended that you select local or little
known commercials that do not already have famous jingles. For example,
avoid McDonald’s commercials and other large chains that have jingles
that you will simply copy subconsciously. When developing the jingles
you may choose to sometimes include words and sometimes not.
Remember this is not about creating a masterwork, but creating almost a
miniature that by itself is so incredibly catchy that it borders on
nauseatingly annoying.
1. Select three commercials for this exercise. Be sure each is uniquely

different than the other
2. With the volume turned off, watch the commercial several times
3. Make notes about the product and any interesting characteristics. For
example, a restaurant may serve pizza and appeal to families or a
shoe store might be situated near a notable historical location
4. Use all this information to develop a short little melody that fits the
commercial and is memorable
5. Optionally, you may choose to add lyrics to the commercial jingle
6. Write the score for this jingle, being sure to sync it perfectly to the
commercial. This may be easier to accomplish using software,
although it is recommended that you write a handwritten score for at
least one of these commercials
7. Share your new jingle with fellow musicians and get their feedback.
Share with friends and family as well, or total strangers. The online
community may be best for giving you an honest opinion of your
efforts
8. Listen to any criticism, even that which you do not agree with, and
revise
9. Repeat this exercise until you are comfortable writing a jingle.
If you plan on writing jingles for a living, you may wish to create
professional quality recordings for this exercises as samples for
prospective clients
Exercise 2: Film Themes to Youtube
In this exercise you will develop a melody that will serve as a theme for an
independent film on Youtube or other online video hosting website or
service. Like the jingles exercise, it is best that you write a theme for a
little known indie short film as opposed to a notable one. By doing this,
you are not allowing yourself to be influenced by the genius of another and
instead have to rely on your own musical talent.
1. Choose a famous film genre: sci-fi, drama, suspense, film noire,

animated, action, romance, documentary, historical, horror, children’s,
etc.
2. Select an independent short film in that genre via video hosting website
like Youtube. You may download the film or simply sync via your
electronic devices
3. Be sure to follow some of the notable musical tropes of the film genre.
For example, mystery/suspense usually is in a minor key, film noire is
notable for historical jazz scores, and science fiction uses synthesizers.
While you may want to try something different for these genres, for this
exercise you need to practice what is known to work for these films
before experimentation
4. You will want to write a melody that can serve as the Main Title of the
film (usually the music that goes with the opening credits, commercials,
trailers, etc. and is associated with the film)
5. Develop a memorable and appropriate melody for the film
6. Sync your melody to the opening credits and at least a few scenes to see
if it fits, even if you have to alter the melody slightly to fit the scene.
Think of this as a motif that laces through your score
7. Does the melody accomplish its task of supporting the visuals?
8. Does your melody distract or seem inappropriate somehow?
9. Does your melody fit the movement and the action?
10. Does it have room to grow for a rousing climactic scene?
11. Share your melody, with the synced film, with other musicians and
get their opinion
12. Respect any criticisms and suggestions
14. Orchestrate at least five minutes of the film. If it is a short film, then
orchestrate the entire film score
15. Make sure the entire film is synced correctly
16. While you can accomplish this quickly via software, practice
writing a handwritten score synced up with timecode at least a few
times to learn how to do this properly
17. Share your finished product with friends
18. Believe it or not, many indie filmmakers will appreciate this type of
“fan art” and you might want to contact them privately about your
project. They may allow you to share it online or even use it as part of
their promotion, or this may serve as a calling card the next time they
need to hire a film composer
19. Repeat the exercise with different genres
20. Connect with local filmmakers and start writing film scores
RHYTHM
Exercise 1: Transcribe an Action Film Score
In this exercise you will create a rhythmic score for an action film
sequence. Like the other exercises, I highly recommend writing to a little
know film with a compelling action sequence to avoid copying a well-
known soundtrack (ex. The Kung Fu scenes in the Matrix have a very
notable soundtrack). The sequence can be martial arts, a car chase, a fight
scene, etc. Keep the sequence to a few minutes, as the writing can be quite
intense for this type of project.
You will learn how to log in this exercise. You will make notes using the
timecode of the film. For example, at 01:12:03:19 (1 hour, 12 minutes, 3
seconds, and 19 frames) the lead character smashes the jaw of her rival
combatant. Traditional film was at 24 frames per second (24 images flash
by your eyes each second), NTSC was at 29.97 frames per second (usually
rounded to 30), but today there are many, many frame rates. I stick with
the NTSC rate for my personal projects and most films you find online
will be at this standard video rate. However, when working with a
filmmaker, be sure that when you receive the copy for syncing that your
frame rate is accurate, and that there are no “dropped frames”, a computer
glitch that can make syncing a nightmare. For this project, 30 frames per
second should suffice in your logging.
1. Select a short action sequence from an indie film

2. Watch the film several times
3. Write down, or log, each important hit, kick, crash, or action to the
frame. You will not need to sync your music to each action, but if the
actions are in rapid succession, then you will find that your tempo and
rhythm must correspond
4. Write out rhythms that will match the tempo of the action. You may
rapidly find that standard action sequences rely on almost a “dance”
type of beat, with a steady “four on the floor” pulse and rapidly moving
rhythms over this, but try to be creative in your writing. You can
incorporate world rhythms, experiment with polyrhythms, write
asymmetrical rhythms that are not perfectly balanced in terms of time,
or choose to only accentuate major strikes. You might even experiment
with tempo and write a slow rhythm to a fast sequence or vice versa to
see the impact. Experiment with silence, since silence is as important as
rhythm
5. Once you have developed a rhythm that you feel fits the action
perfectly, adapt this rhythm to a simple melodic sequence
6. Orchestrate the entire section. It is easily accomplished with software,
but you may also want to try this by hand just for the experience
7. Watch for moments that you can break the rhythm with silence, or for
sections that may work musically but do not match the action
8. Avoid simply plopping down a drum loop and hoping that it syncs. This
may sound amateur, but it is an easy trap to fall into
9. Work on the score until it is perfectly synced. Even if every action does
not sync up to a musical moment, the “big” moments in the sequence
should be reflected in the music. Remember your job as the film
composer is to enhance what is happening on the screen. If the action
seems the same with or without your music, or even better without your
music, then something is wrong with the score
10. Share your finished product with fellow musicians and filmmakers
11. Listen to any criticism and suggestions
13. You may want to save this project for your private portfolio
14. Once again you might want to contact the indie filmmaker with your
cut of their scene to open up a networking opportunity
HARMONY
Exercise 1: Keyboard Chord Improv in Front of the TV
In this exercise you will improvise an entire score while watching a film.
Unlike other exercises, this one depends entirely on your intuition and
imagination instead of raw musical skill. Obviously, playing a keyboard is
the best option for this project, but if you need to use another instrument or
your voice, that is acceptable. A keyboard is usually more versatile
because you can then extract the harmony, melody, and rhythm easily
from the exercise. You will need a way to record this, ideally you will
simply play using your notation program, which will record your
performance as MIDI data, allowing you to later review your work. If not,
you may want to record the audio only, especially if you work primarily by
ear. I personally rely on musical notation and prefer looking at what I
compose while listening. Other musicians have developed excellent aural
skills that make notation unnecessary, or they may not have as strong of a
notation background. Do what feels comfortable for you. In this exercise
you can select a film you are familiar with, since familiarity with the film
will help you develop a musical idea. However, try to avoid films like
Jaws or Halloween that have unforgettable soundtracks that are bound to
inadvertently influence your performance. Avoid children’s films for this
project as they often rely on very simple songs and popular tunes, even
nursery rhymes, for their soundtracks. The exception would be for
animated features like those from Disney, though the musical soundtrack
of almost any Disney film is bound to be burned into your psyche’ and
may be best to avoid. However, there are many “knock-off” animated
features based on similar storylines that you could use for this project.
Comedy films are also avoided since many of these are not reliant on the
soundtrack at all in their execution.
1. Select a familiar full length feature film for this exercise in a

standard film genre: suspense, drama, mystery, horror, science
fiction, romance, historical, action
2. If you are not familiar with the film, you may watch it once, taking
notes (logging) if you wish, but this is not necessary
3. Set up your keyboard, video player, and recording device or software
program (ex. Garageband). If you recording into your computer, be
sure you have enough hard drive space. This is usually not an issue,
but some musicians are not computer savvy and may destroy their
computers by not watching their hard drive limitations, especially on
smaller devices
4. Start the film, leaving the sound on mute (unless there is no
soundtrack) and begin improvising
5. Try to develop a few motifs, each representing a character, emotion,
setting, or scene
6. Develop compelling harmonies to support these motifs, keeping to
standard musical tropes (ex. Sadness is in minor)
7. Repeat these motifs, changing rhythm, tempo, harmony, etc. in
accordance to the visuals
8. Try to anticipate climactic moments, sadness, etc.
9. Worry less about the actual notes played, the complexity of your
piece, or even the actual musicality of it, and aim for simplicity and
accuracy in supporting the visuals. Sometimes the most compelling
soundtracks are the simplest musical ideas (ex. Forrest Gump)
10. Upon completion, take a break, maybe a day or two, then listen
to your improvisation synced up with the film
11. Make notes of areas that worked and those that didn’t
12. “Keep” any musical ideas or motifs that you liked in a
sketchbook or file
13. Repeat the exercise with other film genres
14. Repeat the exercise with the same film, perfecting your score
15. Share your score with other musicians and filmmakers and
garner their opinions
Exercise 2: Different Chords Under TV Shows
In this exercise you will watch various TV show clips and experiment with
different harmonies and scales played under them. The point of this
exercise is to develop an intuitive understanding for how harmony affects
the emotions. For example, a major chord almost always denotes
happiness while minor chords and more ominous harmonies can be pure
sadness. A cluster chord can evoke suspense or in a synthesizer can be
perfect for a science fiction film. While more seasoned composers may
find this exercise a bit simplistic, this is a good exercise for any
Intermediate composer who needs to develop a sense of emotion. While
not all music needs to be emotional, in film music and music
accompanying visuals, the music is slave to what is seen. Even if the
music is happy, if the scene is heart-wrenching, the music must bend to
this, otherwise the viewer is left dissatisfied and confused. Part of this is
simply learning what harmonic sounds work best for specific scenes. For
this exercise you can simply use scenes from TV shows or films, or even
independent videos. You want to look for dramatic scenes that convey a
very specific emotion like happiness, sadness, anger, etc.
1. Select a short scene from a TV show that evokes a specific

emotion. For example, a character may be mad, it might be a
funeral or a wedding scene
2. Play a variety of improvisations based on simple harmonic
progressions in each of these scales: major, minor, jazz, whole
tone, chromatic, atonal, etc.
3. Which improvisations worked? Which did not?
4. Listen to how the harmonies affect the overall mood and feel of a
scene
5. Experiment with unfamiliar harmonies and see how you can adjust
them to fit the scene
6. Practice with several scenes
7. For fun, you may want to try this exercise with fellow musicians
and have an impromptu jam session with these scenes
8. Save any useful musical ideas in a sketchbook
ORCHESTRATION
Exercise 1: Compose a Score to Your Favorite Films
In this exercise you will compose an entire score to your favorite film.
While this may be a lengthy exercise that can take a long period of time,
try to accomplish this exercise in a matter of weeks. Why? Many times
film composers today, especially the many working with indie filmmakers,
may have only a few weeks to create an entire score. Professionals in the
major studios have more resources at their disposal, like interns and
assistances, copyists and a professional orchestra, but the pressure is
intense to meet the deadline and still create a compelling score. Learning
to write well quickly is key to a composer’s career success and
development. For this exercise, select a film that you are very familiar with
that will work well with a cinematic orchestral soundtrack. Most likely you
will avoid comedies and many children’s films. While in a typical project
you will not know a film backwards and forwards, for this exercise this
will help you develop your musical skills without having to spend the time
learning the plot. You will use music software for this project, though you
can try an entirely acoustic score. However, it may be difficult to find an
ensemble to play your work, which is why for practical reasons, the
computer may be the best method of executing this score. If you are
strapped for time, then write to a short film.
1. Select a favorite film

2. Watch it once through, logging all the important scenes and points
of action that must come out in the score
3. Develop a theme that can be threaded throughout the film. You will
use this for the Main Title
4. Develop motifs for main characters like the protagonist, the
antagonist, the love interest. If you are unfamiliar with this concept,
watch Star Wars and make note of all the themes associated with
each character like Darth Vader, Yoda, Luke Skywalker, and
Princess Leia (and yes, for those who know me, I did find a way to
bring Star Wars into this book)
5. Each motif must be memorable and distinct. You may even choose a
specific instrument to introduce this motif as part of the
characteristic sound
6. Plot out the entire film musically. You can do this with timecode or
even a graph. Where is the climax of the film? Where are the
emotional moments? The action? Where is the villain introduced for
the first time? What are the locations?
7. Can you incorporate the scenery or setting, the place or historical
time period, into the film. For example, a film taking place in Ghana
may have traditional West African drumming rhythms underlying
the main theme, or you can incorporate the sound of the ocean for a
film taking place on the water. Be creative and think outside the
typical orchestral palette. Use sound effects, percussion, folk
instruments, and more to give your score a unique sound
8. When you are ready, sync up the film to your software program.
Most programs will allow you to sync up a film (ex. Logic,
ProTools, Garageband)
9. Begin composing, starting with a track that is only the main melody
and musical points with light harmony and rhythm
10. Expand the initial track and orchestrate for numerous
instruments. For example, you may take a piano part and rewrite it
for string quartet with percussion accompaniment, or you might take
the melody and rewrite it for full choir
11. If you choose to add in lyrics, try to develop lyrics that do not
detract from the action in the film. In fact, many of our most famous
choral soundtracks are in other languages, Latin, or even gibberish
so as not to detract from dialog
12. Once you are finished with your soundtrack, export the score
13. While this does not need to be a pristine score, try to make
corrections that would make a simplified version of your score
playable. Be sure to include timecode to help the players
14. Sync your finished track to the film and show fellow musicians
and filmmakers
15. Ask for feedback
16. Accept any criticism
17. You may want to develop this into an album or for your portfolio
18. At a later date, when you have had time to “rest” from this
exercise, rewrite the score for an acoustic ensemble and have
performers play through your score
6. CONCLUSION
I hope that through this book you have an opportunity to work on your
composition skills and share these exercises with your students and peers.
The exercises here provided a practical series of composition exercises that
worked on key musicianship skills like melody, rhythm, and harmony, while
also touching on the importance of inspiration, orchestration, and even
technology.
This is the first edition of the workbook, and I welcome any suggestions
for the second edition which I hope to start work on later this year. If you
would like to comment on the workbook, provide additional exercises, want
to share your exercises and compositions, or have suggestions for additional
sections or exercises, please feel free to contact me through my e-mail
(spenayoung@gmail.com) or through my Facebook page
(https://www.facebook.com/newmusiccomposer/).
Thank you for purchasing this book

and taking the time to explore the exercises within and share with your
students and colleagues.
I wish you the best on your creative Journey!

Sabrina Peña Young
7. ADDITIONAL RESOURCES
ASCAP
Performing Rights Organization
http://www.ascap.com/
Audacity
Free audio software program
http://www.audacityteam.org/
Bandcamp
Independent music store
http://bandcamp.com/
CD BABY
Independent music story
http://www.cdbaby.com/
The Composer’s Site

Provides composition opportunities and grant information
http://www.composerssite.com/
Easy Ear Training

Articles and apps to work on ear training and music theory
http://www.easyeartraining.com/
The Feminine Musique: Multimedia and Women Today

An overview of women in music and multimedia at the turn of the 21rst century
http://www.amazon.com/The-Feminine-Musique-Multimedia-Writing/dp/0557084032
Finale Notepad
Free simple notation software
http://www.finalemusic.com/products/finale-notepad/
Hoffman Academy
Free piano lessons for students and children
https://www.hoffmanacademy.com/
Matrix Calculator
Create an atonal matrix
http://www.musictheory.net/calculators/matrix
Musical U
Offers online courses and a community to develop musicianship
http://www.musical-u.com/
Music Theory.Net
Online resources on Music Theory
https://www.musictheory.net/
New Music Box

Resources for Composers
http://www.newmusicbox.org/
The New Music Resource

The latest in new music and contemporary composition
http://newmusicresource.blogspot.com/
ABOUT THE AUTHOR
Award-winning composer Sabrina Peña Young is the foremost expert on virtual opera production and
online collaboration. In 2013 she debuted her “groundbreaking” and “epic” machinima opera
Libertaria: The Virtual Opera. Libertaria included an international cast and film crew, vocal synthesis,
virtual choirs, sound synthesis, machinima animation, and contemporary choral writing in an incredible
dramatic futuristic dystopian masterwork film. Young produced Libertaria entirely online, using
crowdsourcing, social networking, and crowdfunding. In 2014 Young presented a TED Talk on her
opera and arts online collaboration at TEDxBuffalo in New York. Libertaria has been screened
worldwide at the Buffalo Women and Arts Festival, the Holland Animation Festival, the UK-based site
Moviestorm, and in New York City’s Opera America, and has reached thousands online.
Young has a rich history of combining intermedia and classical music, composing works like her
multimedia oratorio Creation, winner of the IAWM New Genre Prize, World Order #5 for percussion
and multimedia, and collaborating with artists with the Vox Novus 60x60 project and UK composer
Lee Scott’s interactive web opera The Village. Her works have been presented at the Beijing
Conservatory, the International Computer Music Conference, the Athena Festival, the New York
International Independent Film Festival, Art Basil Miami, Turkey’s Cinema for Peace, Art Miami, the
Pulsefield International Exhibition of Sound Art, the Holland Animation Film Festival, the Australasian
Computer Music Conference, the Buffalo Women and Arts Festival, the Deep Listening Gallery,
TEDx, public radio, and countless venues worldwide. Her writings can be found in numerous music
journals and publications including the SEAMUS Music Journal, YAHOO!, the IAWM Music Journal,
Panpipes, Music Gateway, the New Music Box, and arts websites. She is a regular contributor to the
New Music Resource and EasyEarTraining.com.
Young is currently working on the novel series The Libertaria Chronicles based on her opera and is in
preproduction for the children’s video game opera Alicia and the White Rabbit.
Sabrina Peña Young is a sought-after lecturer, strategic consultant, and writer on music technology,
social media, online collaboration, artist development, and marketing.
PROFESSIONAL MUSIC
CONSULTING AND ARTIST
DEVELOPMENT
Contact: Spenayoung@gmail.com
sabrinapenayoung.wordpress.com
“Priceless Insight! Having worked on my album for so song, I lost
perspective and needed a music pro with fresh ears, an open mind and a
diverse skillset. I was lucky to find Sabrina who is well-versed in the arts of
music, recording and production. I received a very prompt response and it
was quickly clear that Sabrina knows her stuff. Candid, but objective, her
feedback was invaluable! I am so thankful for the detailed, thoughtful
critique. Highly recommended!” - Composer Michael Patrick Devine
OVER 150 ARTISTS COACHED
BOOK YOUNG FOR YOUR NEXT CONFERENCE
And bring the COMPOSER BOOT CAMP to your door!
Sabrinapenayoung.wordpress.com
@dalatindiva
AVAILABLE AT iTUNES, CD BABY, and BANDCAMP.COM
WHAT THE PRESS IS SAYING ABOUT LIBERTARIA

“It was a heroic effort, and the level of singing in the animated opera was very high...It sounds like a
graphic novel, and it looks like one, especially with its cartoon balloons taking the place of
supertitles. As a story, it is very much in line with the good-vs.-evil sci-fi tradition, with the added
bonus of a plucky female heroine…There are a good many percussion effects in the opera, and its tone
is primarily quite dark and sinister, very much along the lines of a contemporary video game
score.” Palm Beach Arts Paper Music Critic Greg Stepanich.
“Cook wrote that he’s impressed by the results. ‘It’s quite amazing. (It) has a wonderful
anime/comic-book vibe to it…It’s pretty cool. The other singers are amazing. The chorus parts
are epic. Quite an accomplishment…’ ” – Palm Beach Arts Paper
“One of my favorite things about this story is its odd apocalyptic tone and strong sci-fi/fantasy
foundation. The dark quality that comes with it is the cherry on top.” –FanboysAnonymous.com
WATCH NOW ON YOUTUBE.COM:

https://virtualopera.wordpress.com/
AVAILABLE AT iTUNES and BANDCAMP.COM
“Blade Runner rather than Red Dwarf, though not in a Vangelis sense.” - Chrissie Caulfield - Radio
Free Midwich
Filtered through the lens of science fiction and fantasy, the electroacoustic works of Sabrina Pena
Young explore the sonic outer dimensions of sound in a surreal world constantly balancing between
reality and future dimensions of thought and music and the mind. With hundreds of works performed
throughout Asia, Europe, Australia, and the Americas, Young's global reach extends past borders and
through the Digital Realm with "groundbreaking" works like Libertaria: The Virtual Opera. Her work
has been called "marvelously abstract", "epic", and "groundbreaking". Sabrina Pena Young continues
to redefine electronic music.
This unique anthology spans over a decade of electroacoustic works from Young's earlier days at
SYCOM, where she explored the avant-garde in sound synthesis, to sophisticated ambient explorations,
and even dance influenced tracks.

Composer Boot Camp 101 - 50 Exercises For Educators, Students and Music Professionals

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Composer Boot Camp 101 - 50 Exercises For Educators, Students and Music Professionals

Uploaded by

Copyright:

Available Formats

COMPOSER BOOT CAMP 101:

50 Exercises for Educators, Students and Music Professionals

Sabrina Peña Young

About the Author Pg 65

A PRACTICAL WORKBOOK OF COMPOSER EXERCISES

1. HOW TO USE THIS WORKBOOK

The exercises develop some of the primary keys of good musicianship:

Should I start at the beginning?

Adapting the Exercises

Do I need to read music?

Do I need to play an instrument or sing?

Do I need to use a computer?

In this exercises you will improvise a short composition based on an

1. Create flashcards with pictures of different animals

Exercise 2: Musical Emotions

In this exercise, you will use emotions to improvise a short composition.

1. Create flashcards based on emotions like “sadness”, “love”, “loss”, and

Develop the Composition - Develop the improvisation into a longer three

Exercise 3: Draw Your Composition

What is Graphic Notation?

1. Take out a piece of paper

The point of this exercise is not to create an accurate representation of your

More examples of Graphic Notation:

A giggling sound from “Hartline #6”.

Using Graphic Notation for Voice

Exercise 1: Singing a Poem

This exercise uses poetry to work on melodic composition.

Lonely Mother's Cry from Libertaria 1

Exercise 2: Improvise on 3 Notes

Exercise 1: Melody Rhythm Improvise

1. Choose a favorite simple melody or song. Nursery rhymes are good

Exercise 2: Clap Along with the Radio

In this exercise you will practice recognizing familiar rhythms by clapping

1. Turn on the radio or your music player

Exercise 1: Chord Experimentation

Exercise 2: Improvise in the Key of C

In this exercise you will improvise a song in the key of C.

To listen to Terry Riley’s “In C” go to the Listening List:

Intermediate Students or Ensemble – Download the score for Terry

Harmonic Alteration – Create a new short composition using a different

Exercise 3: I-V Chord Improvisation

Exercise 1: 10 Composer Listening List

Terry Riley “In C”

This list specifically avoids the traditional classical canon as many

Advanced Students – Take the time to transcribe the melodies and

Exercise 1: Compose to a Painting

1. Visit a local museum or art gallery, and bring a notebook

Art can inspire Music

Composer Modest Mussorgsky wrote a famous piano composition, later

Listen to the Mussorgsky’s “Pictures at an Exhibition”.

Exercise 1: Melodies 5 Ways

In this exercise you will experiment with writing a melody in a number of

1. Develop a short melody of six to ten notes for piano or voice

Exercise 2: Inverting the Melody

In this exercise you will experiment with a variety of compositional tools

Exercise 3: Changing Melody Rhythm

Exercise 4: Improvising on a 5 Note Motif

1. For this exercise you will need a keyboard or instrument

Up to this point we have not discussed how to notate percussion music.

Percussion Symbol Chart - Agape

Percussion Symbol Chart - Agape

You will be writing a percussion solo, not an ensemble piece. However, a

1. Gather each of your instruments