Learn techniques for composing your own music for instruments and/or voices. Suitable for students with knowledge of music theory grade/level 6 standard. Break Weeks: 28th Oct 2025, 17 Feb and 26 May 2026
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This course is based on the analysis of composition techniques from a variety of styles and genres of music. You will then learn to use these techniques through exercises, and apply them in your own original composition. Autumn term focusses on principles of good melodic writing. Winter term on harmonic writing and Spring/summer term on your own composition project with special consideration of specific instrumental textures. The session plan for Autumn term is as follows: 1. Writing a melody over existing chords (Schubert, Elton John), 2. Writing a melody over your own chords, 3. Unaccompanied melodies (folk tunes in modes), 4. Writing an accompaniment to melodies, 5. Finishing a song, 6. Writing a piece for a single line instrument: Line – Partita in A minor by Bach, 7. Line 2 – Abîme des oiseux by Messiean (from Quartet for the End of Time), 8. Line 3 – Prelude for Clarinet by Penderecki, 9. Species Counterpoint 1, 10. Species Counterpoint 2
The aim of the Summer-term course will be to write a short piece for an advanced student at City Lit for an informal performance at the college. [instruments TBC]
What will we cover?
Autumn term Principles of good melody writing:
pitch set (key, mode), contour (shape and direction), range
harmonic implications
rhythmic structure
motivic and phrase structure
principles of effective good counterpoint between melodies.
Winter term Principles of effective harmonic writing from different musical perspectives:
harmonising and re-harmonising a melody
jazz harmonisation including extended or additive harmonies
Bach chorale harmonisation
arranging from a harmonic progression
harmonic structures of pop songs
dissonant or post-tonal harmonisation
microtonal harmony and just intonation.
We will look at examples from Bach, Hans Abrahamsen, Cassandra Miller, Messiaen, Cole Porter, Elton John, Bach and Schubert.
What will I achieve? By the end of this course you should be able to...
Autumn: Analyse the construction of melodies in a variety of styles
Understand what gives a melody good shape and direction
Understand how melodies work together to create counterpoint
Write effective short melodies and contrapuntal textures in a variety of styles
Compose your own original melodies.
Winter: Analyse the construction of harmonic progressions
Understand what gives a harmonic progression a good shape and direction
Understand the possibilities of arranging from a progression
Write effective short harmonic exercises in a variety of styles (Bach chorale to pop ballad)
Compose your own original pieces.
Summer: Understand the role of texture and timbre in musical composition
Understand the technical and idiomatic capacities of voices and selected instruments
Apply this understanding in exercises for instruments and voices to exploit idiomatic qualities
Make informed aesthetic choices about using texture and timbre in your own composition.
Practical skills related to working with a performer on a piece.
What level is the course and do I need any particular skills?
You need solid knowledge of music theory to at least Grade 6 standard, including understanding of metre and rhythm, intervals and conventional music notation, as well as experience on an instrument or voice. Entrance to this course is via a short test: please email music@citylit.ac.uk if you have further questions or click the ‘start my interview’ button on this page and we’ll contact you.
How will I be taught, and will there be any work outside the class?
- group discussion and feedback - guided analytical listening, score study, discussion and playing/singing of examples - class and individual exercises in writing using the techniques studied - playing / singing of exercises - playing through and critiquing student exercises and compositions - presenting your composition project to the group in performance or via recording/Sibelius files etc….
Are there any other costs? Is there anything I need to bring?
You may like to buy or borrow: The Study of Counterpoint by Johann Joseph Fux to consult during this course. Please bring your own manuscript paper, pencil and eraser. Other musical materials will be supplied by the tutor. You may need to bring your instrument to class to play the exercises and compositions.
When I've finished, what course can I do next?
Composition Techniques runs every term, and different topics are studied each term. You may also be interested in Song writing, Music production, Music theory, Music history, or one of City Lit’s many practical instrumental, singing and ensemble courses.
For more details about musicianship and music theory please visit: Musicianship and music theory at City lit which lists our full sequence of musicianship and music theory classes.
Edward is a composer who studied at Cambridge and Trinity Laban. He teaches composition and music history at City Lit, Morley College and Trinity Laban Junior Department, and writes about music for The Wire (UK) and Positionen (Germany). His latest work includes a commission for the London Contemporary Music Festival 2024. Previous significant work includes “Flower” (recorded by the BBC at the Aldeburgh Festival 2019 and broadcast on the New Music Show), “One Two” (Cologne 2022), Will (Oslo and Cambridge), “Hold” (Huddersfield 2017), and “Tape Piece” ( LCMF 2015). Since 2013 Ed has worked with Bastard Assignments curating, performing and contributing work to regular shows in London and internationally. Their performances at Southbank Centre (2016) and Wellcome Collection (2017) were broadcast live on BBC Radio 3, and they have featured in articles in the Guardian, Telegraph, Financial Times, Frieze, and Neue Zeitschrift für Musik. In 2024 a profile on the group, “Family Dynamics,” was broadcast in Germany. They have been commissioned for a large scale performance in Norway, Denmark and London in 2025 and 2026, and “House” for Musik Installationen Nürnberg in 2025.
Please note: We reserve the right to change our tutors from those advertised. This happens rarely, but if it does, we are unable to refund fees due to this. Our tutors may have different teaching styles; however we guarantee a consistent quality of teaching in all our courses.
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https://www.citylit.ac.uk/composition-techniques136917Composition techniqueshttps://www.citylit.ac.uk/media/catalog/product/c/o/composition_techniques-1024.jpg259259GBPInStock/Courses/Courses/Performing arts/Courses/Performing arts/Music/Courses/Performing arts/Music/Music theory & musicianship22851314135113591228513141351<p>Learn techniques for composing your own music for instruments and/or voices. Suitable for students with knowledge of music theory grade/level 6 standard. <strong>Break Weeks: 28th Oct 2025, 17 Feb and 26 May 2026</strong></p> <div data-content-type="html" data-appearance="default" data-element="main">This course is based on the analysis of composition techniques from a variety of styles and genres of music. You will then learn to use these techniques through exercises, and apply them in your own original composition.<br />
This term focuses on modal and atonal methods of pitch organisation, writing for a variety of instrument(s) or voice(s).</div>251182940Composition techniques259259https://www.citylit.ac.uk/media/catalog/product/c/o/composition_techniques-1024_15.jpgInStockDaytimeTueKeeley StreetAvailable courses5-10 weeksWeekday2026-04-21T00:00:00+00:00Some experience, AdvancedApr 2026Performing artsMG854C259259Composition techniques207181259Edward Hendersoncomposition-techniques/mg854c-2526<p>Learn techniques for composing your own music for instruments and/or voices. Suitable for students with knowledge of music theory grade/level 6 standard. <strong>Break Weeks: 28th Oct 2025, 17 Feb and 26 May 2026</strong></p>0000-Available|2026-04-21 00:00:00<p>This course is based on the analysis of composition techniques from a variety of styles and genres of music. You will then learn to use these techniques through exercises, and apply them in your own original composition. <strong>Autumn term</strong> focusses on principles of good melodic writing. <strong>Winter term</strong> on harmonic writing and <strong>Spring/summer</strong> term on your own composition project with special consideration of specific instrumental textures.<br/>The session plan for <strong>Autumn term</strong> is as follows:<br/>1. Writing a melody over existing chords (Schubert, Elton John), 2. Writing a melody over your own chords, 3. Unaccompanied melodies (folk tunes in modes), 4. Writing an accompaniment to melodies, 5. Finishing a song, 6. Writing a piece for a single line instrument: Line – Partita in A minor by Bach, 7. Line 2 – Abîme des oiseux by Messiean (from Quartet for the End of Time), 8. Line 3 – Prelude for Clarinet by Penderecki, 9. Species Counterpoint 1, 10. Species Counterpoint 2</p><p>The aim of the <strong>Summer-term course</strong> will be to write a short piece for an advanced student at City Lit for an informal performance at the college. [instruments TBC]</p><p>Learn techniques for composing your own music for instruments and/or voices. Suitable for students with knowledge of music theory grade/level 6 standard. <strong>Break Weeks: 28th Oct 2025, 17 Feb and 26 May 2026</strong></p><p><strong>Autumn term</strong> Principles of good melody writing:</p><ul><li>pitch set (key, mode), contour (shape and direction), range</li><li>harmonic implications</li><li>rhythmic structure</li><li>motivic and phrase structure</li><li>principles of effective good counterpoint between melodies.</li></ul><p><strong>Winter term</strong> Principles of effective harmonic writing from different musical perspectives:</p><ul><li>harmonising and re-harmonising a melody </li><li>jazz harmonisation including extended or additive harmonies</li><li>Bach chorale harmonisation</li><li>arranging from a harmonic progression</li><li>harmonic structures of pop songs</li><li>dissonant or post-tonal harmonisation</li><li>microtonal harmony and just intonation. </li><li>We will look at examples from Bach, Hans Abrahamsen, Cassandra Miller, Messiaen, Cole Porter, Elton John, Bach and Schubert.<br/> </li></ul><p><strong>Autumn</strong>: Analyse the construction of melodies in a variety of styles</p><ul><li>Understand what gives a melody good shape and direction</li><li>Understand how melodies work together to create counterpoint</li><li>Write effective short melodies and contrapuntal textures in a variety of styles</li><li>Compose your own original melodies.</li></ul><p><strong>Winter</strong>: Analyse the construction of harmonic progressions</p><ul><li>Understand what gives a harmonic progression a good shape and direction</li><li>Understand the possibilities of arranging from a progression</li><li>Write effective short harmonic exercises in a variety of styles (Bach chorale to pop ballad)</li><li>Compose your own original pieces.</li></ul><p><strong>Summer</strong>: Understand the role of texture and timbre in musical composition</p><ul><li>Understand the technical and idiomatic capacities of voices and selected instruments</li><li>Apply this understanding in exercises for instruments and voices to exploit idiomatic qualities</li><li>Make informed aesthetic choices about using texture and timbre in your own composition.</li><li>Practical skills related to working with a performer on a piece.</li></ul>You need solid knowledge of music theory to at least Grade 6 standard, including understanding of metre and rhythm, intervals and conventional music notation, as well as experience on an instrument or voice. Entrance to this course is via a short test: please email music@citylit.ac.uk if you have further questions or click the ‘start my interview’ button on this page and we’ll contact you.<br/><br/>Do try this <a href="https://drive.google.com/file/d/1MYcV6uqmygC0ZsWVH6PuQeZ60RN-6QB5/view?usp=sharingtarget=_blankrel=noopener" rel="noopener noreferrer" target="_blank">composition workshop chord naming quiz</a> [external website] to get an idea of the entrance level of this course.- group discussion and feedback<br/>- guided analytical listening, score study, discussion and playing/singing of examples<br/>- class and individual exercises in writing using the techniques studied<br/>- playing / singing of exercises<br/>- playing through and critiquing student exercises and compositions<br/>- presenting your composition project to the group in performance or via recording/Sibelius files etc….<p>You may like to buy or borrow: <em>The Study of Counterpoint</em> by Johann Joseph Fux to consult during this course. <br/>Please bring your own manuscript paper, pencil and eraser. Other musical materials will be supplied by the tutor. You may need to bring your instrument to class to play the exercises and compositions.</p><p>Composition Techniques runs every term, and different topics are studied each term. You may also be interested in Song writing, Music production, Music theory, Music history, or one of City Lit’s many practical instrumental, singing and ensemble courses.<br/><br/>For more details about musicianship and music theory please visit: <a href="http://www.citylit.ac.uk/blog/musicianship-music-theory-courses-city-lit" rel="noopener noreferrer" target="_blank"> Musicianship and music theory at City lit </a> which lists our full sequence of musicianship and music theory classes.</p>MusicMusic theory & musicianshipvirtual207259181MG854CINTTue21/04/26 - 30/06/2610:30 - 12:3010:3012:3010 sessions (over 11 weeks)105-10 weeksDaytimeWeekdayKSKeeley StreetEdward HendersonSome experience, AdvancedAvailable courses2026-04-21T00:00:00+00:00Apr 2026Performing arts259259Composition techniquescomposition-techniques/mg854c-2526<p>Learn techniques for composing your own music for instruments and/or voices. Suitable for students with knowledge of music theory grade/level 6 standard. <strong>Break Weeks: 28th Oct 2025, 17 Feb and 26 May 2026</strong></p>0000-Available|2026-04-21 00:00:00<p>This course is based on the analysis of composition techniques from a variety of styles and genres of music. You will then learn to use these techniques through exercises, and apply them in your own original composition. <strong>Autumn term</strong> focusses on principles of good melodic writing. <strong>Winter term</strong> on harmonic writing and <strong>Spring/summer</strong> term on your own composition project with special consideration of specific instrumental textures.<br/>The session plan for <strong>Autumn term</strong> is as follows:<br/>1. Writing a melody over existing chords (Schubert, Elton John), 2. Writing a melody over your own chords, 3. Unaccompanied melodies (folk tunes in modes), 4. Writing an accompaniment to melodies, 5. Finishing a song, 6. Writing a piece for a single line instrument: Line – Partita in A minor by Bach, 7. Line 2 – Abîme des oiseux by Messiean (from Quartet for the End of Time), 8. Line 3 – Prelude for Clarinet by Penderecki, 9. Species Counterpoint 1, 10. Species Counterpoint 2</p><p>The aim of the <strong>Summer-term course</strong> will be to write a short piece for an advanced student at City Lit for an informal performance at the college. [instruments TBC]</p><p>Learn techniques for composing your own music for instruments and/or voices. Suitable for students with knowledge of music theory grade/level 6 standard. <strong>Break Weeks: 28th Oct 2025, 17 Feb and 26 May 2026</strong></p><p><strong>Autumn term</strong> Principles of good melody writing:</p><ul><li>pitch set (key, mode), contour (shape and direction), range</li><li>harmonic implications</li><li>rhythmic structure</li><li>motivic and phrase structure</li><li>principles of effective good counterpoint between melodies.</li></ul><p><strong>Winter term</strong> Principles of effective harmonic writing from different musical perspectives:</p><ul><li>harmonising and re-harmonising a melody </li><li>jazz harmonisation including extended or additive harmonies</li><li>Bach chorale harmonisation</li><li>arranging from a harmonic progression</li><li>harmonic structures of pop songs</li><li>dissonant or post-tonal harmonisation</li><li>microtonal harmony and just intonation. </li><li>We will look at examples from Bach, Hans Abrahamsen, Cassandra Miller, Messiaen, Cole Porter, Elton John, Bach and Schubert.<br/> </li></ul><p><strong>Autumn</strong>: Analyse the construction of melodies in a variety of styles</p><ul><li>Understand what gives a melody good shape and direction</li><li>Understand how melodies work together to create counterpoint</li><li>Write effective short melodies and contrapuntal textures in a variety of styles</li><li>Compose your own original melodies.</li></ul><p><strong>Winter</strong>: Analyse the construction of harmonic progressions</p><ul><li>Understand what gives a harmonic progression a good shape and direction</li><li>Understand the possibilities of arranging from a progression</li><li>Write effective short harmonic exercises in a variety of styles (Bach chorale to pop ballad)</li><li>Compose your own original pieces.</li></ul><p><strong>Summer</strong>: Understand the role of texture and timbre in musical composition</p><ul><li>Understand the technical and idiomatic capacities of voices and selected instruments</li><li>Apply this understanding in exercises for instruments and voices to exploit idiomatic qualities</li><li>Make informed aesthetic choices about using texture and timbre in your own composition.</li><li>Practical skills related to working with a performer on a piece.</li></ul>You need solid knowledge of music theory to at least Grade 6 standard, including understanding of metre and rhythm, intervals and conventional music notation, as well as experience on an instrument or voice. Entrance to this course is via a short test: please email music@citylit.ac.uk if you have further questions or click the ‘start my interview’ button on this page and we’ll contact you.<br/><br/>Do try this <a href="https://drive.google.com/file/d/1MYcV6uqmygC0ZsWVH6PuQeZ60RN-6QB5/view?usp=sharingtarget=_blankrel=noopener" rel="noopener noreferrer" target="_blank">composition workshop chord naming quiz</a> [external website] to get an idea of the entrance level of this course.- group discussion and feedback<br/>- guided analytical listening, score study, discussion and playing/singing of examples<br/>- class and individual exercises in writing using the techniques studied<br/>- playing / singing of exercises<br/>- playing through and critiquing student exercises and compositions<br/>- presenting your composition project to the group in performance or via recording/Sibelius files etc….<p>You may like to buy or borrow: <em>The Study of Counterpoint</em> by Johann Joseph Fux to consult during this course. <br/>Please bring your own manuscript paper, pencil and eraser. Other musical materials will be supplied by the tutor. You may need to bring your instrument to class to play the exercises and compositions.</p><p>Composition Techniques runs every term, and different topics are studied each term. You may also be interested in Song writing, Music production, Music theory, Music history, or one of City Lit’s many practical instrumental, singing and ensemble courses.<br/><br/>For more details about musicianship and music theory please visit: <a href="http://www.citylit.ac.uk/blog/musicianship-music-theory-courses-city-lit" rel="noopener noreferrer" target="_blank"> Musicianship and music theory at City lit </a> which lists our full sequence of musicianship and music theory classes.</p>MusicMusic theory & musicianshipconfigurable
13591351Music theory & musicianshiphttps://www.citylit.ac.uk/courses/performing-arts/music/music-theory-and-musicianship1/2/285/1314/1351/13591/Courses/Performing arts/Music/Music theory & musicianship
