Towards Composition (p.20)
Developing skills
Cultivating insights
Approaches (p.20)
Sound and symbol
Notation requirements
Melodies Free composition
Melody Writing: A Sequenced Methodology (p.21)
Phrases to given rhythms, metres, texts
Phrases based on melodic fragments
Balanced answering phrases
Rhythm (p.22)
The rhythm of words
Notation - meter/music
Pitch (p.23)
Cadence points
Triadic motifs
Step and leap
Melodic sequence and climax
Triads (p.24)
Major and minor
Chord Progression (p.26)
Cadential patterns - melodic and/or bass
Related activities
Cadential idioms - keyboard and/or vocal
Related activities
Backing chords - chord symbols and/or tablature
Related activities
Free Composition (p.28)
Requirements Examples
3. COMPOSING SKILLS
Composing - the creation of new or original music - is not fully an instinctive art. Aptitude is developed through graded practice. Limiting the musical options, for e×~mple; leads the student to more effective learning. The control of the sound medium through musical decision-making and meaningful, imaginative organisation is a process which may produce a composer.
But composing has a significance broader than that. Taking part in this process helps pupils to know what to look for in the music of others. It enhances their own understanding and experience of music itself and makes them more sensitive in the development of listening and performing. Composing helps students to discover how musical decisions are made e.g. decisions about tonality, rhythm, melodic curve, harmonic progression, instrumentation etc. Good decisions produce a musical result.
3.1 Approaches
Musical notation is one of the most efficient ways of transmitting music. The composer writes notes, the performer reads them and the literate listener responds perceptively. For the classroom composer-performer-listener, the understanding of the relationship between sound and symbol is fundamental. The student needs a working knowledge of the rudiments of notation. Improvisation and jazz, of course, depend more on aural skills. Therefore, in composing, the resourceful teacher develops both aural and visual modes of musical communication.
The notation requirements for composing are given in the syllabus (p.10).
Briefly, students need a working knowledge of:
the treble stave, the common diatonic intervals, the note values semibreve to quaver, the common time signatures, and the major keys up to two sharps and two flats.
Two approaches to composing skills are possible. Firstly, composing melodies, chord progression, cadences etc. as separate exercises. Secondly, the more integrated approach where students practise composing skills in a totally free composition. This is an appropriate option for some Higher Level students. The vast majority of students in this age group would benefit best by exploring melody, triads and chord progression independently of one another.
3.2 Melody Writing
The syllabus states that students are expected to practise melody writing in the classical, traditional and popular idioms. There will, however, be a choice of three different ways in which students may practise this skill. The first approach (a) provides a fundamental framework for the acquisition of the other two. As with all musical learning, examples from the musical repertory provide the best method of reinforcing sound judgments in work of this type.
(a) Phrases set to given rhythms and/or metres or texts.
This approach needs preparatory work which explores rhythmic idiom and balance, ending notes and their rhythmic and melodic characteristics, the rhythmic pattern of words, the contour of a melody etc.
(b) Phrases based on given melodic fragments.
The task here is to form the habit of analysing the given fragment and to use this information to decide o n what music to add so that it relates well with the given fragment. Examples from real music should always be listened to, discussed and performed.
This is a more musically challenging approach.
(c) Answering phrases to a given opening.
The answering phrase should balance the given one. It should have the same number of bars and be balanced by compatible rhythmic and/or melodic features. Answering phrases usually provide a sense of ending to the opening phrase i.e. they usually end with a perfect cadence. There are numerous examples in the song repertory.
A good strategy helps teachers to decide where a student's talents lie and allows those with a greater aptitude to further develop their skills, whichever the choice of approach in melody writing, a sequenced method works best with most students.
The following provides a suitably sequenced work plan in melody writing.
RHYTHM
The rhythmic pattern of words: stressed and unstressed syllables in the rhythm of text; notating the rhythm of words and comparing the outcome with that of the composer's ; developing a sense of different metrical solutions through varying the rhythm of a text.
The use of dotted rhythms (i.e. a dotted crotchet and quaver in place of two crotchets) add greater accentuation and a dance-like quality to the music.
Noting the rhythmic features of points of repose; developing a sense of and notating strong-beat ending notes·
Listening to examples of musical balance; practising, through improvisation, music which gives a feeling for rhythmical balance; notating the rhythms of balancing phrases.
PITCH
Drawing attention to cadential patterns in songs and in listening to music; notating different ending notes at points of repose·
Listening to and performing triadically-based motifs; practising adding triadical!y-base d motifs over given rhythmic patterns.
Listening to the different effects of movement by step and by leap. Practising stepwise movement in conjunction with triadic leaps, cadence patterns, and setting pitch to given rhythms.
Listening to and performing melodic sequences in the musical literature e.g. the songs Ail Throuqh the Niqht (Welsh folksong), Its Now or Never (Elvis Presley), 0 Solo Mio (Neapolitan song), Caro MiQ Ben (Giordani) and the music Eveninq Prayer and The Dancinq Sonq from Hansel and Grete] (Humperdinck), the air La donna è mobile from i ~ etc. Composing and notating short melodic sequences.
Listening to and performing musical phrases which show a point of melodic climax e.g. at the beginning (the opening phrases of Caro Mio Ben, Q~!!Q__~_q), in the middle (the middle phrase of Ail Throuqh the Niqh~ and the opening phrase of Avenqinq and Briqht), or at the end (in the opening phrase to the songs My Father's Garden and Michael, Row the Boat Ashore ). Creating melodies with a sense of climactic direction·
3.3 Triads
As a general and very basic introduction to harmony, all students will need to be able to recognise major and minor triads. They will be expected to suggest suitable major and minor triads at specific, obvious points in a given song.
In keeping with the integrated approach of the syllabus, students should be encouraged to be aware of outlined chords when singing, playing and listening.
The following lists contain some obvious examples.
MAJOR TRIADS:
He's Got the Whole World in His Hands, Michael, Row the Boat Ashore, Kum Ba Yah, Sacramento, Mozart's Desire for Sprinq, Mozart's Eine Kleine Nachtmusik (opening and final movements), Beethoven's Pastoral Symphony (finale), Strauss" waltz The Blue Danube, The Harvest Home (Irish hornpipe).
MINOR TRIADS:
Don Oiche 0d i mBeithil, Ce Cuirfidh Tu Liom?, An Spéic Seoigheach, What Shall We Do with the Drunken Sailor?, Zum Gali Gali, The Wraqqle Taqqle Gypsies, Beethoven's Piano Concerto No.3 in C minor (opening movement), Schubert's Strinq Ouartet in A minor (opening movement), Schumann's piano piece The Wild Horsemen (from the Album for the Younq), Mozart's Serenade in C minor (first and last movements).
At a later stage students should be encouraged to identify the doh and/or lah chords visually and aurally.
This approach should lead naturally to the use of major and minor chord-outlines in composing and improvising melodies and should also develop a sensitivity to the different effects which both produce.
3.4 chord Progression [Higher Level Only]
This skill can be presented in any one of three ways.
(a) Devising simple melodic and/or bass motifs for use as cadential patterns.
Students choosing this option need a working knowledge of treble and bass staves.
RELATED MUSICAL ACTIVITIES
Tuning into similar examples, singing and general listening;
both in song
Performing and improvising three-note melodic patterns in each of the four diatonic cadences;
Dictating set melodic patterns for use as cadences;
Matching frequently-heard ending notes with compatible bass notes and viG@ versa.
(b) Harmonising the normal cadential progressions and their approach chords for keyboard or in short vocal score.
A working knowledge of both treble and bass staves is also necessary for this option.
RELATED MUSICAL ACTIVITIES
Aurally recognising and naming the chords used in the different cadences;
Improvising/performing approach chords;
Improvising four-part layout either for SATB choir or keyboard;
Dictating cadences i.e. notating the melodic pattern, bass pattern, chords used and writing out an appropriate chord layout;
Recognising and composing cadences without aid;
(c) Composing original "backing chords" to well-known music using simple chord designations or guitar tablature.
This option is included because it constitutes an aptitude for chord progression which has been learned through experience and many students are skilled in its use through popular song.
RELATED MUSICAL ACTIVITIES
Performing examples of popular music which exemplify a routine use of chords I, IV and V e.g. the popular songs Clementin~, He's Got the Whole World in His Hands, Silent Niqht, Michael, Row the Boat Ashore, the first part of Greensleeves etc.;
Listening to and being aware of the harmonic implications of popular musical themes e.g. the main themes of The Moldau by Smetana, the opening of Handel's Larqo, The Beatles" song Hey Jude etc.;
Listening to and improvising 12-bar blues patterns and other harmonic ostinatos and riffs;
Being aware, in well-known popular tunes, of the difference between essential harmony notes and unessential notes in the planning of "backing" chords;
Recognlsing simple cadence patterns in well-known tunes.
Students may, if they wish, use more advanced harmony than that required on page 10 of the syllabus.
3.5 Free Composition Option [Higher Level Only]
This option will be the equivalent of melody writing, triads and chord progression. In other words, these three composing skills will be examined simultaneously under this single option.
The foliowing two examp!es (setting music to a given text) show a variety of style and approach and also indicate the level of difficulty required. While they use conventional musical notation, other notation practices, composing approaches and styles are equally valid and allowable under this option.
Given text:
EXAMPLE ONE
Given text: "Sad is my heart; lonely are my thoughts; Long are the nights when the sun goes down."
Solution (I)
Solution (I) shows that it is possible to fulfil all the requirements of this option with a working knowledge of the treble stave only. This composition has a good melodic curve, with good rhythmic contrasts and a logical ending. There is a feeling for the appropriateness of tonality (i.e the use of major/minor chords) and there are obvious musical judgments made in the choice:of backing chords.
Solution (2)
Solution (2) is composed in a simple classical style and is musically true to the mood of the words it illustrates. It is grammatically accurate, has a good melodic curve with good cadence points. Its harmonies rely mainly on 3rds. but there are some points where the second part shows an independence in its rhythm and pitch. Expressive markings are appropriately used. Both principal and accompanying parts are musically consistent and complementary.
EXAMPLE TWO
Given text:
Solution (I)
Solution (I) is rhythmically consistent and illustrates a dance feeling in the style of a waltz. The melody is logical and triadically based. The choice of major tonality is appropriate and the chord sequence and cadences are correct. There is evidence of musical judgment throughout.
Solution (2)
lnstrumentai piece illustrating a given text
Dancing the Nlght Away
Solution (2) has a !ilting tune with appropriate bass and harmonic support. Alternative bass rhythms are supplied to provide variety in the rhythmic energy. The melody is logical and triadically-based. The chord sequence illustrates the simple use of chords I, IV and V as commonly found in popular music.