* Music * Predictions / discussion / aftermath (One thread please)

SDTimeout

I would actually cry if i made something like that tomorrow. I've also decided to put my Melodys down the 1-6-4-5 progression so it's different from 1-6-4-2-5-1 in my Harmonies.

PJelly

I'm most worried about the composition tomorrow.
Our teacher never mentioned focusing on chord progressions in the melody writing. Just try to outline a cadence at the end is all she said.
My A1/A2 is usually taking away a passing note. Adding one in. Retrograde or inversion. We never usually mess with the melody itself. And for B we just outline the chord of V, take a sequence of quavers from the given, and copy it in the three bars. Each time starting on a note from the chord of V.
And to modulate back, don't bother. Just don't hit the note you sharpened.
After reading what ye all do, I'm starting to get worried. Our compositions seem like JC level compared to yours.
Also, for the Bass/Chord bit, I just take identical bass sequences from the given and just match them to the chord and rhythm. But change the order of sequences.
Does this all sound way too simple?

SDTimeout

PJelly wrote: »

I'm most worried about the composition tomorrow.
Our teacher never mentioned focusing on chord progressions in the melody writing. Just try to outline a cadence at the end is all she said.
My A1/A2 is usually taking away a passing note. Adding one in. Retrograde or inversion. We never usually mess with the melody itself. And for B we just outline the chord of V, take a sequence of quavers from the given, and copy it in the three bars. Each time starting on a note from the chord of V.
And to modulate back, don't bother. Just don't hit the note you sharpened.
After reading what ye all do, I'm starting to get worried. Our compositions seem like JC level compared to yours.
Also, for the Bass/Chord bit, I just take identical bass sequences from the given and just match them to the chord and rhythm. But change the order of sequences.
Does this all sound way too simple?

Don't worry, i was the same infact probably worse. I also did a retrograde and inversion, lead to modulation . Sequences and steps to the imperfect cadence. Worked the next two bars and led it into my finishing jingle.

I'm only doing this now , decided yesterday and asked my teacher should i go for it.

PJelly

SDTimeout wrote: »

Don't worry, i was the same infact probably worse. I also did a retrograde and inversion, lead to modulation . Sequences and steps to the imperfect cadence. Worked the next two bars and led it into my finishing jingle.

I'm only doing this now , decided yesterday and asked my teacher should i go for it.

Is it basically impossible to get near full marks my way though? Would the corrector deem it way to simplistic?

PJelly

Can you group quavers as triplets in 4/4 time?
I know there's some time signature where you cant..

jamesr1775

Cydoniac wrote: »

Okay, got it right now I think.

Single Jig = 6/8, Rhythm is crotchet, quaver, crotchet, quaver (du, dudu, dudu, dudu, kind of swing)
Double Jig = 6/8, Rhythm, (rashers-and-sausages)
Slip Jig = 9/8, Rhythm quaver quaver quaver crotchet, quaver, dotted crotchet ( - - - | - |.)

Single Jig is mainly 12/8 is it not?

Salty

I would stay away from triplets unless they're in the given opening! Follow the style of what they give, they like that! Do what you want in the B phrase, but for the A phrases, they prefer if you don't go wild with the opening.

PJelly

_meehan_ wrote: »

I would stay away from triplets unless they're in the given opening! Follow the style of what they give, they like that! Do what you want in the B phrase, but for the A phrases, they prefer if you don't go wild with the opening.

Ahh right grand. (Learning more here than in class )
And for a minor key when you don't modulate... do you still have to make it LOOK like you did, the whole "Rising up to the note you're sharpening" thing?

Salty

jamesr1775 wrote: »

Single Jig is mainly 12/8 is it not?
Double jig is 6/8?

There is no 12/8.

Single jigs and double jigs have the same time signature: 6/8
Slip jig:9/8

You won't be asked to differentiate between single and double jigs because they are essentially the same.

Salty

PJelly wrote: »

Ahh right grand. (Learning more here than in class )
And for a minor key when you don't modulate... do you still have to make it LOOK like you did, the whole "Rising up to the note you're sharpening" thing?

No there's just no modulation, you just finish the phrase with a cadence!
You sharpen the 6th only if it's immediately followed by the 7th when they are going up, and flatten the 6th if it's immediately followed by the 7th when they are coming down. If you think it's a bit confusing, just don't use the 6th and 7th consecutively, and you won't have to deal with sharpening and flattening things.

Besides the modulation and that weird rule with the 6th, major and minor melodies are basically the same!:)

PJelly

I love how everything I'm learning here goes against what my teachers taught me

Salty

PJelly wrote: »

I love how everything I'm learning here goes against what my teachers taught me

I just hope I'm not completely messing with your head with all of this!:p

Oh and the 7th is always raised in a minor melody regardless of what comes before/after it...amazing how many people forget that, according to my teacher!:eek:

PJelly

_meehan_ wrote: »

Oh and the 7th is always raised in a minor melody regardless of what comes before/after it...amazing how many people forget that, according to my teacher!:eek:

*fshooo*
That was the sound of that going right over my head.

PJelly

Ok, I'm going to do this.
Mess with the rhythm slightly, identify the chord being used. Put the notes of that chord in for my new rhythm. Hopefully that works.

Eoin MurMur

How awful and idea is it to learn of the solfa for my bars of modulation, sequence and closing bar? Not a hope would I be able to come up with anything of a really high standard off the top of my head

Salty

PJelly wrote: »

Ok, I'm going to do this.
Mess with the rhythm slightly, identify the chord being used. Put the notes of that chord in for my new rhythm. Hopefully that works.

That will work!:D At the end, they like when you end high as well, and double-check to make sure you end on doh, people sometimes throw down the wrong note/chord when they're nervous or in a rush.

Good luck!:)

Whiskey757

PJelly wrote: »

Ok, I'm going to do this.
Mess with the rhythm slightly, identify the chord being used. Put the notes of that chord in for my new rhythm. Hopefully that works.

Are you talking about the melody writing? Identify the key. The first four bars go I-IV-V-I. Then the first two bars of the second line are I-VI. Then modulate in the next two bars. Then, the next two bars after that is a sequence. Then, I-V. Then last four bars are I-IV-V-I again.

If it's a in a minor key you don't modulate.

jawn

_meehan_ wrote: »

Oh and the 7th is always raised in a minor melody regardless of what comes before/after it...amazing how many people forget that, according to my teacher!

The 7th is only raised if the note coming after it is higher in pitch; ie: the scale is ascending.

PJelly

Whiskey757 wrote: »

Are you talking about the melody writing? Identify the key. The first four bars go I-IV-V-I. Then the first two bars of the second line are I-VI. Then modulate in the next two bars. Then, the next two bars after that is a sequence. Then, I-V. Then last four bars are I-IV-V-I again.

If it's a in a minor key you don't modulate.

The first four bars aren't always I-IV-V-I surely?

Salty

jawn wrote: »

The 7th is only raised if the note coming after it is higher in pitch; ie: the scale is ascending.

Isn't the 7th raised in a minor scale anyway though? Everyone's been taught different stuff:(

Salty

Whiskey757 wrote: »

Are you talking about the melody writing? Identify the key. The first four bars go I-IV-V-I. Then the first two bars of the second line are I-VI. Then modulate in the next two bars. Then, the next two bars after that is a sequence. Then, I-V. Then last four bars are I-IV-V-I again.

If it's a in a minor key you don't modulate.

The first 4 bars are the A1 phrase, therefore the chords used should be the same as the ones used in the given A phrase, up to the modulation if it's a major, or a cadence if it's minor.

That is, if you're going with the form A-A1-B-A2.

Whiskey757

PJelly wrote: »

The first four bars aren't always I-IV-V-I surely?

_meehan_ wrote: »

The first 4 bars are the A1 phrase, therefore the chords used should be the same as the ones used in the given A phrase, up to the modulation if it's a major, or a cadence if it's minor.

That is, if you're going with the form A-A1-B-A2.

Are we talking about the same thing? I'm doing Question 1. Melody Composition.

jawn

_meehan_ wrote: »

Isn't the 7th raised in a minor scale anyway though? Everyone's been taught different stuff:(

It sure is, but for the sake of LC music, you use the harmonic minor scale.
The 7th is raised on the way up, but not down.

Salty

Whiskey757 wrote: »

Are we talking about the same thing? I'm doing Question 1. Melody Composition.

Are you not talking about continuing a given opening so, no?

jawn wrote: »

It sure is, but for the sake of LC music, you use the harmonic minor scale.
The 7th is raised on the way up, but not down.

Ok...you sound trustworthy, so I'll go with this too!:)

PJelly

Whiskey757 wrote: »

Are we talking about the same thing? I'm doing Question 1. Melody Composition.

Yeah, do you mean the first four given bars are always the same?
I must be insanely thick. Because the 2010 Q seems to be I-V for the first two bars of the given.

jawn

Let's hope for major melody and harmony Qs

PJelly

_meehan_ wrote: »

Are you not talking about continuing a given opening so, no?

Question one... IS continuation of a given opening

Whiskey757

_meehan_ wrote: »

Are you not talking about continuing a given opening so, no?

Nah I'm talking about Question 1

PJelly wrote: »

Yeah, do you mean the first four given bars are always the same?
I must be insanely thick. Because the 2010 Q seems to be I-V for the first two bars of the given.

That's how we've been doing it for the last two years Same chord progression every time.

G.J.

I'm worried as to whether my teacher has sent us down the wrong track with melodies. I really hope not too because I'm hoping for a good mark from my composing, it's usually my best section. >.<

To quote an earlier post I made:

We've used this structure for every melody!

A = 1 - 2 - 3 - 4
A1 = 1(I) - 2(IV) - Modulation for 3(IV V) + 4(I)
B = Sequence 1(I) + 2(IV) + 3(ii) + 4(V)
A2 = 1(I) - 2(IV) - 3(V) - 4(I)

For the minor melodies we'd use:

A: 1 - 2 - 3 - 4
A1: 1(i) - 2(i) - Modulate to Major up to bar 2 of B [3(I V) - 4(I)]
B: Sequence 1(ii V) + 2(I IV) - 3(V i) - 4(V)
A2: 1(i) - 2(iv) - 3(V) - 4(i)

PJelly

Oh wow, just put the last melody I did on Finale.
Sounds great!
For two bars.
God I'm so screwed :P