Early Music Composition Task

During this task you will be creating an original Galliard by:

1.1 Analysing how a range of advanced compositional methods and music concepts are used by composers for specific effect and the contexts which influenced their work1.2 Experimenting and using complex music concepts and compositional methods in sophisticated and creative ways to develop, refine and create original music1.3 Develop musical ideas which make musical sense and realize your creative intentions1.4 Critically reflecting on your music and on the musical impact of your creative choices and decisions

Activity 1 (CS 1.1, UM 1.1)

The score of Byrd’s ‘Galliard to the First Pavane’ is provided on the next two pages. Listen to this piece before completing the task below.

* Transpose bars 3 - 5 in the treble clef down two octaves.

Activity 2 (CS 1.1, UM 1.1)

Create a report about this score, which contains information under the following headings:

Style, Melody/Harmony, Rhythm/Tempo, Texture/Structure/Form, Timbre, Dynamics/Tone

Use bar numbers as appropriate and you may wish to annotate the score.

Notes for your report:

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Activity 3 (CS 1.1, UM 1.1)

The score of Byrd’s ‘Galliard to Victory’ is provided on the next three pages. Listen to this piece before completing the task below. What is unusual about this particular performance of this piece? Why do you think this piece has been written?

* Listen to this piece again and annotate the score with at least 20 concepts.

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Activity 4 (CS 1.1 and UM 1.1)Choose another Galliard from ‘My Lady Nevells Booke of Virginal Music’ by Byrd to either:

a) Complete a report on orb) Annotate the score

Activity 5 (CS 1.2 and 1.3)

You are going to create a Galliard that is at least 8 bars in length. You are writing your Galliard for a consort of instruments. Your instructions for this task are below:

* Your time signature should be 3/2

* Your piece can be major or minor, although Galliards were mostly written in minor keys

* Your aim is to create two 4 bar phrases

* Consider that you are creating a ‘recipe’. The main body of this is your rhythm – use Byrd as a starting point to create your rhythm and the overall shape for your Galliard. Use close rhythmic imitation in bars 1 - 2 and 5 – 6

* Decide on your chord structure and keep it simple - 1 chord per bar. The underlying chords of the Galliard are: I, IV and V. Consider chords II, III and VI the ‘spices’ for your recipe – you don’t want to use these too much! Your first phrase should finish with an imperfect or plagal cadence and the second should finish with a perfect cadence

* Once you have your chord structure, write your melody line followed by your bass line, using contrary motion where possible. Your melody should be quicker than your bass line and beat 1 of each bar should be the root note of the bass chord.

* Imagine ‘isolating’ your top and bottom lines of music – everything else is decoration

* After this you can then explore writing your inner parts

* There should be no parallel 4ths or 5ths – these are weak

* Use passing notes – these should be strong through to your next chord

* The use of ‘hockets’ (from the word hiccup!) is standard at cadence points, try these rhythmic devices out!

* If you wish to extend your Galliard use the form: AA* BB* CC* * = decorated and with further rhythmic divisions

* You may use any computer programme you are comfortable with to realise your creative intentions.

* From the work you have completed so far, choose at least eight concepts you wish to use

* You must keep a log of your compositional process. This may consist of screen shots of your work, a diary or blog of your creative journey.

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Activity 6 - Candidate Extended Reflection (CS 1.4)

Comments on my learning

A qualitative description of my main musical choices and decisions

An objective review of the impact of my choices on the music I have created

What approaches have I used to creating music which were successful in meeting my creative intentions?

What approaches were less successful and why?

Two areas for improvement in my music

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Success Criteria

I have completed Activities 1 and 2

I have completed Activity 3

I have completed Activity 4

I have completed Activity 5 and created a Galliard using concepts explored and used by William Byrd

I have added dynamics and articulation to my composition as appropriate.

I have kept a detailed log of my creative journey

I have completed a self-reflection sheet, which contains in depth information about the creation of my composition, my decision-making process, things that went well and areas for improvement

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Teacher Feedback

Pupil Name Assessor Comments

Activities 1 and 2 – CS 1.1, UM 1.1

1.1 CS Analysing how a range of advanced compositional methods and music concepts are used by other composers for specific effect and the contexts which influenced their work

1.1 UM Identifying and and analysing the use of level specific and other music concepts, signs and symbols

Activity 3 – CS 1.1, UM 1.1

1.1 CS Analysing how a range of advanced compositional methods and music concepts are used by other composers for specific effect and the contexts which influenced their work

1.1 UM Identifying and analysing the use of level specific and other music concepts, signs and symbols

Activity 4 - Composing Skills 1.2

1.2 Experimenting and using complex music concepts and compositional methods in sophisticated and creative ways to develop, refine and create original music

Activity 5 - Composing Skills 1.3

1.3 Develop musical ideas which make musical sense and realize your creative intentions

Activity 6, Extended Reflection – Composing Skills 1.4

1.4 Critically reflecting on your music and on the musical impact of your creative choices and decisions

Assessment decision (achieved/not achieved)

Date

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