Lesson video

Hello, welcome to today's lesson entitled Extending and Refining Creative Ideas.

My name's Mr. Norris, and today, we're gonna take a look how we can take some simple musical ideas, build on them by extending them, and developing them.

Our outcome for today is: I can develop a musical idea and compose a piece of music which balances the use of repetition and new ideas.

Some keywords.

The first is motif.

This is a short musical idea that recurs throughout a piece of music.

Melodic shape.

This is the outline of melodic idea and the shape that's created with the different pictures.

And then finally, ABA structure, which is a structure consisting of three sections of music where the first and the last section are the same and the middle section is different.

And that leads on the first part of today's lesson, which is refining a musical idea.

We're gonna listen to three clips of music, and we've got three images underneath.

I'd like to match each clip to the image that it best suits, and in particular, I'd like to think about what musical features in each clip makes them particularly suit that image.

So let's have a listen now to the first clip, and I'd like you to pick out which image does this best suit and why.

(ominous music) So have a quick think about which image you think that suits best and why.

Now let's listen to the second example.

(upbeat electronic music) So quickly have a think about which one that suits best and why.

Now, example three, which one does this suit and why? (calm piano music) So, making sure you've chosen one for each clip, and now let's talk through these.

The first clip suited the volcano, the second one suited the distant galaxy, and then the third one suited the deep sea.

Let's have a think about why.

So the first example sounds quite angry.

It's loud with these intense, rhythmic strings and they're playing the same line of music, but they're playing it in octaves.

We call that doubling a melody where they're all playing the same thing.

So this sounds quite powerful and unified, strong.

And as well as that the repeated musical idea sounds quite ominous.

The choice of notes suits sort of ominous mood.

The second example sounds both mysterious but also exciting.

The tempo is quite fast, and the timbre is a synthesizer, which is an electronic sound, which sounds particularly futuristic.

It creates a sense of something in the future.

It uses reverb, which is short for reverberation, which is basically an echoey effect you can put on different sounds.

And that sustains the sound, making it sound like you're in a vast space.

So that really suits that image there.

And the third example sounds quite calm and sparse.

This really suits that deep sea scene.

It's quite simple.

There's only one line of music which helps create that feeling of simplicity and sparseness.

The pitch moves around in large jumps.

There are big intervals between the notes, which again creates this feeling of emptiness and sparseness.

And the tempo is slow.

It creates the feeling of calm and stillness, really suiting that deep sea scene.

Let's listen again to those clips and this time, have a think about what they have in common.

In particular, focus on the choice of notes.

Let's have a listen to the first one.

(ominous music) Let's listen to the second example.

(upbeat electronic music) And now the third one.

(calm piano music) So have a quick think about what they have in common with each other.

So here's some of the things that they have in common.

They all use repetition, so they all repeat some ideas within the clip, and they use a small number of notes, so there aren't many different notes that are used.

They also all use the same motif twice.

So if you listen back to each clip, you'll notice they repeat the same idea twice, although the second time it's heard in some of those cases, it's slightly changed, but it still sounds familiar.

Extending your motif this way is a really useful composition strategy.

It gives a recognizable quality to your music at the same time as creating interesting ideas.

So the first motif we listened to there used the same idea, but played at a slightly lower pitch the second time.

So I played it once in a higher pitch and once in a lower pitch.

That's developed it and extended it, but it still sounds familiar when we hear it in that lower octave.

In the second one, there are four repeated notes that form the motif.

The first time, it descends to the last note, and then when it's repeated, it ascends to the second note.

So there's a slight change, but again, it sounds familiar because it's only slightly changed when it repeats.

And then in the third one, it's the same idea that's heard twice, but the ending is different in the second time.

So it's played once and then it's repeated, but the ending is slightly changed.

So all of these are different ways that we can develop a motif through repetition.

They also all have an interesting melodic shape, which is the outline that's created from one pitch to the next, so the overall shape created by the pitches.

Each one of those motifs balances predictability through repetition and surprise by changing some things.

So that's the shape of our first motif, where we've got the same shape repeated twice, but the second time, it's surprising 'cause it's an octave lower, so we've got this balance of predictability and surprise.

In the second one, we've got the same length phrase, but the first time, it ascends at the end, and the second time, it descends, so balancing predictability and surprise.

And then the third one, we've got the same shape there we can see repeated twice, but the second time, the ending is slightly different.

So all of those have a balance of repetition and change.

Let's check your understanding.

What is melodic shape? Is it number of notes in a melody, the pattern of repeated rhythms in a melody, or the way the melody moves up and down? I'll give you a few seconds.

The melodic shape is the way that the melody moves up and down, so melodic shape is all based around a pitch.

Well done if you've got that correct.

List three features of successful motif.

You can pause my video while you do this.

And here are some that you might have picked up.

You could have said: using only a few different notes, using notes that are close together, and using repeated or recurring ideas.

Well done if you picked up on some of those.

Let's watch this short recording of motif being played.

We're gonna watch the original motif first, then we're gonna look at a developed version of it.

How is it developed or being changed in the second version? Here's the original.

(serene music) And here's the developed version.

So what's changed, what's been developed? (serene music) So you might have said here that in the developed version, the two-note motif is extended into a longer idea.

So it's taken those two notes from the original one and extended them to something longer.

The two-note pattern is still used at the start of each phrase in the second one, but different notes are added afterwards.

So it's basically extended.

So to develop or refine a musical idea, you can extend it by adding extra notes like we've seen there, you can repeat the first idea and change it slightly, you can keep the initial notes prominent in any new ideas that you create, and you can also consider adding a second contrasting idea that's played at the same time to add some contrast.

Let's check your understanding.

True or false? A recurring motif should be exactly the same each time.

I'll give you a few seconds to choose your answer.

And the correct answer here is false.

Pause my video and have a think about why.

Why is that false? I would explain that by saying it can be the same and the motif should be recognizable.

However, it can be adapted slightly by changing the shape or some of the notes or by adding extra notes.

So, although you can repeat it the same way, it doesn't necessarily have to be like that as long as you can still recognize the motif and the original musical idea.

So for this task, you're gonna extend your composition by developing your motif.

Here's some success criteria.

There's a recognizable musical idea throughout, it has an interesting melodic shape, you've considered adding a second contrasting idea that plays at the same time, and you've considered the quality of the idea.

Does it repeat, does it use only a few notes, and does it mainly move by step? And remember, always listen to check that your music effectively conveys your chosen image.

So always bring it back to this, whatever musical decisions you're making.

Does that suit this image, this story, this picture that you're trying to paint with your music? So you can pause my video now and give this task your best shot.

Now I'd like to reflect on how you've developed your musical ideas.

Here are a few questions to get you thinking.

How does your motif or ostinato change? What stays the same? How does the second musical idea contrast with the original? And are you happy with the melodic shape? Have a think about how it balances predictability and surprise.

And what makes your main musical ideas successful? Are they simple and repetitive? So pause my video and have a reflection on your developed musical ideas.

The second part of this lesson is looking at unity and variety.

Most musical styles across different cultures and times use repetition in some ways.

This can be done in many different ways.

You know, it could be using short ideas that repeat or long sections that repeat, but the key is that repetition helps us to make sense of what we hear.

It makes it feel familiar and recognizable.

It can also make music more memorable and catchy.

One way of maintaining interest is to find a balance of musical ideas that repeat and new ideas, or what we might call a balance of unity and variety.

So just like when you're writing in English, there needs to be some consistency to the structure or the choice of language that you use, but you also want to be bringing in new ideas and changing the story as you're going as well.

This is the same when we're writing music.

We can think about structure to help us with this.

Structure helps us to make sense of a piece of music.

Most structures use some repetition.

So let's have a quick think.

What are the two main sections in a pop song called, for example? Just have a quick think.

So hopefully, you know that the two main sections in a pop song are called a verse and chorus, and you would usually hear both of these sections more than once in a pop song.

However, you'd often hear changes happening as well within them.

So the words in the verse might change when it repeats, or there might be some extra notes added or different melodies added when the chorus repeats.

So there's a balance of repetition and change.

Now we can also use letters to describe different sections of music.

So rather than using words like verse and chorus, we can describe sections with letters.

This well-known melody has the structure ABA.

(gentle music) Now I'm sure many of you will recognize that one.

We've got the A section, which is the first section.

Then we've got a different section with a different melody and different words.

And then the A section repeats again at the end.

And as you can see there, we've got a sandwich, and that's because we can remember it as the sandwich structure.

We've got bread to start with, then something in the middle, and then bread to finish, so A, B, and then A.

It's also known as ternary form, this ABA structure.

That's the sort of technical name for it.

And it's one of the most common structures in music because although it's simple, it's really musically satisfying because the piece ends in the same way that it started.

So we're getting some familiarity in the last section, something that we've already heard before.

We can develop a composition into an ABA structure by composing a contrasting section, which is our B section, and then finishing again with our opening idea, which was our A section.

Have a listen to this example where we can hear an A section, then a contrasting B section, then a return to the A section with an ABA structure.

(serene music) Let's check your understanding.

What is an ABA scripture? Pause my video while you think of an explanation.

So an ABA structure is a musical structure where the music starts and finishes the same, with a contrasting section in the middle.

So you've got A and a different B section, then back to the A section to finish.

Which of these examples has an ABA structure? Here's option A.

(upbeat music) Here's option B.

(bright upbeat music) And option C.

(bright music) So quickly finishing your answer, which one has an ABA structure? And the correct answer is option C.

That was this one.

Listen out for the A section at the start, the different B section, and then the repeat of the A section.

(bright music) Let's look at how we create contrasting ideas now.

We're gonna listen to these two musical ideas.

How does the second one contrast with the first, and are there any similarities between the two? Here's the first idea.

(light upbeat music) And here's the second one.

How does this contrast? (light upbeat music) So the key contrast here comes from the notes and the melodic shape of the motif, not the rhythm, which is actually quite similar in both examples.

So well done if you picked up that the contrast comes from that melodic shape.

Now, a contrasting musical idea should use either a different rhythm, different pitches, or a different melodic shape.

This makes it sound like a new idea, which helps it create contrast for your B section.

To extend your composition, you can compose a contrasting musical idea for this B section.

It should contrast with the A section by using different pitches or melodic shape, or a different rhythm.

It could also use the other elements of music differently as well.

So you could also consider adding some contrast through use of dynamics, timbre, or other things you can think of.

Let's check your understanding.

To compose a new musical idea, it should have either different what or different what? Pitches, rhythms, timbres, or dynamics.

So choose two that it should have.

I'll give you a few seconds.

And the correct answers here are different pitches or different rhythms. Although we can change the timbres and the dynamics, they won't necessarily create a new musical idea because they'll still be playing the same notes and the same melodic shape.

So the way we create a really contrasting idea is by changing the pitches and rhythms. We can also use the final A section to balance unity and variety by slightly adapting the original A section, so when the A section comes back, it's not exactly the same as it was the first time.

Let's look at a few different ways we could do this.

Here's an original motif.

Have a listen to this.

(light airy music) Now I'd like you to listen to the second version.

Identify how is this different.

What's being adapted here? (light echoey music) Have a quick think of what's changed there.

And the answer here is the timbre is different this time around.

So it's still the same notes, the same motif, but we've got a different timbre, which creates a slight sense of variety while still having the unity, the familiarity of the original melody.

Let's listen to another version.

What's changed this time from the original? (gentle upbeat music) Have a quick think of what's changed there.

And the answer is there's a thicker texture, there are faster rhythms going on, there's some lower-pitched notes being played as well, but it's still recognizable as that original motif.

Let's have a listen to a final version.

What's been adapted here? (light airy music) So quickly working out what changed there.

And the answer here is it slows down towards the end.

The tempo slows slightly towards the end.

It's still recognizable as that original motif.

And that's the key here is making sure that when that A section comes back, if you decide to adapt it slightly, it is only slight, so we still recognize it as the original A section and not a new, totally different section.

So, to complete your composition, finish with your A section.

You can slightly develop this section by doing one or more of these.

You could change how you use tempo and dynamics, you could add another part and this would change the texture by thickening it, or you could change the timbre, you know, use some different instruments or different sounds.

And there are other ways you could change it as well that you might be able to think of yourself.

Let's check your understanding.

True or false? Both A sections in an ABA structure should be identical.

I'll give you a few seconds.

And the correct answer here then is false.

Why is that false? Why is it not necessary for both A sections to be identical? I'll give you a few seconds to have a think.

And the answer here then is they can be identical, but you can also slightly adapt some musical ideas as long as they are still recognizable as the same section of music.

So this can add interest to your composition while keeping a sense of unity.

It balances unity and variety.

For task B, complete your composition for your chosen image.

Here's some success criteria.

You've composed a contrasting B section.

This uses different pitches, melodic shape, or rhythms from your original A section.

You've considered developing other elements of music to enhance your B section as well, so you might think about dynamics or texture, or timbre.

You've then added your A section again at the end.

This can be the same or it can be slightly different to the original, but it must still be recognizable as the same idea.

So make sure that when that A section comes back, we recognize it as the original A section and not something totally new and totally different.

And then finish by playing your whole piece through, checking that it depicts your image as intended.

So remember, we're always linking it back to the purpose of this music, which is to represent that image and to paint the picture of that image.

So make sure when you've created your final product that it does that.

And if it doesn't quite match exactly what you're going for, then try tweaking it or adapting it until it does.

So you can pause my video now and give this your best shot.

Good luck.

To finish today's lesson, you're gonna reflect on your final composition.

How is your piece successful? Here are a few questions that will prompt your thinking.

Does it use a recurring motif or an ostinato? Does it start and finish with the same section, with a contrasting section in the middle? How does the B section contrast with the A section? Did you add any development to your final A section when it comes back? And finally, how do you use tempo, dynamics, texture, and timbre to reflect your image? So pause my video while you're reflecting on your final conversation.

Let's summarize today's lesson.

We can refine musical ideas by thinking about the melodic shape and the choice of notes.

ABA is a really common structure.

It starts and finishes with the same idea, which is A, and it uses a contrasting B section in the middle, contrasting idea.

This gives music a balance of unity and variety, which makes it interesting and memorable.

And we've composed a piece of music in an ABA structure using the elements of music appropriately to depict an image.

So I hope you've enjoyed today looking at different ways that we can develop musical ideas.

And these tools that we've started to develop here, you can use them in any musical context.

So these don't just apply to the music that we're creating here, but you'll find these useful when you're writing in different styles for different instruments and for different purposes.

So I hope you find some opportunities to do that soon.

Thanks for taking part, and I'll see you in another lesson.