Music Composition For Dummies

Introduction

Welcome to Music Composition For Dummies, 2nd Edition!

Are you the type of person who walks around all day with a maddening melody in your head that makes you stop whatever you’re doing so you can pay it full attention?

Do you often find yourself tapping out rhythmic passages from these melodies on your desk at work or scribbling down song lyrics on scraps of paper?

Is music sometimes more of a slave driver to you than a muse?

If you said yes to any of those questions, all we can say is this: We are here to help.

About This Book

Music Composition For Dummies, 2nd Edition, contains everything you need to know to get started

Picking out the perfect rhythm and tempo for your composition.

Matching keys and chord progressions to the moods you want to convey.

Working within the confines of musical form without confining your creativity.

Forcing yourself to sit down and come up with musical ideas, even when your mind is drawing a complete blank.

In this book, we discuss the basics of composition, from writing natural-sounding chord progressions and cadences to composing atonal music to making yourself a demo recording and getting it in the hands of the right people. If there’s any one thing we’ve tried to do here, it’s to demystify the process of composing music and writing songs.

There are few things more satisfying than plucking a melody from inside your head and nurturing it into a full-fledged song or even an orchestral piece. This book will make that process a whole lot easier for you.

Music Composition for Dummies, 2nd Edition, is organized into six parts; the first four focus on a particular aspect of music. Part 5, the Part of Tens, contains information about some of the fun aspects of composition that may have little or nothing to do with actually playing music. And Part 6 contains some helpful appendixes. Throughout the book, you’ll find short interviews with musicians, profiles of important composers, and summaries of music genres worthy of further study.

Because each chapter is as self-contained as possible, you don’t have to read every single chapter to understand what the next one is talking about — unless you want to, of course. To find the information you need, you can use the Table of Contents as a reference point, or you can just flip through the Index at the back of the book.

Foolish Assumptions

This book is written for many types of budding composers: the classical music student who never learned how to improvise, the backup musician who wants to start taking the lead and writing material, and the seasoned musician who wants to start writing music in genres outside his or her comfort zone.

You are probably at least familiar with playing a musical instrument. Perhaps you were trained on piano and now want to strike out on your own and start composing your own music. Maybe you’re a self-taught rock guitarist who wants to learn about composing in other genres. Or perhaps you’re just a person who has had this maddening tune dancing around in your head, and you want to figure out how to turn it into a real song.

We do assume that you have at least the rudiments of music theory knowledge. We expect you to know how to read music at least at a basic level, what chords are, how many beats a whole rest gets in 3/4 time — stuff like that. Unfortunately, there is not enough room in this book to teach you music theory, too.

If you’re an absolute newcomer to music, we recommend you first go out and get yourself a copy of the latest edition of Music Theory For Dummies, by Michael Pilhofer and Holly Day (Wiley), to give yourself a good grounding in the language of music. Then come back here.

Icons Used in This Book

Icons are handy little graphic images that are meant to point out particularly important information. You’ll find the following icons in this book, conveniently located along the left margins.

Remember When we make a point or offer some information that we feel you should keep with you forever, we toss in this icon.

Tip This icon indicates good advice and information that will help you understand key concepts.

Warning When we discuss something that might be problematic or confusing, we use this icon.

Technical stuff This icon flags information that’s, well, technical, and you can go ahead and skip it if you want to.

Beyond the Book

In addition to the information and guidance about music composition that we provide in this book, you get access to even more online at Dummies.com. Check out this book’s online Cheat Sheet for handy info regarding the Circle of Fifths, chord progressions, and more. Just go to www.dummies.com and search for Music Composition For Dummies Cheat Sheet.

Where to Go from Here

If you’re just starting out as a composer, then go ahead and plow into Part 1.

If you’re already familiar with the basics of rhythm and want to start writing melodies, then head for Part 2.

If you’ve already got a hot melody but want to know how to turn it into a more full-fledged composition, Part 3 covers the basics of matching melodies to harmonies.

Part 4 can help you decide what instruments you want to use in your composition, or to whom you might want to sell that composition.

It’s important to relax and have fun with this — listening to, playing, and writing music are some of the most enjoyable experiences you’ll ever have. Music Composition For Dummies, 2nd Edition, may have been written by teachers, but we promise that no clock-watching music instructors will show up at your door to check on how fast you’re plowing through this book. Composing music is a magical, mysterious, wonderful thing. Yet it’s also based on surprisingly simple principles. In Western music, there are only twelve pitches in each of eight octaves on the piano, but think of just how different one piece of music can be from another.

Remember Limits can actually be freeing: Just as with poetry or prose, the more comfortable you are working inside a specific form, the greater your ability to successfully express yourself within that form becomes.

Part 1

Basics and Rhythm

IN THIS PART …

Find out how to train yourself to start thinking like a composer and what exactly a composer is.

Discover the tools composers use to create their masterpieces, whether at home or on the road.

Know what mediums are available for you to write out your compositions, and the pros and cons of various software platforms.

Find out how to use rhythm to create specific moods in your compositions and how to make your music more interesting with rhythmic variations.

Chapter 1

Thinking Like a Composer

IN THIS CHAPTER

check Finding freedom in restraint

check Joining the ranks of those who create something from nothing

check Getting to know a few rules of composition

check Some things to remember before you get started

Music is the one art form that is entirely defined by time. Once a piece of music is finished being performed, technically, when the last of its echoes fade, it’s gone. Each piece of music is literally sandwiched in silence, or external noise, and if your listeners aren’t paying attention, they’re going to miss it.

Your job, of course, is to make them pay attention.

Limitations as Freedom

Going further, music can be considered to be the sculpting of time. You can think of your three minutes — or half hour, or 36 hours — as a block waiting to be chiseled into a specific shape that’s meant to tell a story or convey an emotion. You just have to figure out which carving technique(s) will work best to get your particular idea across to your audience.

This is where form comes in. Forms are the specific ways of composing pop music, classical music, blues music, jazz, country, and even atonal and serial music. If you know what form you want to compose your song in, part of the groundwork for your composition is already done for you.

Remember And don’t fret about this constraining or limiting you. Does the net limit you in tennis? No, it gives both players something in common to go by. In music, a form does the same thing: Your listener knows more or less what to expect, and you know more or less what to give them. The rest — the uniqueness of your contribution — is up to you. Also, there’s nothing wrong with combining forms to make new ones. You’ve heard of jazz/rock fusion, porch punk, country blues, and so on, right? In fact, you may even find yourself combining forms without thinking about it.

After choosing a main form, you may want to pick the key you want to write your piece in. Knowing how the different keys and modes lend themselves to specific moods is a great help in trying to get a specific emotion across in your music. And how do you know about keys and moods? By listening to music written by other people, of course. You have already internalized a lot of musical mood information, probably without even realizing it.

You may have a melody already bumping around in your head that needs harmonic accompaniment. You can either plug that melodic line into your chosen form or start adding some chordal accompaniment and see where it goes on its own. Sometimes, you can think of the choice of chords as the choice of moods.

There’s no real pre-ordained order in which you should begin composing music. The end result is all that matters, and if you end up with a piece of music that you’re even partially satisfied with, then you are on the right track.

Remember You don’t have to re-invent the wheel. Much of the work in composing music has already been done for you by others. Instead of re-inventing the wheel, make your wheel different, more interesting, more unique, and truer to what’s inside you than any other wheels.

Composing as an Extension of Listening

As a music teacher, Johann Sebastian Bach, like other great composers of his day, trained his students to be not just impressive little robotic pianists, but to be improvisers and composers. This is something that’s not often taught by music professors today. Back then, learning how to read scores and perform other people’s music was not a separate or independent skill from learning about the creation of music itself. The music of the masters was presented to students as something to improvise on — and possibly even to improve on.

This practical musicality was a comprehensive craft that involved thinking creatively and realizing it in sound. Music meant more than merely following instructions. The rote repetition of other people’s music, including Bach’s own, was used as example and was not the end itself. Students were encouraged to alter scores by adding notes, reducing the time value of notes, dropping notes, and changing or adding ornamentation, dynamics, and so on. One couldn't even get into Bach’s teaching studio without first showing some rudimentary improvising and composing ability.

If you’re a classically trained music student who has not had a lot of opportunities to spread your wings and write your own pieces of music, this book is especially designed to help you find your own voice, both by drawing from what you’ve learned in all those years of rote memorization and mining your own feelings about how music should sound.

Rules as Inspiration

If you didn’t know better, you might think that music was something that could start on any note, go wherever it wanted to, and just stop whenever the performer felt like getting up to get a glass of iced tea. Although it’s true that many of us have been to musical performances that actually do follow that ahem style of composition, for the most part, those performances are confusing, annoyingly self-indulgent, and feel a little pointless. The only people who can pull off a spontaneous jam well are those who know music enough to stack chords and notes next to one another so that they make sense to listeners. And because music is inherently a form of communication, connecting with your listeners is an important thing to try to do.

Warning You really need to know the rules before you can break them.

Knowing about song forms, how to meld harmonic lines into a real melody, and how to end a song on a perfect cadence can be incredibly inspiring. There’s no describing the power of the light bulb that goes off in your head when you suddenly know how to put a 12-bar blues progression together and build a really good song out of it. The first time you make music with your friends and find you have the confidence to present your own ideas is thrilling.

It’s our intention that the reader of this book will end up putting his or her copy down on a regular basis because the urge to try out a new musical technique is just too hard to resist!

You as Your Own Teacher

As with any creative activity, composing music requires that you trust yourself. An understanding of music theory and a lot of playing skill can be a good starting point, but what an idea means to you — how it makes you feel and what you ultimately say with it — can be the only real criterion of its validity.

Remember As you read the following chapters, keep the ideas in this section in mind.

Know what your options are

Once you have an idea, learn how to work it, with methods for (re)harmonization, melodic and rhythmic development, counterparts, variations, and other compositional techniques. A good composer never stops learning and can never have too many tools in his or her musical toolbox. Learn as many compositional styles and techniques as possible and try to get an intuitive grasp on how and when to apply them.

With practice, this information will become second nature — as easy to summon and use in your compositions as it is for an electrician to pull a screwdriver or wrench out of his toolbox. A firm, intuitive grasp on music theory and basic composition and arranging techniques will take you further than you can imagine.

Know the rules

Every form has a set of rules, and as a composer, you should be familiar with all of them. Rock, folk, classical, and even experimental genres have specific rules that define them, and knowing those rules is sometimes half the work. Are rules made to be broken? Sure, sometimes. But they are also made to be hard-earned guidelines that many, many people before you had to figure out by trial and error. Use their wisdom for all it’s worth — don’t unthinkingly discard it.

Pick up more instruments

Each instrument has its own beautiful, specific sound. Sometimes, becoming halfway fluent on a new instrument can completely change the way you want to put music together. It can also expand your appreciation for those other musicians who will be (we hope) putting your music into action.

CLAUDIO MONTEVERDI, 1567–1643

If you had to name one person who was the missing link between the music of the Renaissance and the Baroque periods, it would be Claudio Monteverdi. Monteverdi brought an unparalleled level of sophistication and respect to vocal music, turning it from something only peasants and priests could enjoy into full-blown opera performances designed to entertain the ruling and intellectual elite.

Even as a child, Monteverdi was musically precocious. His first publication of sheet music was issued by a prominent Venetian publishing house when he was only 15, and by the time he was 20, a variety of his works had gone to print. His first book of five-voice madrigals succeeded in establishing his reputation outside of his provincial hometown and helped him find work in the court of the Duke Gonzaga of Mantua.

Monteverdi became known as a leading advocate of the then radical approach to harmony and text expression. In 1613, Monteverdi was appointed maestro di cappella at St. Mark’s, Venice. There, Monteverdi was active in reorganizing and improving vocal music, specifically a cappella, as well as writing music for it. He was also in huge demand outside of the Church for his operas and made a decent living from opera commissions.

Monteverdi can be justly considered one of the most influential figures in the evolution of modern music. His opera, Orfeo, was the first to reveal the potential of the genre, while his follow-up, Arianna, may be responsible for the survival of opera into the 18th century and beyond. Monteverdi's final opera, L′incoronazione di Poppea, is his greatest masterpiece and arguably the finest opera of the 17th century. Monteverdi was also one of the first composers to utilize the techniques of tremolo and pizzicato on stringed instruments.

Understand when to put something aside

The compositions that cause you persistent, frustrating problems are probably the ones you need to put away for a later date. Often (but not always), the best ideas for compositions are the ones that come together naturally, easily, and quickly. If you’re struggling with a piece of music, sometimes the best thing you can do is put it away for the day, or even longer, and come back to it later with a fresh perspective.

Get something from nothing

A great idea is a gift and cannot be produced at will. However, lots of great composers can do just fine without divine intervention. If you look at many of J. S. Bach’s compositions, for example, you can see that many sections are directly technique-inspired, built around very basic melodic lines and musical ideas.

If you can’t come up with a brilliant start from thin air, then try to start with a random one by taking a pen and writing down a series of random notes. Fill a whole music sheet with random dots, and see if there's anything interesting. Yes, we’re serious. Or pick up a guitar and play random chords until something sounds interesting. Or fiddle around on a keyboard until something makes your ears perk up. Countless classic pieces of music have begun with little more than these simple techniques.

Once you have a bit of something you want to explore, you can use rules to help you. It may sound corny, but it’s true: The biggest oak began as a tiny acorn. The chapters in this book can show you how to fill out the melodic line you’ve just created as well as build a harmonic accompaniment.

Trust your own taste

If you like it, someone else will too. Composing music is about self-expression, and if you’ve written a piece of music that sounds wonderful to you, then by all means, go with your gut. As beautiful and unique as all members of the human race are, there are more similarities between us than differences.

On the other hand, even if what you’ve written doesn’t follow any set of rules, and even if most people who hear it hate it, if you love it, it’s worth keeping. Eventually you’ll bump into other people who will truly get it, and you’ll be happy you saved that one odd bit of music that everyone else thought was unlistenable.

Chapter 2

Tools of the Trade

IN THIS CHAPTER

check Writing music by hand

check Composing on an instrument

check Using software to help you write music

check Training your ears

check Understanding the importance of music theory

check Finding the space, time, and ideas to compose

Just as electricians, plumbers, and mechanics use toolboxes to organize their tools, composers also bring toolboxes with them to work. The difference is, of course, that the aforementioned tradespeople’s toolboxes can be seen, felt, and tripped over in the dark, whereas the composer’s toolbox is contained mostly within his or her mind.

But they are still tools, and you need to use and develop them if you are going to get very far composing music. If you could open up a typical composer’s toolbox and take a peek inside, you would find the tools covered in this chapter within.

Composing with Pencil and Paper or a Tablet

Believe it or not, even in this computerized world there are still many situations where a sheet of paper and a pencil are the best tools for the music composer. Many important modern composers, especially those born before 1940, won’t work with anything but paper and pencil. So, never think you are too advanced for these humble tools.

Writing music with only paper and pencil has some amazing advantages to composing at a piano or other instrument. For one thing, many composers find the actual sound of the instrument itself interruptive to the composition process. Just imagine yourself deep in thought, hearing the perfect sequence of notes in your head, when suddenly, your finger touches the actual piano key, and it doesn’t sound exactly like you imagined. Real sound is jarring, and hearing even the first note of your imagined phrase before you’ve written it down can cause you to lose an entire piece of music.

Conversely, many musicians work directly on their instrument of choice, usually a piano or guitar, and simply jot down their musical ideas on paper or on a graphics tablet while composing. The ability to work with pencil and paper comes in especially handy in this context — for one thing, you don’t have to compose solely in the same room as your computer. Computers can’t be beaten for neatness when you need a printed score (written music for all the instruments that play a piece of music), a part (written music for just one instrument, extracted from a score), or lead sheet (written music using chord charts and a melodic line), but you can take a pencil and paper or a graphics tablet anywhere.

In order for this method to be useful, though, you have to be able to translate what you hear in your head into music notation. A good knowledge of solfege (the basic system of do, re, mi, fa, so, la, ti, in which each syllable represents a note on the major scale), or the numeric system of melodic representation (Do is 1, Re is 2, and so on) is essential.

Tip If you aren’t fluent enough in your head with different keys, you can write everything out in the key of C and transpose it to a different key later.

Tip Pencil and paper or a graphics tablet and pen are often useful to jot a rhythmic idea down quickly. This can be done on any type of paper or background; notation paper is not necessary — you can even just write X’s for note heads and draw in the measure lines.

When using an actual pencil and paper, be sure to have a good eraser on hand, too.

Performance Skills

Most composers use a keyboard or guitar to compose on, but you can use any instrument you’re comfortable with. Although most composers are proficient instrumentalists, some composers actually do it all in their heads.

At any rate, being able to play melodies and chords on an instrument is a definite plus. The piano with its 88 keys encompasses the ranges of all other orchestral instruments, so it is traditionally the best choice. An electronic keyboard hooked into the right computer program (see next section) can provide a broad sound palette that can give the composer a rough idea of what a composition might sound like later played on real instruments. Keep in mind that a violin, for instance, played with a bow, is tricky to accurately portray with a violin sample coming out of a keyboard.

Some skill at playing, plus the easy availability of an instrument, is almost essential for a music composer. The first time Scott wrote music for orchestral instruments, he had only enough skill on the piano to play two or three parts together at the same time, so he had to play the oboe part with the French horn part, and then the French horn with the trumpet, and so on. He never actually heard all the notes played together until he was in the recording studio in front of the orchestra. Exhilarating? Yes. Scary? You bet!

Composition Software

It is impossible to overstate the important role of computers in music composition today. The following are some ways computers are involved in composing music today. Computers

Provide various sounds to work with.

Print out your parts quickly and neatly.

Help you organize your ideas.

Fit music to film easily.

Provide tools for piecing together entire compositions while enabling you to test out ideas before committing to them.

Can even produce and deliver a final recording of your work, if you use a good composition program.

As we mentioned, many great music composers out there do not use computers at all in their work, whereas others would be completely lost without computers.

So where do computers fit into your musical world? Ask yourself a few questions:

Are you computer savvy?

Do you have access to a fairly recent-model computer?

Can you get around the operating system?

Do you understand the basics of file management?

Have you had success learning other computer programs before?

If you answered yes to most of these, then you will probably do all right, as long as you don’t pick the wrong software for the job.

In this section, we briefly discuss a few major industry software packages, focusing on what each is good for and not good for.

Finale

finalemusic.com

Finale is a music notation, scoring, layout, and publishing program. It is probably the most popular choice for bringing musical ideas into print. The program does enable you to audition your ideas with traditional orchestral sounds, but it is mostly used to print scores and parts. It does this very well, and many music programs in colleges and universities are now requiring the study of this program. One downside of Finale is that older versions of the program aren’t able to work with files made in newer versions — and they typically release a new version every year — so if you’re working with someone and need to send files back and forth, you should each be working with the same version of Finale. Finale version 26 runs approximately $600 with a significant discount for teachers and students.

Sibelius

avid.com/sibelius

Sibelius is a competitive program to Finale. It has better playback features for hearing scores that you’ve just entered than Finale, but it is less straightforward to navigate through. Which of these two programs suits your writing style better is largely a matter of taste. Sibelius 2019, which gives you the capability to compose orchestra scores for up to 16 instrument parts, runs approximately $600 with a significant discount available for a student/teacher edition. You can also subscribe to the $9.99 per month online version, which gives you access to the full version of the program as well as any updates added during your subscription.

Logic Pro X

apple.com/logic-pro/

Apple’s Logic Pro is a complex and very deep program that aspires to be everything in one package. It offers sophisticated notation, scoring, layout, and printing tools, audio recording and editing capabilities, MIDI production with sample and synthesizer plug-ins, excellent cut-and-paste arranging and compositional tools, and more. Its reputation is based on being one of the first professional recording studio software packages available at a reasonable price for independent musicians, and you can record, mix, edit, and create a finished musical product to release as a CD or audio file right from your computer. It’s a popular program for electronic composition, sound design, and music composition for film and video, and it is as popular in the studios of Europe as Pro Tools is in the U.S. Many of the notated figures in this book were