Make corrections to your first draft of Composition Assignment #3 as indicated on your print-out. Click here to review instructions.
When perfect, email your revised copy to email@example.com
If you have not completed the assignments listed in Skyward, complete those today. This is a rare, catch-up day opportunity!
Wednesday / Thursday
- Page 39 and 40, Harmonic Dictation in major and minor keys, using tonic, subdominant and dominant triads.
- Assignment 17
Benward Chapter 6: Melodic Organization
- Assignment 6.1 and 6.2 ( On Sibelius)
IF we have time, we will start Composition Project #4….
Download and Open in Sibelius: Composition Project #4 (free response question #6 on AP Exam): Using Roman Numerals to generate melody, harmony, non-harmonic tones and cadences
We will do #1 together SLOWLY, so:
- pay close attention
- take notes
- if you do not understand something, ask me to explain. This review is to make sure you understand everything we’ve covered. Do not hesitate to ask questions. If you don’t understand something, there’s a 100% chance that you are not alone.
- Roman numeral analysis is given
- Build your chord matrix. Build each chord from the Root up and circle or underline the BASS note, which may or may NOT be the root.
- Add Chord Symbols ( Control + K ) above each chord (above treble staff) as indicated in examples
- Compose your melody from notes in your matrix: PLEASE follow these guidelines for composing your melody (soprano line):
- Your melody should move in mostly conjunct motion, making your melody “singable.”
- Your melody should be moving in contrary motion to the bass line at LEAST 50% of the time.
- Keep your soprano line on treble staff, from first line E to top line F and, again, compose your melody in mostly conjunct motion.
- If you use an interval larger than a 3rd, the next interval should be a second. Do not use consecutive intervals larger than a 3rd, unless the notes outline a triad.
- Compose the alto and tenor voices using static motion (keep the common tone) as often as possible, otherwise move to the next nearest chord tone. The range from Tenor to Alto and the range from Alto to Tenor must never be more than an octave.
- Make sure you’ve composed a cadence as indicated. For some, you may get to choose PAC or IAC according to melody notes. Others are inflexible.
- Use the “Music Theory Quick Facts“ sheet!
- Add non-harmonic tones to each example as instructed on the template. Each non-harmonic tone has a specific pattern / “formula.” (Benward pages 102-111)
- Use the Sibelius proofreading plug-in to check for Parallel P5s and P8s. If found, correct them.