Lesson 7 Part 3 - Melodic Writing

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來自 National University of Singapore 的課程

像莫扎特一样作曲：古典音乐作曲概论

236 個評分

National University of Singapore

像莫扎特一样作曲：古典音乐作曲概论

236 個評分

这门课程将带领学生了解欧洲艺术音乐的常见创作手法，除重复、变奏、展开这些作曲概念之外，还涉及和声进行、声部导引、音乐织体的知识。开设此门课程是为了在风格模仿的思想局限中提供另一个音乐创作空间的可能。

從本節課中

Module Four

In this module, we look at the idea of chord substitution. All of the substitutions we will learn about this week are diatonic, that is, the substituting chord is within the key of the passage. Melodic writing is also introduced, and in the 3 parts of Lesson 7, I walk through creating an entire passage of music from a very simple 2 voice outline. Along the way, I try to articulate the things that one thinks about when creating and working with a melody within a phrase. We will also look at the kinds of harmonic progressions that take place at the end of a phrase. These are called cadences, and they are crucial for the experience of form in common practice music. With cadences introduced, we will be able to take a look at one of the simplest forms found - the period form. With the concepts and techniques learned in this module, you will be able to take a short 4-8 bar passage and generate a small composition from it. In fact, the assignment for the week is to take a sketch of a 5-bar phrase and turn it into a 10-15 bar simple composition that uses a parallel period form. The description of the assignment should tip you off to the fact that the “solution” is just one possibility. Previously, there were always more solutions that the one given, but not many more. This week is different. There will be a bunch of solutions, but I do feel that the solution given is a good implementation of the things learned in the week’s lectures. I would suggest, then, to use your study groups (or to form study groups) to share some of your solutions since they will differ in some ways from the given one. It would also be good preparation for the final project, where you will give such feedback when assessing your peers. I want to also note that while your solution might differ in details from mine, the more general aspects - structure, cadence types and locations, for instance - should not. I want to remind everyone that all of these different ways of engaging with the assignment - completing it, checking it against the solution, getting feedback from others, and giving feedback - are part of the learning process.

Lesson 7 Part 1 - Melodic Writing14:07

Lesson 7 Part 2 - Melodic Writing11:20

Lesson 7 Part 3 - Melodic Writing8:29

與講師見面

Peter Edwards
Associate Professor
Yong Siew Toh Conservatory of Music

We get a perfect authentic cadence here. But, we can extend beyond that.

So let me do that here.

Add something like this. And so we.

[SOUND] Fine, we, we get our cadence, we end on this note.

Rest, and then I want to bring this back. [SOUND] Apply it here.

[SOUND] But I want to apply it to the one chord, so here if we

have our neighbor tone, the third neighbor tone third, root of the one chord.

And then let's have a five chord here. Or even better,

let me throw in here but I think maybe makes sense.

[MUSIC]

To not have that on the down beat. Just

have this. And maybe it would be kind of nice,

let's have a kind of accompaniment, change the relationship between these.

[MUSIC]

Instruments and have them, rather than just having the melody

accompaniment relationship, now we have a kind of duo relationship.

Yeah, they are, they will be in, well some more lesson thirds.

So this is going to be the one, and I'm going to get the five here.

[MUSIC]

Like that.

[MUSIC]

I go up.

[NOISE] And then we're just going to repeat it.

So, okay.

So, if I take this, I want to get fives.

So le'ts again, we're kind of repeating a pattern.

So.

[MUSIC]

Looks as if it's a five

seven. Like that.

And if we're going

to have a five [SOUND]

[MUSIC]

And we just repeat.

[MUSIC]

And I've got to fill this into, something

that works nicely with it, so.

[MUSIC]

Oops.

[MUSIC]

And then we repeat.

And now we need to make sure we get

the cadence, and we want something a bit longer,

more sustained.

We, we want to have a kind of sense of ending.

And we do what's very common in classical music.

We're going to use what's called a, retardation suspension.

So, if this and this hand.

And, here we've got our five chord. And we're going to keep that five.

This is like suspension.

We're going to keep that five chord. Oops, I didn't want to do that.

[MUSIC]

We keep this one, and then we resolve it.

[MUSIC]

Like that.

And we'll do the same

in the melody. And so

let's analyze this.

Whats going on here? I mean is this a, you know,

you say okay, so you say this is the suspension

but you know, you told us that suspensions always go down.

This one's going up.

This is a seven scale degree, going to the eight.

This is a seven eight suspension.

Well, no it's supposed to be seven six and this is a four five and a two three.

What's going on here?

This isn't right.

THis is the only one that makes sense, nine

eight, which it is, it's a nine eight suspension.

These guys that go up, they're called retardation and

we very commonly see them like, well, where we see them right here.

This is almost in, in this late 18th century style.

This is where you see, really see this, where we hold over the five chord

basically, when we get the one on the downbeat and then all of this resolves.

Either on the next

downbeat or in the latter part of the the measure.

So you see what I did.

Basically I just took this and repurposed it.

And you see I followed the roof, the rule of two again.

Right?

Daga daga dum, daga daga da, over the one five progression.

Then again, daga daga da, daga daga, da dum like this.

Let's listen

to the whole thing and so that we can hear all of this in action.

[MUSIC]

Sorry.

[MUSIC]

One thing missing. It sounded kind of funny.

[MUSIC]

But with that added, I don't want to, I'll play

the last say, couple bars, so you can hear this.

[MUSIC]

So there you have it.

We started with something about 20 minutes ago that was extremely basic.

And now we have an entire phrase of music that's in this late-18th century style.

All achieved basically through elaboration.

Elaboration that you've been introduced to over the preceding three to four weeks.

Now, coming up with these ideas for melody may take

a little bit of time and a little bit of practice.

And I don't want you to be discouraged if at

first you don't do a great job, because that's very normal.

I've done this for a little while.

And, you know, I've taught this class for a little while.

So I'm quite familiar with the, the kinds of

things that you'll see a classical era composer do.

And if you're not so familiar with that, you may want to

listen more to the music, and look at some

of the music so you can download it online.

It's very easy to do so, legally even, not illegally.

But in the end, I think that many

of you can, already, see these really simple strategies

that can help produce music that really does

emulate the style of someone like Mozart, or Haydn,

or music, the early music of Beethoven.

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