Then …
- a. Throughout your version of the ‘Pizzicato” piece, extend the harmonic structure so that the source tetrachords (4 notes) are either pentachords (5 notes) or hexachords (6 notes), and source trichords & dyads are tetrachords (4 notes).
- b. Create at least 4 different chordal subgroups to complement your various melodic subgroups. Think to yourself, which instruments do you have left to use in a given passage?
- c. Characterize each subgroup not only by instrumental color, but also by the standard chord constructions of: juxtaposition, interlocking, and enclosing structures!
- d. Score all your chords in registers that don’t conflict with your melodic material OR your bass line material.
- e. For bars 1-2, chord subgroup #1 scored below the melody but above the bass line material. No doublings.
- f. For bars 3-4, chord subgroup #2 scored above the melody and distributed over 1/2 octaves. Double as you wish.
- g. For bars 9-12, chord subgroup #3 scored both above and below the melody and distributed over 3/4 octaves. Double as you wish.
- h. For bars 16-20, chord subgroup #4 scored both above and below the melody and distributed over 4 octaves. Double as you wish.
- i. For bar 21, in addition to the ‘bass line’, use every other instrument to score three large chords spread out over 6 octaves. Use all 3 standard chord constructions of juxtaposition, interlocking, and enclosing spread throughout the chords! Double as you wish.