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

Music 312a – Portfolio Exercise #1:

Part A: Composition (40 pts):
Instructions: Use the notation program that you prefer. Complete the requirements outlined below.

Submit your notated file in your Dropbox at the Composition Seminar’s classesv2 site!

1. Compose a two phrase Dorian on F melody (20 pts):
*** DUE Friday, 9/25 by 5 p.m. ***

  • a. Compose for flute (melody) & marimba (harmony) and use at least a 2 octave range in each instrument.
  • b. Use 2/4 and 4/4 meters exactly as indicated.
  • c. Use the assigned metronome marking.
  • d. Use the given motive for Phrase A & finish the phrase. Use the new, contrasting motive for Phrase B & finish the phrase.
  • e. Extend the motivic material throughout the melody, applying different types of modifications for varied repetitions. Make your melody flow!
  • f. Reflect a harmonically clear antecedent/consequent period structure of AB. Use extended tertian harmonies with the root in the base for chords on the tonic & dominant scale degrees. Use combinations of secundel, quartal/quintal for other harmonies, as well as tertian chords with one additional pitch to create different tetrachords.
  • g. Use accidentals OR add the correct key signature.
  • h. Keep the dynamics provided in the flute. Add dynamics for the marimba. Use crescendos & decrescendos for each instrument.

2. Compose a four phrase Lydian-Mixolydian melody on G (20 pts):
*** DUE Monday, 10/5 by 11:59 p.m. ***

  • a. Compose for clarinet in Bb (melody) and marimba (harmony) and use at least a 3 octave range in each instrument.
  • b. Use 7/8 and 8/8 meters exactly as indicated.
  • c. Use the assigned metronome marking.
  • d. Use the given motives – one for A & A’ and the other for B & B’ – and complete all of the phrases.
  • e. Extend the motivic material throughout the melody, applying different types of modifications for varied repetitions. Make your melody flow!
  • f. Reflect a harmonically clear antecedent/consequent period structure of ABA’B’. Use extended tertian harmonies with the root in the base for chords on the tonic & dominant scale degrees. Use combinations of secundel, quartal/quintal for other harmonies, as well as tertian chords with one additional pitch to create different tetrachords.
  • g. Use accidentals OR add the correct key signature.
  • h. Keep the dynamics provided in the clarinet in Bb. Add dynamics for the marimba. Use crescendos & decrescendos for each instrument.

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