Composition 2a/b

MUH 1024/5

The Introductory Project

Project List

Introduction

It has struck me that people don't spend enough time thinking about the openings of their compositions. Usually, they start off with everything going hammer and tongs. They start with their first idea first and then carry on from there. We're going to try a different approach.

In the past, it was quite usual to open with an introduction. Especially for larger compositions, such as symphonies or operas, it was necessary to quieten the audience; this is why many classical pieces start with slow, loud, stately introductions. By the time they were over it was hoped that the audience would have got the message. In one sense you're trying to do the same thing - get people's attention.

Examples of Introductions

• Wagner, Rhinegold;
• Stravinsky, Rite of Spring - parts one and two;
• Bartok, String Quartet 3;
• Mozart, Linz Symphony;
• Mozart, Zauberflote Overture;
• Haydn, Symphony 103;
• Brahms, Symphony 1;
• Tchaikovsky, Symphonies 4, 5, 6;
• Mahler, Symphony 9;

Over time, explicit introductions became less popular. Instead, entire introductory sections or movements would be used - this is common nowadays.

Grove article

The Rules

These are not so much rules as suggestions. There are many ways to complete the project, these are just a couple of the more obvious ones.

• Think of some material. Don't write it out in detail yet, just get the general idea. Study it. What are it's key features? Is it high, medium or low in tessitura? Is is fast or slow? Is it rhythmical or lyrical? Is it regular or irregular in pulse? Divide it into melodic fragments. What instruments is it for? How might you adapt the first few notes for a completely different instrument. How might it be accompanied? Does the accompaniment work on its own?
• Now think of what you've got and imagine how you might get to it. Deliberately use contrasts. Start from a different point or atmosphere.
• You might want to make the transition from one section to another gradually, or make a dramatic change of mood.

• Many, many pieces use a slow introduction which introduces some material, often in an ambivalent or mysterious way. This was particularly common during the romantic era. Frequently, slow introductory music would be contrasted with spritely faster music, (Tchaikovsky).

Some Ideas

...

General Notes from the last time this was done

s2 2002-3

In general, composers didn't really get the point of the 'introductory' part. This is probably my fault, in not giving sufficient examples.

A few other general points:

It's all to do with atmosphere and drama.

Good luck!