Structure
- Relies on:- repetition and contrast.
- make some formal sense (with repetition and contrast at appropriate times)
- Scheme of phrases - AABA
Melody
- good to mix step-wise movement with occasional leaps
- consider the shape of each phrase
- A meaningful reminiscence at the end makes sense
- The rhythmic flow of a tune is important as well as its melodic flow (a rhythm like ? ? ? is more fluent than ? ? ? which is rather static)
- Many successful tunes have a limited range (say an octave or just over)
- Any tune, however miniature, should have one moment of climax
- a leap is more effective when approached from inside and quit by step in reverse direction.
- make your tunes have a point of climax, and don't spoil this by anticipation
End of Phrase - Cadence
- end on familiar.
- end on a strong beat.
- finish each phrase - cadence
- melody lead -> tonic
chord V -> I (perfect cadence)
Harmony
- It is effective for treble and bass parts to move in contrary motion.
- Avoid moving any 2 parts in similar motion in consecutive octaves or fifths.
- For minor keys:
Augmented 2nd between 6th and 7th degrees of the scale is best avoided.
Accidentals should only be introduced in the melody for melodic reasons, not
to make harmony easier.
Cadences
Harmonising
1) end on cadence (v-I)
2) root position - best for all cadences
- always use for last chord
3) enter base note first
4) 3rd more important than 5th (determines if major/minor)
5) good liner movement
6) melody rises (VII -> I)
7) Additional rules for minor key
- Augmented 2nd between 6th and 7th degrees of the scale best avoided
- Accidentals should only be introduced in the melody for melodic
reasons, not to make harmony easier
Perfect cadence - Full stop
o
------------------------------------------------
o
------o--------------------------------------- leading note usually
*
C ------*--------------------------------------- rises to the tonic
------#--------o-------------------------------- bass falls a 5th
---------------o-------------------------------- or rises a4th
-#-
V --> I
Interrupted cadence - colon or question mark
------------------------------------------------
o
------o---------------------------------------
o
C ------o---------------------------------------
o
------o-----------------------------------------
------------------------------------------------
V --> VI (or any other chord)
Plagal cadence - full stop
o
------------------------------------------------
o
---------------------------------------------- general effect is of
* * <-tonic can be held
C ---------------------------------------------- all notes (except the
o
---------------o------------------------------ tonic which can be
#
---------------o------------------------------ held) falling
-#- bass falls a 4th
IV --> I
Imperfect cadence - comma
-o- ---
o
---------o------------------------------------
o
---------o--------------------o---------------
o o
C ------------------------------o---------------
o o
-----o------------------------o---------------
o o
-----o----------------------------------------
o
-o-
I or II or IV --> V (Ib->V very common)
22
Harmonic minor scale starting on C
------------------------------------------------
----------------------------------------------
o
s ----------------------o-----------------------
t o
t ---------------o------------------------------
t o
s -------o---------------------------------------
t o
t -o-
I II III IV V VI VII I
t s t t s t+s s
Harmonic minor scale starting on A
o
#o
t --------------------o---------------------------
t o
s ----------o-----------------------------------
t o
s ----o-----------------------------------------
t o
t ----------------------------------------------
-----------------------------------------------
I II III IV V VI VII I
t s t t s t+s s
'Rules' writing tunes
music relies on:
- repetition - contrast
- good to mix step-wise movement with occasional leaps
- consider the shape of each phrase
- A meaningful reminiscence at the end makes sense
- The rhythmic flow of a tune is important as well as its melodic flow
- Many successful tunes have a limited range (say an octave or just over)
- Any tune, however miniature, should have one moment of climax
* Scheme of phrases - AABA
* finish - cadence
-------------------------------------
- a leap is more effective when approached from inside
- make your tunes have a point of climax, and don't spoil this by anticipation
- the rhythmic flow is important (a rhythm like ? ? | ? is more fluent than ? ? | ? which is rather static)
- make some formal sense (with repetition and contrast at appropriate times)
Ends:
- should be familiar
- perfect cadence
- on a strong beat
