Demystifying Composition Column: Rhythm and counterpoint

In this article, following on from the last two monthly instalments, we are going to stick with just two pitches, but this time using three different lines of music and a fairly structured rhythmic pattern. Again, the restricted source material is suggested as a useful way to focus attention on particular details of the compositional process.

The chosen rhythmic structure of any piece is important; certain patterns add drama, energy or excitement. If we limit the rhythmic patterns students can use, this not only makes it much easier for them to write because that extra thought process has been sidestepped (for now), but it also gives them options that they know will work and that they can confidently include in subsequent compositions. It encourages them to think laterally, and poses the question of how to develop an interesting and effective rhythmic pattern. If composition is studied in a class lesson every week, you might aim to set a new rhythmic pattern each time. The complexity of such patterns will depend on the level of your students.

Let's select a pulse (I think a moderato tempo will be apt here) and start with two basic rhythmic patterns (for example, Fig 1 – but students can create their own). You may need to explain how the beats per bar work, but hopefully by this stage students will have a fairly rudimentary grasp of theory.

Fig 1

Once understood, let's combine the rhythms (Fig 2). As you can see, I've changed the running order slightly compared to Fig 1, because I felt this would be effective.

Fig 2

Now that we have our first rhythm, it is time to develop a second rhythm to complement the first one, in order for our three lines of music to work together. My second rhythmic pattern is the example given in Fig 3, and I have used elements of the two rhythms suggested at the beginning so that there will be synergy between the parts.

Fig 3

Now we need a third rhythmic pattern to complete the line-up. For this, I've written a rather simplistic pattern (Fig 4). Such simplicity will add a solidity to the other musical lines without overpowering them. If we combine them all together, they will offer a basis for the start of a new piece. These rhythms can be repeated in each instrument's line, and reversed or combined in various guises.

Fig 4

Writing for three different instruments in this way is a form of counterpoint (several lines of music that are harmonically interdependent but rhythmically independent). However, we will stick to using just two pitches on this occasion. I am writing for flute, oboe and bassoon, using B flat and F as my chosen pitches (Fig 5).

Fig 5

The note combinations are more effective if used over several registers, and there is no limit to the possible patterns within the two-note limitation; the more varied the better, so a student's imagination can run wild! I enjoyed changing the rhythmic patterns in this example, employing the Fig 4 rhythm in unison for the last two bars.

My short passage can now be elongated using the rhythmic suggestions above, and it illustrates how we can build a solid structure by employing quite simple means. We don't always have to rely on harmonic development.

Once students have completed their piece, have fun playing them through. How do they sound? They may need more rhythmic variety, in which case, suggest that students change the order of the set rhythmic patterns more frequently. I would impose a limit of 16 to 20 bars for this piece, which offers the necessary space to use the rhythmic patterns both in isolation and in combination. I hope your students enjoy developing their composition skills through this exercise.

Melanie Spanswick is a pianist, writer, teacher, composer and adjudicator. Find out more at https://melaniespanswick.com