# How can I improve my compositions?



## kurdeine (Oct 22, 2012)

I have been composing songs for church music. I want it simple but at the same time with a sense of classic and creative music. Here's a sample of my works:








What techniques or styles can I use? or maybe good or better progression for 4-part writing or choral arrangements? Thank you very much! God bless!(^^,)


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## Kopachris (May 31, 2010)

It depends. Do you want advice for how to go from church hymns to something more personal and advanced, or do you want advice for making better church hymns? For the former, we'd need to know a bit more about what you already know--harmony, melody, form, etc. For the latter, well I don't know anything about writing church music, so maybe someone else would be able to help you.


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## kurdeine (Oct 22, 2012)

Thank you very much, sir Kopachris. It could be both. I want to make some hymns too. I am a music student from the Adventist University of the Philippines. I am currently in the course BM Church Music. I finished all my theory subjects and knows most of the basics and fundamentals of music, but I wanted to learn more and to hear from people who are experienced and have a high understanding with regards to music. I haven't taken the subjects Forms and Analysis yet, but I will be taking it this coming semester. But as of the moment, I want to create music that would not just reach the emotions of the heart but will strengthen the intellectual capacity of the mind. So I wanted to mix the power of the message of the texts and the aesthetic value of music to become well-balanced like the music of Mark Hayes, John Rutter, or Joseph Martin.


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## Kopachris (May 31, 2010)

kurdeine said:


> Thank you very much, sir Kopachris. It could be both. I want to make some hymns too. I am a music student from the Adventist University of the Philippines. I am currently in the course BM Church Music. I finished all my theory subjects and knows most of the basics and fundamentals of music, but I wanted to learn more and to hear from people who are experienced and have a high understanding with regards to music. I haven't taken the subjects Forms and Analysis yet, but I will be taking it this coming semester. But as of the moment, I want to create music that would not just reach the emotions of the heart but will strengthen the intellectual capacity of the mind. So I wanted to mix the power of the message of the texts and the aesthetic value of music to become well-balanced like the music of Mark Hayes, John Rutter, or Joseph Martin.


Okay, then. Hmm... The main thing to work on, then, is adding complexity. More interesting rhythms, motif-based melodies, greater contrast between the voices and the accompaniment (if accompanied), greater contrast among the voices (if unaccompanied). What you're looking for is _texture_ and _contrast_. You generally need more contrast in most everything--rhythm, melody, structure, theme, etc.


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## kurdeine (Oct 22, 2012)

Kopachris said:


> The main thing to work on, then, is adding complexity. More interesting rhythms, motif-based melodies, greater contrast between the voices and the accompaniment (if accompanied), greater contrast among the voices (if unaccompanied). What you're looking for is _texture_ and _contrast_. You generally need more contrast in most everything--rhythm, melody, structure, theme, etc.


Thank you very much! I want to share my points too:
1. With regards to rhythm: how do you define "interesting rhythms?" Inasmuch that I would want to use it in the right place at the right time. I would prefer using syncopations only if needed and in the natural inflexion of the word sung.
2. In what ways can I add texture? By adding voices or so?
3. Can you cite examples on how I could improve contrasts?

Thank you very much, sir. you're very much appreciated.


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## Kopachris (May 31, 2010)

kurdeine said:


> Thank you very much! I want to share my points too:
> 1. With regards to rhythm: how do you define "interesting rhythms?" Inasmuch that I would want to use it in the right place at the right time. I would prefer using syncopations only if needed and in the natural inflexion of the word sung.
> 2. In what ways can I add texture? By adding voices or so?
> 3. Can you cite examples on how I could improve contrasts?
> ...


Very good questions. 

1. "Interesting" here generally means including suspensions and various divisions of the beat. For church music as you've been writing, what you've been doing is just fine. The simplicity, IMO, makes it easier for the singers and the congregation to concentrate on the message of the lyrics and on God. For more "musical" and "creative" music, though, small flourishes and accents in the soprano line are a good way to start. To start with, experiment with groups of four 16th notes, a dotted 8th and 16th, a 16th and dotted 8th, and maybe even triplets and quintuplets.
2+3. "Adding texture" and contrast go hand in hand. When we say "adding texture" we mean using a specific type of texture: either polyphonic or melody and accompaniment. What you've been writing is homophony.

There are five general types of texture (according to Walter Piston):
1. Orchestral unison, where all voices share the same melodic movement. The voices may be separated by octaves, fifths, thirds, etc. and still be considered in unison when analyzing texture.
2. Melody and accompaniment, which consists of a main melodic line in the foreground, with various accompaniment figures (arpeggios, walking bass, chords, etc.) playing the harmony in the background. In this case, the melody receives the most dynamic expression, while the accompaniment serves to fill things out a bit.
3. Secondary melody, which is the same as melody and accompaniment with the addition of a countermelody, subordinate to the main melody, somewhere between the foreground and background. In its simplest form, the countermelody can simply be a reduced, outlined version of the main melody, sometimes acting in contrary motion to fit the demands of the harmony and add contrast. Just as often, though, the countermelody has its own motifs and contour and expressive ability.
4. Part-writing (also called homophony), which is what you've been writing so far. All voices are given roughly equal expression and importance. Rhythmic counterpoint is generally (but not always) constrained to even divisions of the beat to help ensure this equality, unlike the other textures, where greater rhythmic complexity and variety helps give one voice more importance than another.
5. Contrapuntal, which consists entirely of melodies. Harmony is certainly still present, and may be very important, but each voice is given it's own melody and is generally completely independent of the other voices. The melodies can be unique for each voice, or they can be imitative of each other, but no voice can be singled out as more or less important or as serving a purely supportive role.

Some of these can be combined. For accompanied choral writing, for example, the voices could be homophonic or contrapuntal while the accompaniment could itself consist of melody and accompaniment or secondary melody. Keep an open mind!

When I suggested to add contrast, I also meant to remind you that when you start writing longer pieces, you will need thematic contrast to both help keep the listener interested and give the piece a sense of purpose. Thematic contrast can be created various ways, whether by melody, harmony (including key), dynamics, or texture. Sometimes, you'll need to create contrast by creating a variation on an already stated theme, and sometimes you'll have to create it using an entirely new theme, depending on how much contrast you need. There's a good (free) book on the importance and application of contrast in form at: https://www.webdepot.umontreal.ca/Usagers/belkina/MonDepotPublic/bk/F-1.html

And, of course, study and analyze music you admire. Try to figure out exactly what the composer did, as well as how and why he did it.


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## drpraetorus (Aug 9, 2012)

first. Listen. Listen alot. 
Second. Analyze. What do you like, what do you not like? Why? Get piano scores of the music if you can.


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## drpraetorus (Aug 9, 2012)

I took the liberty of analyzing your piece. I made some comments that I hope you can see in the jpeg. I also took the greater liberty of reworking some of the harmonies and voicing. This is in a separate jpeg. It kind of illustrates what I was talking about in the analysis. I hope this helps.


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## aleazk (Sep 30, 2011)

I think that the most effective way is studying the scores of the great composers. I sit down and I read the scores. I take note of things or techniques that I find interesting in the score, for example. You must study the score as you read a book, analysing, thinking, making exercises on what you have read, etc. 
Of course you must have, also, a good practical and theoretical background in order to be able to do this. 
So, you must study books, you must study scores, and you must do composition exercises focusing on specific techniques. Which techniques?. You will find some basic principles in the books, i.e., those principles that one always should keep in mind (like Kopachirs' suggestions above).


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## etkearne (Sep 28, 2012)

I will take a deep peek at your score tomorrow, so expect some helpful criticism tomorrow evening. I am sure it is great, though. I just will tell you some tips I learned that can improve things.


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## etkearne (Sep 28, 2012)

Sorry I neglected to get to the work. Hurricane Sandy literally crossed over my neighborhood yesterday so my family and I were busy keeping a nervously cautious eye on our property. We live on a very high exposed hill and the winds were gusting over 70 miles per hour at times yesterday afternoon! It was strong enough to flip over a 150 pound wooden bench we have in our back yard. Incredible stuff. Luckily, only one little piece of siding got pulled out and we could stick it back in with our hands. We were incredibly lucky as we have had trees come down in 60 mph gusts before and this was significantly stronger. In fact, I wouldn't be surprised if one of the gusts (the one that toppled the bench) was 80 mph briefly, because in Ocean City, MD, the same thing happened with the benches and they had gusts to around 80 mph. 

In addition, we recorded the lowest Barometric Pressure in history for our county. It got down to 958 millibars on my personal barometer which is absolutely INSANE. The lowest previously (during a horrible Nor'Easter about ten years ago) was 985 millibars.


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## kitaro (Mar 6, 2012)

I would suggest the Bach's chorals. They are the best known examples of four-part chorals. His fugues are also excellent for counterpoint, but more difficult to analyze. His style is taught in almost all music schools.


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