Giving yourself permission to be creative

There are many talented musicians and students who have learned to play an instrument “by the book” and who are rarely, if ever, encouraged to improvise. If you are interested in being more creative with your music but are not sure how to begin, I have some ideas to get you started below.

First, let me remind you that the composers whose music you have read and performed over the years were able to compose it because they were willing to take risks, try out new combinations, and meddle with established norms. They gave themselves permission to be creative. You are no different! You can be musically adventurous. You can play around with new combinations. You can create.

Let’s start with something safe – the last note of a song you already know how to play. For example, if the last note of The Star Spangled Banner is Bb, or “do” in the key of Bb, what are some things you can do to change things up?

1. Play a different note of the Bb chord –D or F.
2. Repeat the note in a different octave – or several!
3. Insert a rest before the last note.
4. Hold the last note longer or make it staccato.
5. Play the note more than once, in any rhythm combination that feels right. Try several variations!
6. Experiment with different articulations.
7. Combine 2 or more of the above variations.

For a keyboard or other harmonic instrument, if the last notes form a Bb major block chord you could start playing around with these basic variations.

1. Break up the chord into an arpeggio.
2. Play the chord using a different voicing: Take out the fifth, play the third in a different octave.
3. Insert a rest before the chord.
4. Play the chord twice in any rhythm you choose.
5. Repeat the chord in a different octave.
6. Experiment with different articulations.
7. Try two or more of the above simultaneously.
8. Try two or more of the above in various orders.

More advanced musicians may want to manipulate the final phrase of the song rather than just the last notes.

Of course, you won’t love everything you come up with, but if you give yourself enough room to play it can be a matter of minutes before you generate something that surprises you. The main thing is to try. Composing and improvising can be fun and liberating. Go ahead and try it today!

Coming up in my next article: Having the attitude of a composer

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Stepping into musical composition: the limited tone row

Looking for a way to introduce composition into music lessons? Creating a melody using a limited set of pitches is a great way to start. While the label “tone row” often suggests using 12 tones, this activity is focused on a smaller set of 4 to 7 tones which are arranged in a sequence and used to compose a melody, guided by just a few rules. This activity encourages creativity within constraints and works for beginners and more experienced musicians. As a matter of fact, it can even be used with students who do not yet read music.

For music-readers:

Materials:

manuscript paper, pencil, music notation flashcards (optional)

Activity:

1. Select four to seven flashcards and arrange them in a sequence (the teacher can do this ahead of time, or the student can select the cards randomly). Write the desired sequence on paper.

2. The student composes a melody using the sequence, using whatever rhythm, expression or style is desired.The composition should be committed to paper, but written in pencil for easy editing.

3. Each tone must be used in order, although a tone can be repeated before moving on to the next tone. When the end of the sequence is reached, the sequence beings again with the first note.

4. The sequence can be repeated multiple times, and can be treated differently each time.

5. The sequence should have a definite ending.

Depending on the outcome and the needs of the student, the melody could be further developed, harmonized, etc. Also, for additional mileage with this activity, start by using pitches that reinforce a recent note-reading or theory lesson

Alternate approach for non-music readers:

If the student is quite young and not yet reading music, use letter names instead of music notation. The focus should be selecting the sequence itself, rather than composing from a sequence. This will develop the ear while also introducing them to the compositional process. When the student is satisfied with the sequence, have the student write down the sequence on paper to preserve it.