MLSD

I generally post Music Q&A in the MLSD Forums, though recently received a series of questions pertaining to music composition that address similar topics that some students have asked about in music lessons. Although the questioner is addressing “classical” type music, the general ideas of composing music or song writing still apply.

The following questions were asked on another website where I volunteer advice on various categories of music.

Question:

Hi, I have a 13 year old son who wishes to study composition. He has already been studying with a theory teacher and he has suggested that we apply for either Mannes or Manhattan School of Music, both of which are in New York. We do not know which has a better composition program. I don’t know if you’ve had any experience with the pre-college divisions of those two schools.

My second question is about the auditions. It was required for my son to submit two compositions. He has quite a lot of them already. Which ones should he submit? The orchestral ones, solo music, chamber music, etc.? Also, my son has experimented with a lot of different forms and styles. He has Baroque style compositions, Classical, ROmantic, 20th Century, etc. Which ones would be best for an audition? Also, what should he do to prepare for the auditions? What level of theory should he be at? Thanks so much for your help.

Answer:

Hello,

That is exciting that your son wishes to study music composition.

In direct response to your message:

1. Regarding the different music schools, you will need to do some research on what they have to offer. A key starting point for that is contacting the instructor or professor who runs either the entire program or, more specifically, who runs the music composition and/or music theory program.

2. “It was required for my son to submit two compositions. He has quite a lot of them already. Which ones should he submit?”

My immediate response is: the two compositions that he feels the strongest about; the two compositions that he believes are the best representations of either his means of relaying his creativity and/or his theoretical skills within his music.

3. “The orchestral ones, solo music, chamber music, etc.?”

You might want to ask the schools what kinds of instrumentations of compositions they would like to see. My response might not align with what they actually prefer.

I would want to see one representative piece from each of these: large ensemble, small/chamber ensemble, and solo. If selecting two pieces, then perhaps a large ensemble piece and a solo, or perhaps a piece for large ensemble and one for small ensemble. If selecting only one piece, then a chamber (or small ensemble) piece.

If your son has written a string quartet, then I highly recommend submitting that piece. A previous composition professor of mine said, “the true test of a composer is in how well s/he can write a string quartet.” He said that because of the application of several compositional skills that are required within a string quartet, including thinking on the level of a soloist, the level of a chamber ensemble, and the level of a large ensemble. Although it is not a large ensemble, the music of a string quartet – only if written well – could be adapted as an excellent arrangement for large ensemble.

4. “He has Baroque style compositions, Classical, ROmantic, 20th Century, etc. Which ones would be best for an audition?”

Any or all of the above. If the school permits it, submit all works, a complete portfolio. If the school only wants two compositions, then consider what styles of music they are well-known for teaching their composition students. He could consider including one piece that is similar to the music of instructors at the school and one piece that contrasts that style. That is completely optional. It’s best to do a little research with the actual instructors or professors at the school and to try to find out what kind of music they would like to see.

5. “Also, what should he do to prepare for the auditions?”

Assemble a portfolio. I encourage searching the internet for a variety of ideas on what is included in a composer’s portfolio upon entrance to a new school, though your best source would be the actual school. They should be able to provide some help pertaining to assembling a portfolio.

6. “What level of theory should he be at?”

A very easy/fundamental starting point for music theory would be to complete the Alfred’s “Complete Essential Music Theory” (three books in one). If that material is too easy for your son, then the next set of books could be Ralph Turek’s “The Elements of Music” music theory texts, beginning with volume one. After completing all of the books in that series, a possible next step could include going to a music library and researching materials available on the music theory of Paul Hindemith. There are a plethora of music theories, most of which specialize in a specific style of music, such as Arnold Shoenberg’s application of twelve-tone serialism and atonal music. An even greater separation could be John Cage’s use of experimental and chance music. For starters, however, I’d say make it through the basics as available in the Alfred’s book and in Turek’s books.

The greatest composer could be a theorist who has tapped into their inner creative and expressive self, has unlocked and unleashed those inspirations, and has still managed to apply their own theories to their music creations.