i Composing with Constraints ii iii Composing with Constraints 100 PRACTICAL EXERCISES IN MUSIC COMPOSITION Jorge Variego 1 iv 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America. © Oxford University Press 2021 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-i n- Publication Data Names: Variego, Jorge, author. Title: Composing with constraints : 100 practical exercises in music composition / Jorge Variego. Description: [1.] | New York : Oxford University Press, 2021. | Includes bibliographical references and index. Identifiers: LCCN 2021009466 (print) | LCCN 2021009467 (ebook) | ISBN 9780190057244 (paperback) | ISBN 9780190057237 (hardback) | ISBN 9780190057268 (epub) | ISBN 9780197599068 Subjects: LCSH: Composition (Music)—Instruction and study. Classification: LCC MT40 .V37 2021 (print) | LCC MT40 (ebook) | DDC 781.3076—dc23 LC record available at https://lccn.loc.gov/2021009466 LC ebook record available at https://lccn.loc.gov/2021009467 DOI: 10.1093/ oso/ 9780190057237.001.0001 9 8 7 6 5 4 3 2 1 Paperback printed by LSC Communications, United States of America Hardback printed by Bridgeport National Bindery, Inc., United States of America v To my sons Sebastián, Aiden, and Manuel. vi vii CONTENTS vii Foreword • xi Acknowledgments • xiii Introduction • 1 How to Use the Book • 2 Recommendations for the Instructor • 2 1 Melody (Exercises 1– 20) • 5 Preliminary Notes • 5 Exercises • 6 Exercise 1: Focal Point • 6 Exercise 2: Using a Scale • 7 Exercise 3: Using a Scale and a Subset • 8 Exercise 4: Using a Scale with a Substitute Pitch • 8 Exercise 5: A Scale in a Given Order • 9 Exercise 6: A Scale in a Given Order with Ordered Rhythm • 10 Exercise 7: Concatenating Triads • 11 Exercise 8: Concatenating Triads of Any Type • 11 Exercise 9: Segments of Equal Duration • 12 Exercise 10: Segments of Unequal Duration • 13 Exercise 11: The Melody of an Image • 14 Exercise 12: Integer Notation • 15 Exercise 13: Integer Notation Collections and Subsets • 15 Exercise 14: Integer Notation Collections and Transition Subsets • 16 Exercise 15: Simple Probabilities • 16 Exercise 16: A 12- tone Row • 18 Exercise 17: A 12- tone Row in Palindrome • 18 Exercise 18: Intervallic Content • 19 Exercise 19: Using Melodic Motifs • 20 Exercise 20: Eliminations • 21 2 Harmony (Exercises 21– 40) • 23 Preliminary Notes • 23 Exercises • 24 Exercise 21: Composing Transitions • 24 Exercise 22: Using Segments, Melody Becomes Harmony • 25 Exercise 23: Axis of Symmetry • 27 Exercise 24: Using the Harmonic Series • 28 Exercise 25: Using the Harmonic Series with a Pedal Tone • 29 Exercise 26: Just Triads • 29 Exercise 27: Using Integer Notation • 30 Exercise 28: Diatonic? • 30 Exercise 29: A 12- tone Row • 31 viii Contents Exercise 30: “Circle” Progression • 32 viii Exercise 31: Triads That Move in Thirds • 33 Exercise 32: Triads That Move in Thirds and Progressions within a Progression • 33 Exercise 33: Polychords, Triads over Triads • 34 Exercise 34: Polytonality • 35 Exercise 35: Pedal Tones • 35 Exercise 36: Ideas Using Parallel Modes • 36 Exercise 37: Clusters • 37 Exercise 38: Sequences and Patterns • 38 Exercise 39: Implied Harmonies • 39 Exercise 40: Contrafacts • 40 3 Rhythm (Exercises 41– 60) • 43 Preliminary Notes • 43 Exercises • 43 Exercise 41: Transformations Using Simple Math • 43 Exercise 42: Using Segments • 44 Exercise 43: Using Segments per Measure • 45 Exercise 44: Non- retrogradable Rhythms • 46 Exercise 45: Patterns within Patterns • 46 Exercise 46: Extracting the Rhythm of a Text • 47 Exercise 47: Why Meter? • 47 Exercise 48: Short, Long, Long, Short— Using Morse Code • 48 Exercise 49: Ostinato • 49 Exercise 50: Playing with Hemiolas • 50 Exercise 51: Hemiolas and Melodic Construction • 51 Exercise 52: Polymeter • 51 Exercise 53: Metric Modulations • 52 Exercise 54: Using Rhythmic Motifs • 53 Exercise 55: Motivic Displacement • 54 Exercise 56: Isorhythmic Motets, Talea and Color • 55 Exercise 57: Repeat Signs, Loops, and Internal Spiraling • 55 Exercise 58: Composing with Unequal Rests and Pauses • 56 Exercise 59: Eliminations, Everything Coming from the Same Tune • 57 Exercise 60: Perceivable and Non- perceivable Pulse • 58 4 Texture (Exercises 61– 80) • 61 Preliminary Notes • 61 Exercises • 62 Exercise 61: Analyzing Chopin • 62 Exercise 62: Homorhythmic • 63 Exercise 63: Melodic Motifs • 64 Exercise 64: All the Same but Different • 65 Exercise 65: Phasing • 66 Exercise 66: Analyzing Debussy, Plaining • 67 Exercise 67: Liszt, Simple Harmonies, Complex Texture • 67 Exercise 68: Ostinatos • 69 Exercise 69: Letting the Performer Make Decisions • 70 ix Contents Exercise 70: Aleatory Counterpoint • 71 Exercise 71: Micropolyphony • 72 ix Exercise 72: Counterpoint, Appropriating from Fux’s Species • 73 Exercise 73: Counterpoint “Tree”; 1:1, 1:2, 1:3, and Others Combined • 73 Exercise 74: Same Chord, Different Color (Orchestration) • 75 Exercise 75: The Magic of the Unison and Timbral Modulation • 75 Exercise 76: Volume of Orchestration • 76 Exercise 77: Text Painting, Representing Text with Sounds • 77 Exercise 78: Heterophony • 78 Exercise 79: Using Stratified Layers à la Ives • 79 Exercise 80: Sound Masses • 79 5 Form (Exercises 81– 90) • 83 Preliminary Notes • 83 Exercises • 83 Exercise 81: Planning Contrast • 83 Exercise 82: Composing with Modules • 84 Exercise 83: The One- way- trip Composition, Developing Variations • 85 Exercise 84: Theme and Variations • 86 Exercise 85: Spinning around A, Rondo? • 87 Exercise 86: Form as Process, Minimalism • 88 Exercise 87: Palindromic Structures • 89 Exercise 88: Available Forms à la Brown • 89 Exercise 89: Monolithic Structures • 90 Exercise 90: Game Pieces • 91 6 Pre- compositional Strategies (Exercises 91– 100) • 93 Starting a New Composition: Challenges and Possible Solutions • 93 Formal Plans • 94 Using Matrices and Vector Graphics • 94 Analysis and Stylistic Imitation • 95 Improvisation • 96 Connecting Worlds • 96 Soundscapes and Nature • 96 Repeat Yourself • 97 Using the Computer as an Assistant • 99 Exercises • 99 Exercise 91: Writing a Compositional Recipe • 99 Exercise 92: Using a Matrix • 100 Exercise 93: Deconstructing and Reconstructing I • 101 Exercise 94: Deconstructing and Reconstructing II • 101 Exercise 95: Creating a Compositional Plan • 102 Exercise 96: Bringing Ideas from Other “Worlds” to Your Music • 103 Exercise 97: Quotations as Triggers • 103 Exercise 98: Articulating Connections • 104 Exercise 99: Oblique Strategies by Brian Eno and Peter Schmidt • 104 Exercise 100: The Computer as Assistant • 104