Music Theory II – Spring 2013

Dr. Kyle Gullings

Composition Project

• Purpose: Compose a short, original piece of music that demonstrates mastery of

concepts in music theory, particularly focusing on Ch.7-15 from the textbook.

• Due Dates:

Friday, 4/12 First Draft Due (part of your grade)

Friday, 4/26 Final Draft Due

Monday, 4/29 In-class Performance

• Requirements: The work must be 16 measures in length. Include four phrases of

four measures each. Structure the cadences to create a Parallel Double Period.

Your composition must incorporate a variety of triads and seventh chords, in root

position and in inversion. Also, use at least four different nonchord tone types in

the melody. Change harmonies once per measure. Be sure to follow proper

harmonic progressions outlined in Ch.7.

• Instrumentation: The work must be written for you to perform the melody on

your major instrument/voice, plus piano accompaniment played by your

instructor. If you are a pianist, you must still write a single-voice melody. If you

play a transposing instrument, please speak with your instructor to ensure you

have transposed the part correctly.

• Materials: Notate your composition, including one staff for the melody line, and

a grand staff for the piano part. The music should be clear, legible, complete, and

following all standards of notation. If notation software is used, be sure you

understand the program well enough to produce proper engraving. (Technology is

no excuse for poor quality.)

• Text: If voice is your major instrument, do not use copyrighted text without

permission; this is illegal. You may write your own text, get permission from the

author/publisher (perhaps a friend), or choose something in the Public Domain

(published pre-1923) or released under an appropriate Creative Commons license.

• Preliminary Drafts: Though not required, you are highly encouraged to turn in

preliminary drafts prior to Draft #1, and prior to the Final Draft, for feedback.

• Draft #1: This should be a preliminary but relatively complete draft. It is an

official draft, and should therefore be as complete and legible as the final product.

You should have a good idea of the musical ideas and theory concepts employed,

the shape/form of the piece, and its instrumentation and length. The only work

that should remain for the Final Draft is to incorporate suggested revisions from

your instructor.

Page 2

Music Theory II – Spring 2013 – Composition Project

• Suggested Composition Process:

1. Create 16 blank measures – one melody staff, and two accompaniment staves.

2. Choose a time signature, and write it at the beginning. Choose a key signature

and write it at the beginning of every system.

3. Select a suitable harmony for each measure. Include some properly-used

inverted chords and some seventh chords. Strive for an interesting bass line as you

choose your chords. Be sure the cadences create a Parallel Double Period.

4. Following your selected chords, write whole notes for the left hand of the

piano, acting as the “bass” of your part-writing.

5. In the top staff of the accompaniment, write three voices in whole notes,

representing the “soprano, alto, and tenor” of your part-writing. These “voices”

should follow your traditional part-writing rules. Try to keep the upper voices all

within an octave to make it more playable, but, for this project, you should be

more concerned with proper voice leading. The top voice should not create direct

octaves or fifths with the bass.

6. Write a melody with four phrases, that conforms to the harmony you've

chosen. Use shorter note values than the whole note. Do not create objectionable

part-writing with the bass of the accompaniment. Parallels with the other three

“voices” is not a concern. Include at least the required number of nonchord tones.

Strive for a melody that suits your instrument.

7. Show me your draft (when Draft #1 is due, or before).

8. Make revisions as suggested.

9. Show me your revisions.

10. Practice, then perform it!

• Final Draft: This is the final printed/written copy, and cannot be changed after

the due date. It should be complete and legible. Keep a copy for yourself.

• Performance Aspect: The pieces will be performed in our regular class meeting.

The composer/performer should be well prepared. Treat this as a public recital!

• Grading:

• 25% – Draft #1: Meets description above.

• 10% – Concepts: inversions, form, 7ths, & NCTs are used correctly.

• 5% – Originality: shows creativity, design, and effort.

• 5% – Timeliness: all deadlines met.

• 5% – Legibility

• 60% – Final Draft: Meets description above.

• 25% – Concepts: inversions, form, 7ths, & NCTs are used correctly.

• 20% – Originality: shows creativity, design, and effort.

• 10% – Timeliness: all deadlines met.

• 5% – Legibility

• 15% – Performance: well-rehearsed, suitable for the instrument