Download File - Harris Ac Music

Harris Academy
Music Department
Higher Music
Composing Mini Tasks
CONTENTS
1.
Scales: major, harmonic minor, melodic Date completed:
minor
______________
Teacher initial:
_____________
2.
Intervals
Date completed:
______________
Teacher initial:
_____________
3.
Bass Clef
Date completed:
______________
Teacher initial:
_____________
4.
Chords
Date completed:
______________
Teacher initial:
_____________
5.
Cadences
Date completed:
______________
Teacher initial:
_____________
6.
Modulation
Date completed:
______________
Teacher initial:
_____________
7.
Ornaments
Date completed:
______________
Teacher initial:
_____________
1|P a g e
Compositional device 1
Scales
Introduction
Nearly all melodies and harmonies originate from scales. Even although melodies and harmonies come in
all shapes and styles, they can usually be closely linked to a specific scale? For example, the chromatic
scale contains every musical note. Therefore, even the most obscure sounding melody and harmony can
be linked to that specific scale.
So what exactly is a scale?
A scale is simply the structure in which we organise notes. The specific type of scale is determined by the
interval relationships (or distance) between the individual notes. The slightest adjustment of a note can
change a happy sounding scale into a sad one. For example, a happy sounding major scale can be
converted into a sad sounding minor scale simply by changing one note. Specific scales evoke specific
emotions. Besides the happy sounding major scale and the sad sounding minor scale, there is the whole
tone scale. This scale can create a sense of mystery. The diminished scale can also be used to suggest
mystery, and the pentatonic scale has a light, clean feel. It is commonly found in Scottish music and the
music of many other cultures.
In this unit, you will learn to analyse major and minor (harmonic and melodic) scales. The knowledge you
gain from this analytical approach will provide you with a valuable tool for composing a melody, and will
also provide the basis for understanding more about keys.
Composers very often make conscious choices about which scale they will use when composing a piece of
music. It is important to keep this in mind as you work through the following activities.
2|P a g e
Constructing a MAJOR Scale
Here is the sequence of tones and semitones which form a major scale. The example shown is the G major
scale, and the notes of the G major scale are shaded:
C
D
E
F
G
A
B
C
D
E
F
G
A
B
C
D
E
The notes of the scale are now written on the stave, numbered and the intervals between each note are
identified.
Tone
1
G
3|P a g e
Tone
2
A
Semitone
Tone
Tone
3
4
5
B
C
D
Tone
6
E
Semitone
7
F#
8
G
Task 1:
You should now illustrate the scale of F Major using the method demonstrated in the example:
C
D
E
F
Tone
1
G
A
Tone
2
C
Semitone
3
Task 2:
Now play the scale on your instrument.
4|P a g e
B
D
E
Tone
4
F
G
Tone
5
A
B
Tone
6
C
D
Semitone
7
8
E
Constructing a MINOR Scale
Here is the sequence of tones and semitones which form the harmonic minor scale. The example is the scale
of A harmonic minor.
C
D
E
Tone
1
F
G
Semitone
2
A
B
Tone
C
D
Tone
3
E
Semitone
4
5
F
G
1 ½ S/tones
6
A
B
C
D
Semitone
7
8
Task 3:
You should now illustrate the scale of D Harmonic minor using the method demonstrated in the example:
C
D
Tone
1
5|P a g e
E
F
G
A
Semitone
2
B
C
Tone
3
D
E
F
Tone
4
G
Semitone
5
A
B
1 ½ S/tones
6
C
D
E
Semitone
7
8
Task 4:
Now play the scale on your instrument.
Here is the sequence of tones and semitones which form a melodic minor scale ascending. The example on
this page is the A melodic minor scale (ascending):
C
D
E
F
Tone
1
G
A
Semitone
2
B
C
Tone
3
D
E
Tone
4
F
Tone
G
A
Tone
5
6
B
C
D
E
Semitone
7
8
Here is the sequence of tones and semitones which form a melodic minor scale descending. The example on
this page is the A melodic minor scale (descending):
C
D
E
F
Tone
6|P a g e
G
A
Tone
B
C
Semitone
D
Tone
E
F
Tone
G
Semitone
A
B
Tone
C
D
E
1
2
3
4
5
6
7
8
Task 5:
You should now illustrate the scale of E Melodic minor using the method demonstrated in the example:
C
D
E
F
Tone
Semitone
1
C
2
D
E
7|P a g e
B
C
Tone
G
Tone
B
F
Tone
D
E
Tone
4
E
6
F
A
A
C
D
E
8
B
Tone
6
B
Semitone
7
G
Semitone
5
G
Tone
5
C
Tone
3
D
4
A
Semitone
2
A
3
F
Tone
1
G
C
Tone
7
8
Task 6:
Now play the scale on your instrument.
Mini composition task
1. Play each of the 3 types of scale on your instrument. This is a really important part of the process
because by playing the scales you will become familiar with their sound. If you are familar with their
sound you can make an informed choice when you compose.
2. Which one do you like best? Give a reason for your answer
__________________________________________________________________________
3. Which one do you like least? Give a reason for your answer
__________________________________________________________________________
.
4. Choose one of the scales and try improvising with it. See if you can perfom a 4 or 8 bar melody.
Write your melody down in your manuscript book if you find improvising difficult.
Personal Assessment Record
Pupil
Teacher
AMBER
AMBE
R
Success criteria
LI
RED
8|P a g e
1
scales through improvisation
Demonstrte understanding of specific
Date
Identify a major and
harmonic/melodic minor scale
2
Create
(by
improvising)
an
effective melody using a specific
scale
3
Perform melody on instrument
4
Check my own and other people’s
work
and
feedback.
give
constructive
GREEN
RED
GREEN
RED
I need to spend more time on this
AMBER
I am beginning to do this well
GREEN
I am confident at doing this
Scales revision - Minor Scales
Add the missing notes to these harmonic and melodic minor scales.
a) E harmonic minor
b) A harmonic minor
c) D harmonic minor
d) E melodic minor
e) A melodic minor
9|P a g e
Add accidentals where necessary.
f) D harmonic minor
10 | P a g e
Compositional device 2
Intervals
Interval - Any two notes that sound together or
one after the other form an interval.
Perfect 8ve
Major 7th
Minor 7th
are perfect
Major 6th
Minor 6th
Perfect 5th
 The tritone is made up of
TRITONE
Perfect 4th
Major 3rd
 Minor intervals are a
Minor 3rd
Major 2nd
Minor 2nd
Unison
11 | P a g e
 The 4th, 5th and octave
3 tones
semitone smaller than
major intervals
The first two notes of the songs listed below demonstrate the ASCENDING interval
8ve
Somewhere over the Rainbow
th
Major 7
Take on me by Aha (chorus)
th
Minor 7
Startrek theme/somewhere from west side story
th
Major 6
Chick chick chicken
th
Minor 6
Close every door to me
th
Perfect 5
ET Theme/Star Wars theme
Tritone
The Simpsons (vocal intro)
th
Perfect 4
Auld Lang Syne
Major 3rd
The Simpsons (Instrumental)
rd
Minor 3
Greensleeves
nd
Major 2
Happy Birthday
nd
Minor 2
Jaws theme
Task 1:
Play these intervals on your instrument, sing them or play them on a kazoo! Becoming familiar with their
distinctive sounds will help you make informed choices when you compose music.
Task 2:
Which interval do you think is the most dramatic?______________________________
Why do you think the composer used this interval _____________________________
Which interval(s) is most commonly used by composers?___________________
Why do you think this is?________________________________________________
Can you think of any other songs that start with this interval?____________________
Task 3:
Look at the pieces you are currently performing on your instruments. Identify the first interval of one of your
pieces. Why not change it to a different interval. Does this change the piece dramatically?
12 | P a g e
Task 4:
Add a second note to each bar to form the intervals described.
Example
Interval described:
Minor 3rd
You find the second note
Given note.
Second note
Perfect 5th
Major 6th
Major 2nd
Major 7th
Tritone
13 | P a g e
?
Minor 3rd
Perfect 5th
Major 3rd
Perfect octave
Perfect 4th
Mini composition task:
In your manuscript book, compose an 8 bar melody in the key of G major.
The end of bar 4 should sound unfinished and the end of bar 8 should end with a finished.
You should include the following intervals:
Octave
Tritone
Major 6th
Minor 6th
Perfect 5th
Major 2nd
Personal Assessment Record
Success criteria
1
Compose an 8 bar melody in the
key of G
2
bar melody
intervals through composition of an 8
LI
Demonstrate uderstanding of specific
Date
The end of bar 4 should sound
unfinished, the end of bar 8
should sound finished
3
Melody includes specified
intervals
4
Check my own and other people’s
work and give constructive
feedback.
RED
I need to spend more time on this
AMBER
I am beginning to do this well
GREEN
I am confident at doing this
14 | P a g e
Pupil
RED
AMBER
Teacher
GREEN
RED
AMBER
GREEN
Composition Device 3
THE BASS CLEF
The Bass Clef is used in music for instruments which are lower in pitch, e.g. tuba or double bass.
Just like the Treble Clef the Bass Clef has 5 lines and 4 spaces however they are slightly different. Below
is a rhyme to help you remember.

Fill in the note names underneath the stave below.

Fill in the missing notes to find out the words.

***Remember*** Ledger lines are notes which appear above or below the stave.

Fill in the ledger lines below.
__________________________________________________________________________________

15 | P a g e
Fill in the missing notes to find out the words.
Composition device 4
Chords
In this section, you will learn about four chords:




Major, including added 6th and Dominant 7th
Minor
Augmented
Diminished
Before learning about these chords it is important to understand the major and the minor 3rd intervals.
Major Third has Two Tones
Minor Third has One Tone and a semi-tone
Major 3rd – 2 tones
C
E
Minor 3rd – one and a half tones
A
C
Major Chord
As in all chords, a MAJOR chord has a root, third and fifth. A major
chord consists of the intervals of a major third and a minor third.
Sometimes other notes are added. In the C Major chord example
above a 6th (A) has been added. This additional note changes the
sound of the chord significantly.
C
16 | P a g e
E
G
(A)
Task 1:
Which notes are in the following chords?
C added 6
___
___
___
___
F added 6
___
___
___
___
G added 6
___
___
___
___
Dominant 7th chords
A dominant seventh chord is a chord composed of a root, major third, perfect fifth, and minor seventh. It
can be also viewed as a major triad with an additional minor seventh. It is denoted in popular music by adding
a 7 after the letter designating the chord root.
B
b
C
E
C7
G
Minor Chords
Em
Minor chord differs from a major chord in that it consists of the
intervals of a minor third and a major third. It is denoted in popular
music by adding a lower case m after the letter designating the chord
root.
E
17 | P a g e
G
B
Task 2:
Shade three notes in this diagram to form the chord of Cm
Augmented Chords
An Augmented chord is a triad consisting of 2 MAJOR THIRDS stacked on top of each other. The word augment
means to increase, so if we turn a major chord into an augmented one, we are increasing the distance
between the third and fifth of the chord. It is denoted in popular music by adding a + after the letter
designating the chord root.
Here is the chord of C+:
G
#
C
E
Task 3:
Shade the notes on this diagram which form a D+ chord.
18 | P a g e
Diminished Chords
A diminished chord is a triad consisting of 2 MINOR THIRDS stacked on top of each other. The word diminish
means to decrease, so if we turn a major chord into an diminished one, we are decreasing the distance
between the root and the third and the third and the fifth of the chord. It is denoted in popular music by
adding a ᵒ after the letter designating the chord root.
Eᵒ
B
b
E
G
Task 4:
Shade the notes on this diagram which form a C diminished chord.
Task 5:
What notes would you find in the following chords?
C
___
___
___
Am
___
___
___
D+
___
___
___
B+
___
___
___
Dᵒ
___
___
___
Eᵒ
___
___
___
Bm
F7
19 | P a g e
___
___
___
___
__
___
__
Task 6:
Work out the names of the chords below:
4.
1.
Chord _______________
Chord _______________
5.
2.
Chord _______________
Chord_______________
6.
3.
Chord _______________
Chord _______________
7.
Chord _______________
Personal Assessment Record
Success criteria
LI
Identify major and minor chords by
listening, playing and analysing
Date
20 | P a g e
1
Understand the intervals that
form specific chords
2
Identify individual chords, such
as major (including added 6th
and 7th chords), minor,
augmented and diminished.
3
I can play the range of chords on
my instrument
4
Check my own and other
people’s work and give
constructive feedback.
Pupil
RED
AMBER
Teacher
GREEN
RED
AMBER
GREEN
Compositional device 5
Cadences
Most Western European music (up until 1900, at least) along with most pop and rock music, is based
around chords. In the same way that words make up a sentence, chords make up a ‘chord sequence’ or
‘chord progression’.
How the sequence ends is very important. This is called a cadence.
The 4 endings, or cadences are:
Perfect (Chord 5-1) - sounds like it has returned ‘home’
Imperfect (Chord 1-5) - sounds unfinished
Interrupted (Chord 5-6) - sounds unexpected
Plagal (Chord 4 -1) - sounds like the end of a hymn (“Amen”)
Task 1:
Illustrate the following cadences
C Major
G Major
Perfect cadence
Perfect cadence
21 | P a g e
F Major
A minor
Perfect cadence
Perfect cadence
C Major
G Major
Perfect Cadence
Perfect Cadence
G Major
Plagal Cadence
22 | P a g e
Plagal cadence
F Major
Plagal Cadence
C Major
A minor
Plagal cadence
G Major
Plagal Cadence
Interrupted Cadence
23 | P a g e
Interrupted cadence
F Major
Interrupted Cadence
C Major
A minor
Interrupted Cadence
G Major
Interrupted Cadence
Imperfect Cadence
24 | P a g e
Imperfect Cadence
F Major
Imperfect Cadence
A Minor
Imperfect Cadence
Imperfect Cadence
25 | P a g e
Task 2:
Look at the piece of music on the next page. What key is this music in? _________________
Identify the four cadences:-
Hint….you will need to identify the following chords:
1
Chord I =
Chord IV =
2
Chord V =
3
4
26 | P a g e
Chord VI =
27 | P a g e
Mini composition task
Using the cadences you have written in the exercises above, compose a 4 bar chord sequence in your
manuscript book. You should include one 7th chord and one added 6th chord:
1. In the key of G ending with a Perfect cadence
2. In the key of C ending with an Imperfect cadence
3. In the key of F ending with a Plagal cadence
4. In the key of C ending with an Interrupted cadence
Personal Assessment Record
Success criteria
LI
1
Compose a cadence in the key of
G ending with a Perfect cadence
differed cadences in differed keys
Demonstrate understanding of cadences by composing four
Date
2
Compose a cadence in the key of
C ending with an Imperfect
cadence
3
Compose a cadence in the key of
F ending with a Plagal cadence
4
Compose a cadence in the key of
C ending with an Interrupted
cadence
5
Check my own and other
people’s work and give
constructive feedback.
RED
I need to spend more time on this
AMBER
I am beginning to do this well
GREEN
I am confident at doing this
28 | P a g e
Pupil
RED
AMBER
Teacher
GREEN
RED
AMBER
GREEN
Composition device 6
Modulation
Modulation means to change key during a composition. In simple pieces there may be no modulation e.g. a piece
may begin, continue, and end in C major. This is fine for short pieces. In longer pieces, the audience’s interest
needs to be sustained. This can be done through modulating.
Even pop songs tend to modulate towards the end for a climatic effect.
1. If you want to gain better marks in your composition, you need to modulate somewhere.
2. A piece may be presented to you in your listening exam and you need to identify that it has modulated.
How does a piece of music modulate?
Pieces of music always modulate to closely related keys.
You will remember that the primary chords in any key are I, IV, V. The first, fourth, and fifth degrees of a scale
have other names as well:
I Tonic
IV Subdominant
V Dominant
Therefore, if we are in ‘C Major’ we can modulate to the subdominant, dominant or relative minor of C major.
Task 1:
Fill in the following table.
C major
Can modulate
to.....
Key ?
29 | P a g e
Dominant
Subdominant
Relative minor
When I have decided what key to modulate to, how do I go about it?
1. Start by using notes that belong to the key you want to modulate to. It is a good idea to use the notes that
don’t belong to the key you started in.
2. Play a perfect cadence in the new key.
If your piece started in G major, what would the keys be that you could modulate to?
Task 2:
Fill in the table below, also fill in the notes you would have to begin adding (or taking away) and the chords of the
cadence you would need to use to establish the new key.
Related Keys
Notes to be added/ taken
away
Cadence Chords
30 | P a g e
Task 3:
Listen to the following piece of music
31 | P a g e
1. What period of music is it from? Give a reason for your answer.
2. What key is the piece in at the beginning?
3. What bar does the music begin to modulate?
4. What note is introduced to begin the modulation?
5. What key is the music modulating to at this point?
6. The piece modulates again towards the end. Which bar sees the beginning of this modulation?
7. What key is the piece in by bar 32?
32 | P a g e
Task 4:
1. Listen to Lucy in the Sky with Diamonds and Penny Lane by the Beatles.
2. Can you identify where in each song the modulation occurs? In your answer, state the section of the
song as well as the point in the lyrics.
Lucy in the Sky___________________________________________________
Penny Lane _____________________________________________________
3. What effect does the modulation have on the overall song?
_________________________________________________________________
4. Do you think the song sounds better with the modulation?
__________________________________________________________________
Personal Assessment Record
Success criteria
LI
Become familiar with related keys and
how music modulates within these
keys
Date
1
Understand the terms: dominant,
subdominant, relative
major/minor
2
Identify modulation both by
listening and studying a score.
3
Reflect on how a modulation can
enhance a piece of music.
4
Check my own and other people’s
work and give constructive
feedback.
RED
I need to spend more time on this
AMBER
I am beginning to do this well
GREEN
I am confident at doing this
33 | P a g e
Pupil
RED
AMBER
Teacher
GREEN
RED
AMBER
GREEN
Composition device 7
Ornaments
Ornaments are "frills" or embellishments made on notes. An ornament is basically a historic shorthand method of indicating how a single note can be made
more interesting. Ornaments first started to be used at the beginning of the 17th century, but the methods used to notate them varied quite a lot, and in some
cases they were not indicated at all, but just assumed. Their use became much less common towards the end of the 18th century, and the notation for those
that were used became reasonably standardised.
Those which are seen in works of this period include:
1.
2.
3.
4.
5.
6.
Trill - a rapid shake between an added note and the main note
Mordent - a single movement from the main note then down or up then back to the main note
Grace note or acciaccatura (pronounced atch-ack-a-too-ra) - a quick movement from an unaccented added note to the main note
Appoggiatura (pronounced appog-a-too-ra) - a slower movement from an accented added note to the main note
Arpeggio - a spread chord, so playing the notes of a chord rapidly after each other, usually starting at the bottom
Turn - a quick movement around a note, usually up, down and up again
The following (unrealistic) example shows all six ornaments in the same order as listed above. The stave below shows approximately how it should be played.
34 | P a g e
Here is the music for Twinkle Twinkle Little star. You will be able to play this easily on your instrument.
Task 1:
See if you can play it with some of the ornaments.
Of all the ornaments, the Grace note is the one used most often in Scottish music.
Task 2:
Try playing this very simple Scottish tune. Add some grace notes to your performance to make it more
interesting and stylish.
35 | P a g e
Task 3 – revisiting cadences:
Play the tune with chords. Work with a partner if you do not play a chordal instrument.
Mark the cadences in the tune.
Can you change one of the cadences without altering the melody?
Personal Assessment Record
Success criteria
LI
Study a range of ornaments used
to decorate a melody, and learn to
identify individual ornaments
Date
1
Identify symbols that represent
different ornaments
2
Describe the process of
performing specific ornaments
3
Performing ornaments in a piece
of music
4
Check my own and other people’s
work and give constructive
feedback.
RED
I need to spend more time on this
AMBER
I am beginning to do this well
GREEN
I am confident at doing this
36 | P a g e
Pupil
RED
AMBER
Teacher
GREEN
RED
AMBER
GREEN