Performing and composing ideas
There are techniques for composing and performance from Beethoven鈥檚 Piano Concerto No.1, but note that they have similarities to other genres and can be implemented for other performances and compositions. The table contains transferable techniques and features.
| In performance | In composing | |
| Using scales | Regular practice of scales can help improve accuracy and fluency. Working through different scales is also a great way to warm up an instrument and prepare for a performance. | Knowing the notes of a scale means they can then be used as notes for a melody. Experiment with different note orders to create an interesting melody. |
| Using recycled ideas | Identify themes that reoccur within a solo piece. Remember they might be hidden in other parts and the performers need to adapt so that the important ideas are heard. | Beethoven often brings back ideas to his composition, but slightly changes the rhythm or melody. Adapt the rhythm of the main idea or experiment with combining musical ideas together to create new musical materials. |
| Revisions | When rehearsing a piece of music, it is useful to record this and listen back to identify improvements that can be made, such as more dynamic contrast. | Going over completed compositions is a good way of taking a fresh look at the piece. Making changes and improving a piece is a large part of the composing process. |
| Melody and accompaniment texture | Performers must ensure they know the important part to be heard within the texture. Then they can play their own part in an appropriate way. | A melody and accompaniment texture means a composer can freely give the accompaniment movement and interplay with the melody. |
| Using scales | |
| In performance | Regular practice of scales can help improve accuracy and fluency. Working through different scales is also a great way to warm up an instrument and prepare for a performance. |
| In composing | Knowing the notes of a scale means they can then be used as notes for a melody. Experiment with different note orders to create an interesting melody. |
| Using recycled ideas | |
| In performance | Identify themes that reoccur within a solo piece. Remember they might be hidden in other parts and the performers need to adapt so that the important ideas are heard. |
| In composing | Beethoven often brings back ideas to his composition, but slightly changes the rhythm or melody. Adapt the rhythm of the main idea or experiment with combining musical ideas together to create new musical materials. |
| Revisions | |
| In performance | When rehearsing a piece of music, it is useful to record this and listen back to identify improvements that can be made, such as more dynamic contrast. |
| In composing | Going over completed compositions is a good way of taking a fresh look at the piece. Making changes and improving a piece is a large part of the composing process. |
| Melody and accompaniment texture | |
| In performance | Performers must ensure they know the important part to be heard within the texture. Then they can play their own part in an appropriate way. |
| In composing | A melody and accompaniment texture means a composer can freely give the accompaniment movement and interplay with the melody. |