The first task is to correct and improve your basic A:||B(A’) 24 bars. Please ensure that:
- you have a tempo at the beginning and then dynamic and articulation markings throughout in all parts (see guide)
- your A section has both the modulation AND the secondary dominant
- your B section has a selection of chords over the pedal (see in WCT Fingerprints)
- you have included TWO textures based on the minuet models
- you have followed all the guidelines here
All students must submit this on Tuesday/Wednesday next week in quartet form.
The task following week (but you can start this week if you are ready) is to do one or more of the following extensions:
- orchestrate using small Classical orchestral forces (a 8 combinations). You can go as large as Haydn 104
- add a coda
- write a trio to go alongside it also in binary form
WCT Essay (NEXT Friday)
It must include:
- a structure table (include main keys)
- features including harmony and rhythm
- information and examples that puts it in context in terms of its orchestration
- an introduction to humour in Haydn referring to a couple of other examples.
You have already written the A and A’ sections of a rounded binary minuet – A :||: B (A’) – your task is now to write the B section.
Your B section should use a fragment of your A section (maximum a bar) and follow this harmonic structure:
First it needs to go iii-vi-ii (either one chord per bar or a bit quicker)
THEN the rest should be chord progressions over a dominant pedal that use the fragment you have chosen as the melody idea.
- You can see in the first example on the dominant pedal explanation page that a one-bar idea is repeated over a repeated I6/4 – V chord progression. Part of your dominant pedal could do something similar
- In the second example on the same page Haydn starts off with a repeated idea using a diminished seventh and then moves to a series of rising thirds
For the range of harmonies you can use look here. The ideas on this page you can use as follows:
- part of your pedal can go I6/4 – V from the first example
- you should also use something more interesting such as vii7 of V – V from the second example (each of these dissonant chords much resolve to V or V7)
- you could also use rising thirds or sixths as in the third example
In composition next week you will have feedback for BOTH homeworks so you can put them together in the lesson.
Minuet Composition (D group for Tuesday 14th / B group for Wednesday 15th)
D GROUP I AM SORRY I FORGOT TO SAY IT NEEDS TO BE IN 3/4 – please adapt what you have written to put it in 3/4
1) Write a period in a major key following the instructions on writing and CHARACTERFUL basic idea. Please write for string quartet, starting with the melody and chords and then filling in a simple texture.
Note that the consequent phrase needs to end ii-V-I for the next bit to work
2) Rewrite your period but in the consequent phrase the ii-V-I should be in the dominant key and the ii should be preceded by a secondary dominant (i.e. V of ii)
Composition Exercise (for the end of TUESDAY 7th November)
You need to submit three orchestrations Haydn’s Minuet Hob. IX: 20 No. 8 (back page of starting points booklet). Each one must replicate as the orchestrations of the following pieces:
- Johann Stamitz Op. 5 in E minor (here)
- Anton Filtz Symphonie Periodique No. 2 (in the Minuet sourcebook)
- Joseph Haydn Symphony 104 (in the Minuet sourcebook)
NOTE: there are Sibelius files ready prepared for each of these arrangements on Moodle under the AoS A: The Western Classical Tradition topic under the Movement III – Menuet and Trio heading in the Minuet Composition Files folder.
The work should be submitted on Moodle in the Composition Sketchbook topic at the bottom of the page.
Starting Points Final Composition (Tuesday 31st October)
A rounded binary form piece for string quartet submitted on Moodle as TWO files:
- File 1: the melody with Roman numeral chords (and if it helps you a stave with those chords put in as simple block chords just to guide the harmony)
- File 2: the same melody in the first violin part of the string quartet with SIMPLE accompaniments adapted from Simple Quartet Textures, You must say in your submission which texture you have used (just add it as a post-it note on the score).
You must follow this detailed composition brief very carefully and exactly.
- I recommend that you do a SENTENCE as we have done a lot of work on that – use the notes here to help you
- Look at the notes dissonance
- Check the Harmonic DOs and DON’Ts
- Make sure you cadences follow one of these patterns (and that you end the last cadence stepwise onto the tonic note of the key)
Revision for starting points test on Wednesday/Thursday 1st/2nd November
- Chord identification (aural and written)
- Roman numeral and figured bass labelling
- Embellishments and dissonance
- Closely related keys and modulation
- Common cadences (ii6/5 V I and I6/4-V-I cadences)
- Movement and phrase structures (i.e. Binary/Ternary/Rounded Binary and Sentence/Period)
- Melody writing
- Four-part writing (see starting points booklet)
REMEMBER: You need to hand in the music (including accompaniments) for your initial performance NEXT WEEK
Composition Circle of Fifths Homework (for end of THURSDAY on Moodle)
Use the template on page 33 of the Starting Points booklet to write a circle of fifths progression in a reasonable key of your choice.
- Bar 1 should be I – IV
- the bass line should just be root position minims
- write a melody for bar 1 that avoids parallel octaves of fifths (put the bass in first inversion for one or other chord if necessary)
- bar 2 moves down a step
- bar 3 moves down another step
- bar 4 moves down a final step BUT the second half of the bar should be changed so the whole bar fits with chord V
Transfer your work to a string quartet score with the simple bass line in the cello part and the melody in the first violin. You can fill in the other parts with simple accompaniments if you wish.
Submit on Sibelius
Writing a Melody Homework (handed in during the lesson on Tuesday)
Use THIS RESOURCE to help you write two separate melodies presented on manuscript paper with the melody on the stave and chord labels (I, IV, V etc.) underneath. Do NOT write a bass line or texture etc.
- Create a basic idea (this includes, tempo, dynamics etc. use the chart on the page to choose these)
- Write a cadence
- Complete you period or sentence according to the description
- CHECK IT to make sure you have no rogue dissonances or other problems
Starting Points Theory (For Friday’s lesson – I will take in booklets and look at the cadence work from last week as well)
Please complete exercise F2. We have analyzed the progession in F1 in class and found it to be ii6 I6/4 V I and the idea is that you use exactly this progression. A couple of things to note:
- pay attention to leaps in the parts, spacing and doubling
- the ii does NOT have seventh unlike some of the others we have done
- the soprano part is not the same as F1 but the chord progression should be
Composition task (for submission end of Tuesday on Sibelius)
Please complete a cadential passage for string quartet that meets the following criteria:
- the chord progression must be I6 ii6 I6/4 V I
- melody must be in violin 1 with a simple accompaniment in violin 2, viola and cello (either follow a model as simple as those on p. 21 of the starting points booklet or look at these textures)
- final cadence must be in root position in bass with stepwise progression to the root of the tonic in the violin 1 part
- Just as in four-part work as above, you need to take care of spacing, doubling and leaping.