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One of my beginning students was a man in his early forties. Semi-retired after a very successful career, he had always wanted to learn something about music but never before had the time. So not quite knowing what he was getting into but willing to try, he decided to take guitar lessons. After about a year and a half of lessons, he brought in a little melody he had written and wanted to know what I honestly thought of it. Delighted at his genuine interest in composing, I pointed out his melody’s strengths and weaknesses. We then discussed a bit of what goes into writing a good melody. Since he wanted to explore this in more depth, we began an ongoing look into composition. There was nothing particularly rigid or formal about this—we would focus on this or that aspect of composition as it came up in what he was trying to write. Early on we discussed symmetry and balance in a good melody. Later we talked about how a melody might develop a particular motive. This led him to want to write something longer than a simple song melody, so we touched on basic examples of musical form. When he wanted to set a melody to an accompaniment, we talked about harmony and counterpoint. Throughout this process, we worked by doing. He would compose something during the week, then bring it to me and ask how it could have been done better. It was a hands on approach that suited him well, as he liked to tinker with something he wanted to understand better. After about six months of this, he brought in a barcarole he’d written. Coming from someone with no prior musical training, it was an impressive accomplishment. I particularly liked the way he was willing to go for an eerie mood in some parts. I also liked how he made choices I wouldn’t have made, and yet they worked. The piece, for solo guitar, is called “Bubonic Barcarole.” The author wishes to remain anonymous, but I’ve twisted his arm to allow me to post it. Enjoy. |
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phone: (216) 691-5949—e-mail: augustineregal@yahoo.com
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