Composition

LESSON MISSED DUE TO STRIKE ACTION
Keep working on your initial first subject and transition idea. Please send your composition to me by the end of this week for feedback before next lesson.

Chorale (due in Tuesday 8th Oct.)

Complete Worksheet 05 (FP1) in the Fingerprints Workbook

Applied (due in Thursday 10th Oct.)

Complete the reverse side of Wagner Worksheet 2

Composition

Not yet set – see last week’s homework

Chorale (due in Wednesday 2nd Oct.)

Complete Worksheet 04

Applied (due in Thursday 3rd Oct.)

Read pp. 58-61 and write a couple of paragraphs describing the Tristan chord in particular and Wagner’s harmony in general

1) Finish transferring your circle of fifths work onto the quartet template, using a simple texture from the models given in the starting points booklet

2) Finish Exercise 14 in the starting points booklet

First (you should have made a start on this already)

Transfer your corrected and improved Example 8a and 8b to the quartet template (last page)

Choose one of the textures in the Starting Points handbook (the most straightforward is on page 10) and adapt it as an accompaniment for your tune.

1) Make sure that you have full chords as much as possible

2) Make sure that the inidividual parts have some melodic flow (avoid large leaps)

Second (after Thursday’s lesson)

Complete Exercise 10

Third (over the weekend)

Transfer Exercise 10 onto quartet template and add texture

Composition

Complete the relevant composition model sheet

Chorale (due in Wednesday 25th)

Complete Worksheet 03 (A3), following the method very carefully.

Applied (due in Thursday 26th)

Read Wagner Extract 2 in Source Book and briefly describe how Tristan and Isolde fits in with events in Wagner’s personal and professional life.

Read Wagner Extract 3 in Source Book and identify four aspects of Tristan and Isolde that are particularly innovative

Complete Exercise 10, following the instructions carefully.

• Remember that the circle of fifths goes from I down in fifths (I-IV-vii-iii etc.)
• The sequence should be exact – so the second and third bars should be identical to the first other than being transposed down a step
• Put in a bass line and melody – try to avoid parallel fifths and octaves (some of your bass notes might be the third of the chord – i.e. a first inversion – to avoid this)

Transfer your corrected and improved Example 8a and 8b to the quartet template (last page)

Choose one of the textures in the Starting Points handbook (the most straightforward is on page 10) and adapt it as an accompaniment for your tune.

1) Make sure that you have full chords as much as possible

2) Make sure that the inidividual parts have some melodic flow (avoid large leaps)

Complete Exercise 8a and 8b. Keep it nice and simple but remember to include at least one distinctive rhythm and specify dynamics and articulation.

Complete Exercise 6 – keep it nice and simple.

[Homework set on Thursday 12th]

Complete exercises 8a and 8b from the Starting Points handbook.