Composition (for Tuesday 3rd December)

Your blank six bars should be filled as follows:

1. A single bar based on the same chord that you landed on at the end of your A section (should be chord I of the dominant of your original key) leading to …

2. A partial circle of fifths in the original key as follows:

• iii – vi ii – V (one chord per bar)
• write a two-bar melody / texture that draws on your original idea in some way and fits with iii-vi and then sequence it exactly a step down for the next two bars (ii-V)

3. Finally, one bar of an augmented sixth that resolves onto the beginning of your dominant pedal

Optional extensions:

• re-orchestrate it for ‘a 8’ early Classical orchestra (strings plus two horns and two flutes or oboes)
• write a contrasting Trio in a different key that follows a similar template

Structure

• 1-8 – modulating period to the dominant (via secondary dominant) [repeat marks at the end of bar 8]
• 9 – One bar continuing in the dominant
• 10-13 – circle of fifths in original key: iii – vi – ii – V
• 14 – augmented sixth onto …
• 15-18 Dominant pedal
• 19-26 – As bars 1-8 but staying in the tonic

Haydn / Western Classical

Prepare for an essay on the development of Third Movements on Wednesday 4th. Your essay should talk about roughly three earlier symphonies, Haydn 104 and three or so later symphonies, making your references clear and accurate.

Composition (for Tuesday 26th November)

• Make corrections on your modulating period
• For the LAST eight bars of your piece you need to rewrite this period so that it has no secondary dominant and does not modulate. Make sure you finish with an idiomatic cadence like I6/4 V I or ii6 – V – I and end on the FIRST beat of the final bar
• To lead into the final eight bars, you need to write four bars (or more) of dominant pedal. You must use at least two different dissonant and chromatic harmonies discussed in class (from the WCT Fingerprints page)
• Leave a gap of six bars or so before, so the whole structure will be:
  • Modulating period
  • 6 blank bars
  • dominant pedal with harmonies over it
  • Modified non modulating period

History (for Wednesday 27th November)

You need to use your Development of Symphony Essay booklet to research Third movements (Topic D). Read the introductory material and then use the list provided for this topic to guide you to reading about and listening to the symphonies on The Development of the Symphony pages on alevelmusic.com. You will need to do this before Wednesday, when we will discuss the topic in class ready for an essay the following week.

NOTE: you should be doing regular revision every week using the checklist to make sure you use all the available resources. The planner is to help your synchronise your schedule with what we are reviewing in class.

Knowledge Test (A: Thursday 19th March / B: Friday 20th March)

This is a short answer test of basic knowledge needed for the exam. It will include everything from facts about wider listening pieces in both areas of study through to the location of specific features that you should have revised in set works.

The 99 Questions for A level revision on will help you revise for this test as well help you practice the skills we are working on in class.

Mock Exam (end of March)

Schedule as follows:

• Musical Theatre, Unseen AoS E Listening and Dication – A: Thursday 26th March / B: Friday 27th March
• Haydn, Essay and Poulenc/Debussy: Depending on your rehearsals choose ONE of the following 80 minutes slots on Tuesday 31st March: 8.40-10:00; 10:00-11:20 2:45-4:05. You need to sign up to one of these slots in advance

Composition

We should now be in the finishing off phase. The more you are on top of the game, the better your submission will be.

Checklist and log templates are here: https://moodle1.kedst.ac.uk/mod/folder/view.php?id=74762

• Making corrections
• Creating separate audio and print versions
• Filling in your log

Composition (for TUESDAY 19th)

Minuet Composition – First Eight Bars

Write eight bars of minuet that is:

• in 3/4
• in a major key
• a period
• in a string quartet score start with a melody and a bass line in the cello and chord labels (THESE ARE COMPULSORY). THEN you can fill in with a simple texture taken from the Basic String Quartet textures on www.alevelmusic.com
• modulate to the dominant in the second half of the phrase
• Use standard chord progressions including at the cadences

Haydn

Please update your new Haydn scores from your photocopies/notes so far.

Composition (A: Monday / B Wednesday)

Please complete corrections and suggestions from feedback on Piece 1 and start thinking about what you are going to do for Piece 2

Review

Please review the following:

• Haydn fourth movement
• Fourth movements of Wider Listening Symphonies
• FOR the following week, you need to start reviewing the Debussy Nocturne.

Composition (both classes for Tuesday 12th)

Finish the arrangment of the Haydn Minuet in the style of the Stamitz, Filtz and Haydn symphonies that we have studied. It is best done in that order and files are available on Moodle that are already set up and partially completed.