![]() Start 1b one scale note higher than phrase 1a, and continue for 1 bar, always one scale note higher. We start at the second half of phrase 1 (we’ll call the two halves 1a and 1b). Here’s the opening:ġ) You have half of phrase 1 already. We’ll use an example from the 2006 exam to work through. Therefore, the notes will be sharpened on the way up, and flattened on the way down.ħ) Always write part of a scale which arrives at the tonic, for the last 4-6 notes of the piece. In some cases the dominant is ok too.ĥ) Always sharpen the leading note in a minor key, when the following note is the tonic.Ħ) In minor keys, use the melodic minor scale. For example, don’t write E-Bb (diminished), instead write E-F (semitone).Ģ) Always end phrase 1 on a long note, which is part of the dominant chord.ģ) Always end phrase 2 on a long note which is the tonic of the piece.Ĥ) Try to make the leading note lead upwards to the tonic. ![]() (There are special rules which apply to these dissonant intervals, so it’s best to just avoid them.) Choose another note – always write a semitone step where you can. 4 bars each.ġ) Never write a melodic interval which is augmented or diminished. Check, it’s important.ģ) Understand that our composition will consist of two phrases, which are exactly the same length – i.e. ![]() But sometimes you might get one or two beats more, or less. In most cases, you get exactly 2 bars (including the anacrusis where appropriate). Check the first note and what chord the first notes seem to be part of.)Ģ) Check how many bars you’ve been given. (Accidentals = minor, but sometimes it’s minor although no accidentals appear. But then, you need to know all that stuff anyway! Here’s how it works:ġ) Decide on the key. This is not a “cheat” – you need to understand about keys, chords, scales and cadences to get this to work. The formula provides you with a functioning melody – you will still need to add in phrasing, dynamics, tempo and other instrument-specific directions, and you might want to make minor tweaks to the rhythm. If you are really stuck on the composition question (grade five music theory), you might like to know that there is a kind of “formula” you can use in order to generate a composition. subdominant (IV, iv) and supertonic (ii, ii°), What is the only chord member that can be omitted? the fifth of a V7 chord (scale degree 2) What needs to be done if the 5th is omitted? You must double or triple the root Can you omit the 5th in both a V7 and I chord in the same chord progression? No, you can only omit the 5th in one or the other.A Formula for Writing the 8-bar Composition Any chord which normally resolves to a dominant chord.Įx. 4 = the seventhĥ = the root What is a predominant chord? Give examples. 3rd inversion = V (4/2) Name the chord member of a V7 chord and their corresponding scale degrees. the chordal seventh (scale degree four) resolves down to scale degree 3 What are the V7 chord inversions? -1st inversion = V(6/5) look like parallel octaves and fifths except the parts move in different directions What scale degree should the leading tone resolve to? the tonic How do you resolve a V7 chord? -the leading tone resolves up to the tonic when the soprano skips/leaps into a 5th with another part moving in similar motion Tenor = a G What is the maximum distance you can have between the T-A and A-S? an octave Which note should NEVER be doubled? The leading tone (scale degree 7)!!! Which note is good to double when the triad is in root position? the bass Which chord member should be doubled in first inversion? Really, any of them work Which chord member should be double in second inversion? Always the bass When should you no double the root? If the chord is a diminished triad Which chord member is safe to double in a diminished triad? the Third Which cadence is harmonically open? the half cadence What two types of motion is most desirable for part writing? oblique and contrary Name three big things that should be avoided when part writing. What is a Half Cadence? I-V What is the top of a Soprano's range? Tenor? (according to part writing rules) Soprano = a G ![]()
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