Music 312: PE #1, Part B (Fall 2015)

Music 312a – Portfolio Exercise #1:

Part B: Pandiatonic Small Ternary Form (60 pts total):

PE #1, Part B1 – Pre-Compositional Planning (20 pts.):
*** DUE Friday, 10/9 by 11:59 p.m. ***

Using the notation program of your choice, create a file that shows the compositional planning for your pandiatonic small ternary form.

A. Notate at least 3 of your original motives and at least 10 derivations for each of the motives as they are described below in Letters h & i.

B. Next, notate an overall harmonic reduction that outlines the A-B-A’ musical structure that you will use in your pandiatonic small ternary form as described in Letters b, c & d.

C. Then, notate at least 6 different cadences that you will use within the structural parts of your pandiatonic small ternary form as they are described in Letter e; 2 cadences for Part A, 2 cadences for Part B, and 2 cadences for Part A’.

D. Finally, notate at least 6 different chord progressions that you will use in your pandiatonic small ternary form; 2 chord progressions for Part A, 2 chord progressions for Part B, and 2 chord progressions for Part A’.

E. At least 80% of your pre-compositional design materials must be in your final version of your pandiatonic small ternary form.

PE #1, Part B2 – Pandiatonic Small Ternary Form (40 pts):
*** DUE Friday, 10/30 by 11:59 p.m. ***

Compose a pandiatonic small ternary form for two marimbas and a pair of woodwinds as described below. Include an analytical essay (800 word count minimum) in which you detail the musical syntax & structures that you used in your piece.

A. Compose for two marimbas, one player per instrument, and a pair of woodwinds. One woodwind must be either flute or clarinet in Bb and the other woodwind either oboe or bassoon. Use at least a two/three-octave range on each instrument. 

Use the marimbas for chordal accompaniment & figured embellishments. Use rhythmic motive cells for the marimba material, which may be derived from the melodic motive material or be new rhythmic motive material in contrast to the melodic motive material.

Use a given woodwind for melodic material & use the other woodwind for a counter melody, figured embellishments, or have that player join the marimbas in the chordal accompaniment. Rotate the woodwinds’ roles, so they each play some of the main melodic material.

B. Reflect a harmonically clear small ternary formal structure – A-B-A’ – as follows:

• Part A: Either a double period or an asymmetrical period with your designed phrase structure. Include harmonic approaches referred to in Letters c & d. Use a mixture of B Aeolian, B Phrygian and B Dorian, casting different phrases in the different modes, or juxtaposing the melodic and harmonic elements in the different modes, or a more artful & complex arrangement, i.e., combining tetra-chords from different modes.
• *Optional transition: modulate to Part B at the end of Part A.*
• 

Part B: Sentence structure in a double period with your designed phrase structure. Include harmonic approaches referred to in Letters c & d. Shift to a D center, mixing the D Lydian and D Mixolydian modes, again casting different phrases in the different modes, or juxtaposing the melodic and harmonic elements in the different modes, or a more artful & complex arrangement, i.e., combining tetra-chords from different modes.
• *Optional transition: modulate to Part A’ at the end of Part B.*
• Part A’: reprise of the A structure as an A’ structure. Include harmonic approaches referred to in Letters c & d. Make re-harmonization a defining feature of this return section, shifting back to the minor mixed B modes and again casting different phrases in the different modes, or juxtaposing the melodic and harmonic elements in the different modes, or a more artful & complex arrangement, i.e., combining tetra-chords from different modes.

C. Harmonies: Use combinations of secundel, quartal/quintal for other harmonies, as well as tertian chords with one additional pitch to create different tetra-chords.

D. Harmonic phrase structures: When creating your own phrase structures & designs, include interrupted, continuous and progressive harmonic arrangements.

E. Cadences: Create & use the following cadence structures:

• 

Strong Authentic Cadences using extended tertian harmonies with the root in the bass for chords on the 1st & 5th scale degrees. Close each structural part with a Strong Authentic Cadence. You may use altered diminished chords or altered dominant chords for your SACs, creating chromatic mixture.
• Weak Authentic Cadences for cadence points at the end of internal phrases, using extended tertian harmonies without the root in the bass for chords on the 1st & 5th scale degrees. Stay within the current mode for WACs.
• Half Cadences for cadence points at the end of internal phrases, using extended tertian harmonies without the root in the base for chords on any other scale degree. Stay within the current mode for HCs.

F. Use moderate metronome markings of your own choice. Part B can be at a different tempo from Parts A & A’. Make this a playable piece!

G. Use a mixed meter scheme varying between two meters from 6/8, 7/8, 8/8 or 9/8. Use a pair of meters in the Part A and Part A’ sections of your piece; then use a different mixed meter pairing in the Part B section. Use at least one asymmetrical meter. Make it interesting, but you decide!

H. Devise three or more original motives with three note values each – at least one for each of your larger structural parts – A-B-A’. So, that’s one or more different motives for the A structure, one or more different motives for the B structure, and then a return of varied motives for the A’ structure. Motivic coherence is A MUST!

I. Repeat each motive in a varied fashion throughout its phrases, applying at least 4 of the following types of modification: transposition, retrograde, inversion, retrograde inversion, augmentation or diminution.