castle rushen high school
TRANSCRIPT
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CastleRushenHighSchool
Music Department
IGCSE Music 2O16-2018
Musicianship through
composition Name:
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Contents1. BeatandRhythm–SimpleTime2. MelodicNotation(Trebleandbassclef)3. ChordsandHarmony4. Makingchordsmoreinteresting–Inversions5. Intervals6. BeatandRhythm-CompoundTime7. PhrasesandCadences8. Writingamelody9. Morechordsandcadences10. Musicaltexture11. WorkinginaMinorKey12. ModulationExplained13. ModulationinPractice14. DevelopmentofMusicalMaterial15. Expression16. MusicalForms
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1. Beatandrhythm–Simpletime• Allmusichasabeat,andweworkoutrhythmsinrelationtothisbeat.• Insimpletimethisbeatisacrotchet(tea).• Weknowapieceofmusicisinsimpletimeasitusesa4asthelowernumberinits
timesignature.Themostcommononesareshownbelow.
Timesignature Beatsinbar
2beats
3beats
4beats
• Youhaveworkedwithrhythmsusingwordstorepresentthem.Onthenextpageyouwillfindthoserhythmsandothers.
• Therestsymbolwhichwouldrepresentthesamelengthhasalsobeenincluded.
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Rhythmicsymbol
Symbolofrest
Wordweuse Numberofbeatsitfitsinto
UKname
Tea 1 Crotchet
Cream 2 Minim
Milk 3 Dottedminim
Cheese 4 Semibreve
Coffee 1 2quavers
Cappuccino 1 4semiquavers
Pineapple 1 Quaverand2semiquavers
Weetabix 1 2semiquaversand1quaver
I------love 2 Dottedcrotchetandaquaver
fee ½beat Quaver
Ginger 1 Dottedquaverandsemiquaver
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2.Melodicnotation:trebleandbassclef,keysandscales• Mostwesternmusicusesmelodicnotationbasedaroundnotesofthescale.The
onlyexceptionisguitaranddrums,whichusedifferentformsofnotation.• Thetrebleandbassclefarethetwomostimportantclefs,whichallmusiciansuseto
readmusic.Theylooklikethis;
• Boththetrebleandbassclefshavefivelinesandfourspaces,whichrepresentdifferentnotes.Thisiscalledastave.However,thenotesdon’tjuststopatthebottomandtopofthestave.
• Differentinstrumentsusedifferentclefsdependingonthepitchoftheinstrument.Forexample,theFluteusesthetrebleclefbecauseitisahigh-pitchedinstrument,whilethecellousesthebassclefbecauseitisalow-pitchedinstrument.
• Asastartingpointitisgoodtoknowwhere‘MiddleC’appearsonboththetrebleandbassclefs.Theyareboththesamenote.
• Belowarethelinesandspacesofthetrebleandbassclefs.Thesepatternswillhelp
youtobeabletoreadmelodicnotationinbothclefs.
Trebleclef(Linesandspaces)
Bassclef(LinesandSpaces)
Trebleclef
Bassclef
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Majorkeysandscales
Thereare12differentmajorKeysandscales,whichareusedtoformthebasisofmuchofthemusicwelistento.Thesescalesaremadeupofmusicalintervals,whichformapatternof7notesbasedaroundaparticularkeysignature.Keysignaturesareacrucialcomponentwhenwritingapieceofmusicanditisimportanttorecognisewhattheylooklikeandhowtheywork.Thecommonfeatureofmostkeysisthattheycontainsharpsandflats,theseareknownasaccidentalsandarewhatmakekeysignaturesunique.Theyusethefollowingsigns
FLAT
(Flattensthenote)
Thissignbeforethenotemeansthatthenoteis
flattened
SHARP
(Raisesthenote)
Thissignbeforethenotemeansthatthenoteissharpened.
Somemajorscalesaremorecommonlyusedthanothers.Thisisbecausetheyhaveasimplerkeysignaturetocomposein,andhavelessaccidentals.ThemostcommonmajorkeyandscaleisCmajor,whichhasnoaccidentalsinitskeysignature.
Cmajor:Whenworkingwithinanykeysignatureitisimportanttoknowthatsomenotesofthescalehavemoresignificancethanothers.Thetwomostimportantnotesofanyscalearenotes1and5.ThesearecommonlyreferredtoastheTonicandDominantnotes,orIandV.Cmajor:
Belowisatablewithfourmajorkeysthatusesharps,andfourmajorkeysthatuseflats.Noticehoweachkeysignatureaddsanewsharporflateachtime.Thesearejustsomeof
Thetonicanddominantnotesarethestrongestpointsofthescale.InCmajortheCisthetonicnoteandthedominantnoteisG.Thisprincipleappliestoallkeys.Inchapter3youwillseehowthisprincipleworkswhenusingchordsandharmony
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themajorkeysyoucouldusetohelpyoucreateideasforyourcompositions.Seeifyoucanworkoutthetonicanddominantnotesofeachofthesemajorkeys.
Key KeySignature
Scale Sharps/flats
Gmajor
1-F#
Dmajor
2-F#,C#
Amajor
3-F#,C#,
G#Emajor
4-F#,C#,G#,D#
Fmajor
1-Bb
Bbmajor
2-Bb,Eb
Ebmajor
3-Bb,Eb,
AbAbmajor
4-Bb,Eb,Ab,Db
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3.ChordsandharmonyYouhavealreadylearnedaboutkeysandscaleswhichcanbeusedtowriteamelody.Youarenowgoingtolearnhowcomposerssuccessfullycombinenotestocreateharmonythroughtheuseofchords.Thesechordshelpthelistenertounderstandthetonalcentreorkeyofthemusicandphrasing.
• Achordiscreatedwhenmorethanonenoteisplayedatthesametime.• Weusuallycreateorchooseournotesfromachordbycreatingtriads.• Thesetriadsarebuiltfromthenotesathirdapart.• Thesearelabelledusingromannumerals.• Achordmaybecalledbyitsromannumeralorthenoteitisbuilton.(ChordIinC
majorcanalsobecalledtheCchord.)
TriadsinthekeyofCmajor
• Eachnoteofthescalehasanumber.Thatnumberalsotellsyouaboutthetriad
whichisbuiltaboveit.• Thereforechordone(I)inCmajorisbuiltabovenoteoneofthescalewhichisC.
ChordoneinCmajoristhereforemadeupofthenotesCEG.• Althoughtriadscanbecreatedaboveanynotesthemostcommonlyusedchordsare
thoseabovenotesone,fourandfive.• Thesearecalledtheprimarytriads.ChordsI,IVandV• Asthenotesoftheseprimarytriadsincludeeverynoteinthatscaleanymelodyin
thatkeycouldbeharmonisedjustbyusingthesechords.
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4.Makingchordsmoreinteresting–Inversions• Youalreadyunderstandthattriadsarecreatedbybuildingchordsonnotesofthe
scale.• Sofarthelowestnoteofthechordaswehavewrittenandplayedithasalways
beenthechordnotewehavebuiltthetriadon.Thisiscalledtheroot.• Chordsdonotalwayshavetousetherootasthelowestnoteofthechord.We
createchordinversionswhenwedonotusetherootasthelowestnote.• Youcanthereforecreate/writeanychordinrootposition(a),firstinversion(b)and
secondinversion(c).• Wedonotusuallybotherlabelrootpositionasa.Wejustwritetheromannumeral.
PrimarychordsandtheirinversionsinCmajor
• Chordsplayedinaninversionsoundlessstrongthaninrootposition.• Wethereforeoftenuserootpositionchordsinimportantplacesinapiece,suchas
thebeginningsandendsofphrases.• Secondinversion(c)isonlyoccasionallyused.
Chordinversionsgivethemusicmorevariety.Comparetheharmonisationofthissimpletunefromthepreviouspage.
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5.Intervals• Inmusic,anintervalisthedifferenceinpitchbetweentwonotes.• Intervalsareanimportantmusicalaspectwhencomposingbecausetheyareableto
shapemelodies,andparticularintervalsareimportantwhenmodulatingtonewkeys,whichwewilllookatinmoredetailinlaterchapters.
• Themosttypicalmusicalintervalsare2nds,3rds,4ths,5ths,6thsandoctaves.Theseareshowninthetablebelow.AnyintervalthatstretchesoveranoctaveisknownasaCompoundinterval.
Symbol Notes Name/Interval
C-D
2nd(Major)
C-E
3rd
(Major)
C-F
4th
(Perfect)
C-G
5th
(Perfect)
C-A
6th
(Major)
C-B
7th
(Major)
C-C
Octave
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• ThistableshowshowintervalsareformedbetweennotesstartingonC.TheCatthebottomcouldbereplacedbyanynoteofthescaleandreproducedinexactlythesameway.
• Nowwehavelookedathowtoworkoutasimpleinterval,wenowneedtolookatthedifferenttypesofintervalswecanget,dependingonthekeyweareworkingin.
• Thefourmaintypesofintervalyouneedtoknowarecalled
Major Minor Perfect Diminished LetstakethekeyofCmajor:
• HereistheCmajorscale.Cmajorhas
nosharpsofflatsinitskeysignatureandsoitmakesiteasiertoworkouttheintervalsbetweennoteswithinthiskey.Belowaresomeexamplesofdifferentintervalsinthisparticularkey.
Majorinterval Interval Minorinterval Interval
Major3rd(C-E)
Minor3rd(C-
Eb)
Major6th(C-A)
Minor6th(C-
Ab)
Intervalsof4th’sand5th’sareknownasPERFECTintervalsasshownbelow-Theseareintervalswhichpredominantlyapproachcadences.Perfectintervals Interval Perfectintervals Interval
Perfect4th(C-F)
Perfect5th(C-G)
AdiminishedintervaloccurswhenaPerfectintervalhasaflattened5thDiminishedinterval
Interval Reason
Diminished5th
TheGhasbecomeaGb,whichthereforemakesthisintervaldiminished.Lookatthecomparisonwiththeintervalabovetoseewhy.
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6.Beatandrhythm–Compoundtime
• Bynowyouwillunderstandthedifferenceinsoundbetweensimpleandcompoundtime.Thesepagesaimtohelpyouunderstandthetheoryaswell.
• The8asthelowernumberinthekeysignaturetellsusthatthebeatiscountedinquavers.Therefore6/8timehas6quaversineverybar.
• Butasyouwillalreadyknow,mostofthetimeweactuallyfeelthisrhythmas2inabar,2dottedcrotchets.
• Therhythmsyoucanusein6/8areincludedinthepieceofmusicbelow.Thedottedcrotchetbeatisshownabove.
• Youmayfindthesewordsbelowhelpfulwhenusingcompoundtime.Youcouldtrytomakeupyourownfortheonesnotincludedhere.
• Alloftheserhythmsfitintoonedottedcrotchet/areworth3quavers.
Rhythm Wordweuse
Home
Gallop
Hoppity
Runaway
• Musiccanalsobewrittenin9/8and12/8,butthisisnotascommon.
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7.Phrasesandcadences• Allmusicismadeupofphraseswhicharelikemusicalsentences.• Theseareimportantinallowingmusictomakesensetothelistener.• Themovementfromthesecondlasttothelastchordinaphraseisknownasa
cadence.• Thetwochordswhicharechosentomakeupthiscadenceareveryimportantas
theyworkjustlikepunctuationwouldinapieceofwriting.• Acadencecaneithersoundfinished(likeafullstop),orunfinished(likeacomma).• Theyaresoimportanttomusicthattheyallhavenameswhichyouneedtoknow.
Withtheprimarychords(I,IVandV)thatyouhaveusedsofaryoucancreatethefollowingcadences:Cadencenames Finished/unfinished Secondlast
chordLastchord
Perfectcadence Finished V IPlagalcadence Finished IV IImperfectcadence
Unfinished ChordsIorIV V
Thesecadencesareusedinthefollowingpieceofmusic.
• Apieceofmusicwillalmostalwaysendwithafinishedcadence,butasyoucansee,
thesecanalsooccurinthemiddleofthemusic.• Thechordswhichmakeupacadencemayoccurinthemiddleofaphrase,butonly
createacadenceattheendofaphrase.
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8.Writingamelody• Usingthechaptersonmelodicnotation,chordsandharmony,andintervals,weare
goingtoexplorethekeycomponents,whichyouneedtouseinordertowriteasuccessfulmelody.
• Agoodmelodyissomethingthatismemorableandhasalyricalquality.• Writingagoodmelodyisoneofthemostdifficultchallengesasamusician.Itis
importantthatanymelodyiswellstructuredandthatithasasenseofdirection,butmostcruciallythatitfitswellwithothermusicallines.
• Letshavealookatsomeofthestepstowritingagoodmelody.
Firstly-Thechordstructure
1)Letsstartwiththefirst4bars
• Thesechordsdeterminetheharmonyofthepieceofmusicwearegoingtowrite,
butalsocruciallyimportanttheygiveusabasisforwhichtostartandconstructourmelody.
• Itisalwaysimportanttothinkthatyourchordsareyourfoundationforyourmelody!
2)Thenextstepistostarttoconstructasimplelinetogetherthatusesprimarynotesofthechords:
• • AsafirststepIhavedecidedtojustusethenotesofthechordsinthebass.Mynext
stepwouldbetoelaborateonthesenotesandstarttoaddinmorenotevaluesandintervalstomakethemelodymoreinteresting.Theseareknownasnonchordnotes
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Usingnon-chordnotesAswebegintodevelopamelodywestarttoaddinsomeofwhatwecallnon-chordnotes.Thesenotesarecallednon-chordnotesbecausetheydon’tappearwithin the chord in the bass. Take the notes below in the first bar. The firstchord,chordIisC,E,G.Ifyoulookatthenotesinthetrebleclefyouwillfindthattheonlynon-chordnotehighlightedistheB,thisisbecausetheBisnotpartoftheCmajorchordinthebass;thereforeitisanon-chordnote.Thesameruleappliestotherestofthebars.
Withinthesefirst4bars:
• Morerhythmicvalueshavebeenaddedtomakethemelodiclinemoreinteresting.• Alsoyoushouldbeabletonoticethattheintervalsbetweennotesarenotverybig,
whichmakesiteasiertosing/perform.• Themelodyhasagoodamountofstepsandleapswithintheintervalsthisisall
downtotheuseofmelodicdecoration.
ThetwotypesofmelodicdecorationthatyouneedtobeawareofareAuxiliarynotesandpassingnotes.Belowareexamplesofbothoftheseandhowtheyareused
Auxiliarynotes
Anauxiliarynoteiseitherasemitoneortoneaboveorbelowthenoteseitherside.Thetwonoteseithersideoftheauxiliaryarethesamepitch.ForexamplethisauxiliarymovefromCtoBthenbacktoC.
Passingnotes
Apassingnotelinksthenotesbeforeandafter.InthisexamplefromabovetheAandCarepassingnotesastheylinktheGandBwhicharepartofthechord.Passingnotesusuallyfallontheweakbeatsofthebar.
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4)Afterexperimentingwithideasandcontinuingtodevelopnewones,Icompletedmyideasforthesecond4barsandmadethepieceintoan8barstructure.Seeifyoucanhighlightallthenon-chordnoteswithinthelastfourbars,andanyauxiliaryorpassingnotes.
Importantthingstoremember:
• Alwayslistentowhatyouarewriting(Ithelpstodevelopyourideas)• Useyourchordstructuretohelpyouinitially,andthenletthemelodiclinelead.• Giveyourmelodyasenseofdirection.
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9.Morechordsandcadences
• Sofaryouhaveonlyusedtheprimarychords.• Inamajorkeytheseareallmajorchords.Theyareusedmostoftentokeepthe
majorcharacterofthemusic.• Formorevarietyyoucanalsousetheotherchords.Theseaddinterestastheyare
minoranddiminishedchords.
Moreoncadences
• Byusingotherchordsthereisanothercadenceyoucanuse.• Belowisthecompletelistofcadencesandchords.
HereisTwinkle,TwinkleLittleStarusingdifferentchordsandcadences.
Cadencenames Finished/unfinished Secondlastchord
Lastchord
Perfectcadence Finished V I
Plagalcadence Finished IV I
Imperfectcadence
Unfinished ChordsI,IIorIV
V
Interruptedcadence
Unfinished V VI
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10.Musicaltextures• Inmusic,textureisthewaythemelodic,rhythmicandharmonicmaterialsare
combinedinacomposition,andthisdeterminestheoverallqualityofsoundofapiece.
• Apiece’stexturemaybeaffectedbythenumberofpartsplayingatonce,thetimbreoftheinstrumentsorvoicesplayingthesepartsandtheharmony,tempo,andrhythmsused.
• Textureisoftendescribedinregardstoitsthicknessandrangebetweenthelowestandhighestnotes.Wealsodistinguishthetextureofapieceaccordingtotherelationshipbetweenthemusicalvoices.
• Belowarethethreemainmusicaltexturesthatyouneedtobeawareofwhencomposingdifferentstylesofmusic.Monophonic
“PopgoestheWeasel”melody(Kliewer 1975, p.270-301).
Amonophonictextureisasinglemelodiclinewithnoaccompaniment.
• Manysolosectionswithinpiecescanbedescribedasmonophonicastheyaremainlyunaccompanied.Thispieceabove‘popgoestheweasel’hasjustonemelodicline,thereforethetextureismonophonic.
• AnothermusicaltexturecalledBiphonicissimilartoamonophonictexture.Theonlydifferenceisthatabiphonictexturehastwodistinctlines,withthelowerlineactingasadronewhiletheupperlinehasmoreofamelodyHomophonic
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Homophony in Tallis' "If ye love me," composed in 1549
AHomophonictextureisMelodyandaccompaniment.Multiplevoicesofwhichone,themelody,standsoutprominentlywhiletheothersforma
backgroundofharmonicaccompaniment.
• Manypiecesofwesternmusiccomposedduringtheclassicalandromanticperiodandintothe20thcenturycanbedescribedasHomophonic.
• Theextractaboveisanexampleofgoodhomophonicwriting,wherebytherearemultiplevoicesofwhichone,thesopranomelody,standsoutprominently.
• Thisextractcouldalsobeclassedashomorhythmicbecauseallofthepartshavethesamerhythm.
• OtherexamplesofgoodhomophonicwritingcanbefoundinmanypianoworksbyBeethoven,andlotsof20thcenturyjazzwriting.
• Mosthomophonicmusicisreadvertically,simplybecauseitisusuallyverychordalbasedmusic.Polyphonic
J.S. Bach's "Fugue No.17 in A flat", BWV 862, from Das Wohltemperirte ClavierApolyphonictextureismultiplemelodicvoices/lines,whichareeither
independentofeachotherorimitateeachother.
• PolyphonicmusicisaverycharacteristictextureoftheRenaissanceperiodandparticularlytheBaroqueperiod.J.S.Bachwrotemanychoralesandfugues,whichthisextractistakenfrom,whichdemonstratehowseveraldifferentmusicallinescreatealineartexture.
• Mostpolyphonicmusicisreadhorizontally,simplybecausethemusicallinesmovefreelyandindependentlyamongsteachother,ratherthaninblocksorclustersofnotes.
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11.Workinginaminorkey• Composinginaminorkeyposesitsmusicalchallengestoanycomposer.• Minorkeysaretypicallyusedbycomposerstoprovidemusicalcontrastwithina
pieceofmusic.Inpiecesthathaveaternaryform(ABA)ofbinarystructure(AB),themiddlesection(B)isusuallyintherelativeminorkeyofthetonicmajor.
• Whenworkinginaminorkeyitisfirstimportanttounderstandthattherearetwotypesofminorscale;MelodicminorandHarmonicminor.Thesedifferentminorscalesareshownbelowandexplained
aminor(Harmonic)
• Theharmonicminoristhemostcommonlyusedminorscaleandthenotesofthis
scalewouldbeusedwhenworkingwithinthekeyofaminor.
aminor(Melodic)
• Youwillnoticethatoneofthefeaturesofthemelodicminorscaleisthatitis
differentwhenascendinganddescending.ThedescendingnotesofthescalearemorelinkedwiththerelativemajorkeyofCmajor.Themelodicscalenotonlyraisesthe7thnoteofthescalebutalsoraisesthe6th,hencetheFbecomesanF#.Thesethenbecomenaturalonthedescendingpartofthescale.
• Itisalwaysimportanttorecognisethatoneofthekeymainfeaturesofbeinginaminorkeyisthatthe7thnoteofthescaleisalwayssharpened.
Key Keysignature Raised7th Key Keysignature
Raised7th
dminor
Csharp
gminor
Fsharp
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TONICKEY RELATIVEMAJORaminor
Cmajor
dminor
Fmajor
eminor
Gmajor
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12.ModulationExplainedWhatismodulation?
• Asyoualreadyknowmusiciswritteninakey• Thekeyapieceofmusicbeginsinisknownasthetonickey• Musicmodulateswhenitmovesfromthetonickeyintoadifferentone• Themostcommonkeysmusicmodulatestoarethedominant,sub-dominantand
relativeminor.
Sub-dominant(4th)
TONICKEY Relativeminor Dominant(5th)
Fmajor
Cmajor
aminor
Gmajor
Bbflatmajor
Fmajor
dminor
Cmajor
Cmajor
Gmajor
eminor
Dmajor
Workingoutthecloselyrelatedkeys
• Toworkoutthedominantkeycountthetonicnoteas1thenthe5thnotewillbethedominant.(C=1,D=2,E=3,F=4,G=5)ThereforethedominantofCmajorisGmajor.
• Toworkoutthesub-dominantcountthetonicnoteas1andthe4thnotewillbethesub-dominant.(C=1,D=2,E=3,F=4)Thereforethesub-dominantofCmajorisFmajor.
• Toworkouttherelativeminorcountdown3semi-tones.(CtoB,BtoBbandBbtoA)ThereforetherelativeminorofCmajorisaminor.
Youmayfindthecircleoffifthsbelowusefulforworkingoutkeys
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• Whenmusicmodulatestoanewkeyyouthennamethechordsinthisnewkey• Modulationaddsinterestandvarietytothemusic.• Apieceofmusicmaymodulatemanytimes• Youshouldalwaysreturntothetonickeyfortheendofyourpiece
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13.ModulationinpracticeNowyouunderstandwhatmodulationis,youneedtoknowhowyoucanachievethisinyourownmusic.Thereisashortpieceofmusicbelowtohelpyouunderstandthis.
• ThepieceiswritteninthekeyofGmajorandstartsonchordoneofGmajor.Thefirsteightbarsareinthiskeyandfinishonaperfectcadence(V-I)inthiskey.
• Inthenexteightbarsyouwillseethemusicmodulatestwicebeforeendingonaperfectcadenceinthetonickey.
• Inbothcasesthisisdonebyusingwhatiscalledapivotchord.Thisisachordwhichappearsinbothkeys.Youwillalwaysbeabletofindchordswhicharethesameinrelatedkeysandusetheseaspivotchords.
Gmajor EminorChord I ii IV V vi i ii iv V VINotes D
BG
ECA
GEC
DF#A
BGE
BGE
CAF#
ECA
F#D#B
GEC
Pivotchords
Eminoriv
EminorVI
Gmajorii
GmajorIV
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• Achangeofkeyshouldalwaysbeconfirmedbyaperfectcadenceinthenewkey
soonafterthemodulation.• Afterthepivotchordthemusicisbeingwritteninthenewkey,sothechord
symbolsrepresentthenewkey.• Accidentalsneedtobeusedtoshowthenoteswhicharenotthesameineachkey.
Ifyouaremodulatingforalongtimeinyourmusicyoumaywishtoaddinyourkeychange.
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14.Expressionmarkings• Expressionisoneofthemostimportantmusicalfeatures.Itallowscomposersand
performerstoshapetheirpieceofmusicandmakeitmorestylistictoperform.• Thefourmainareasofmusicalexpressionyouneedtobeawareofaredynamics,
tempo,articulationandornamentation.• Itisimportanttomaketheseexpressiveelementsclearwithinyourcompositionsin
ordertogiveyourmusicindividualcharacter.Belowareatableofexpressivemarkings,whichyouneedtoknow;theirmeanings;andtheirItalianterms,whicharecommoninallmusic.
DynamicsSymbol Italianterm Meaning
Pianissimo
Verysoft
Piano Soft
Mezzo-piano Moderatelysoft
Mezzo-forte Moderatelyloud
Forte Loud
Fortissimo Veryloud
Sforzando Suddenlyloud
Crescendo Graduallygettinglouder
Diminuendo Graduallygettingsofter
Tempo
Italianterm Meaning
Lento SlowlyAndante AtawalkingpaceAllegretto ModeratelyfastAllegro FastVivace Veryfast(Briskly)Conmoto WithmovementRallentando GraduallygettingslowerAccelerando Graduallygettingfaster
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ArticulationSymbol Musicalterm Meaning
Staccato
Detached
Legato
Smoothly
Accent
Accentthatparticularnote
Tenuto
Stressthenote
Ornamentation
Symbol Musicalterm Meaning
Trill
Amusicalornamentwhich
fluttersbetweentwoadjacentnotes
Pedal
Soundissustainedduringthewholephrase.
Glissando
Slidingfromonenotetothe
next.
Fermata
Pauseonthenote
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15.MusicalFormsAllmusiciscomposedusingastructureorform.Usingtheseinyourowncompositionswillhelpyoutoachieveasatisfyingpieceofmusicandallowyoutomakethemostofyourmusicalideas.FormsinsongwritingWhendiscussingsongstructurewethinkofthestructurepresentedbythelyrics.Thesewillbeorganisedintoversesandpossiblyachorus.Strophic
• Mostofthesongsyouwillbefamiliarwithwillbewritteninstrophicformwhichconsistsofversesandchorusesorjustverses.
• Thelyricsoftheversewillchangeeachtimebutthemelodywillremainthesame,althoughtheremayneedtobeslightrhythmicchangestofitinthedifferentwords.
• Thelyricsandmelodyofachoruswillremainthesameeachtimeitisperformed.• Othersectionssuchasabridgeormiddle8maybeaddedtothisverse-chorus
structureforinterestandvariety.• Althoughthemelodyremainsthesamethroughoutyoucanstilldevelopyour
musicalmaterialbyvaryingtheaccompanimentandchangingkey.
Through-composed• Thisistheoppositeofstrophicformasthemusicisnotrepeated,itchanges
throughout.• Thelyricsofeachversehavenewmusic.Thismaybeanewmelody,chords,or
both.• Thisformisusefulfortellingastoryasitallowsthemusictobevariedasthestory
moveson,suchasinanoperaormusical.
Ternaryform/Dacapo• ABA• ContrastingAandBsectionsareperformed.Thesingerthencompletelyrepeatsthe
Asectionagain.
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MusicalFormsContinuedFormsininstrumentalwritingAswithternaryform(above)weoftenlabelpartsofthemusicalstructurebyusingletternames.BinaryForm
• AB• AcontrastingAandBsectionarecomposed.• Theyareoftenbothplayedtwice,markedusingrepeatsigns.
TernaryForm• ABA.• Thisisalsousedininstrumentalwriting.• TheBsectionshouldcontrastwiththeAsection.• TherepeatoftheAsectionmaybethesameorwithslightchangesand
developments.ThiswouldmakeitA1–B–A2.
RondoForm• ABACADAetc.• Inrondoformthemainthemekeepsbeingrepeatedwithothercontrastingsections
calledepisodesinbetween.• AsinternaryformtherepeatsoftheAsectionmaybeslightlydifferentand
sometimesshortened.• Smallpassagesmaybeusedtolinkthesectionssmoothly.
ThemeandVariation• Athemeisstatedfirst.Thisisusuallyshortandmemorable.• Thisthemeisthenrepeatedseveraltimesbutischangedbyusingdifferent
techniquestodevelopit.• Examplesofvariationmaybeplayingitinadifferentkey,changingthetextureof
theaccompanimentorusingornamentation.
GroundBass
• Thisusessimilartechniquestothemeandvariation,butitisthesamebasslinewhichisbeingusedthroughout.
• Changescanthereforebemadetothemelody,rhythm,tempoetc.
SonataForm• Sonataforistheformofonemovement,ratherthanawholesonata.• Liketernaryformitissplitintothreemainsectionsbuthasmorestructuretothe
wayitiswritten.
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Exposition
(Statingthemusicalmaterial)
Development
(Developingthemusicalmaterial)
Recapitulation
(Restatementoftheoriginalmaterial.)
Coda
Firstsubject(Intonickey)
Bridge
(Usedtomodulatetothenewkey.)
Secondsubject
(Newkey)
Thiswilldeveloptheideasusedintheexpositionandmovethroughmanykeys.
Firstsubject
(Intonickey)
Bridge
(Differentasitisnotbeingusedtochangekey.)
Secondsubject
(Intonickey.)
Usedtofinishoffthemovement
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