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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