A Workbook for Elementary Tonal Composition by Alan Belkin
© Alan Belkin, 2008.
1
Introduction This little workbook is supplied in response to a pedagogical need. Students of musical composition need guidance in making the transition from harmony, counterpoint, and orchestration courses into actual composing. Even though the exercises given here are in a fairly simple tonal style, the techniques used are basic to all composition. Also, many composition students today are interested in film music, and a solid grounding in tonal composition is an absolute prerequisite for that domain. The exercises are based on a course I gave some years ago at the University of Montreal, called, simply, Tonal Composition. The first half of that course (more or less corresponding to the material given here) took one semester. In the second semester students went on to write in simple model tonal forms. Needless to say, doing these exercises will not make one a composer, but experience shows that without these skills, much time will be wasted later in remedial work. Also, real talent is usually obvious even at this level. One novelty, which I have never seen elsewhere, sets this workbook apart from others currently available: I furnish exercises in writing transitions. Not only are transitions essential to any substantial musical forms; the skills involved in writing them are basic to all musical composition. This workbook is not a substitute for a textbook in basic tonal composition, but a complement to it. My own series of online textbooks can be found online, free, at: http://www.musique.umontreal.ca/personnel/Belkin/ABWritingNAV.html (Some of the explanatory text here is taken from these online books.) Here is the table of contents for my book on musical form. The book can be found at: http://www.musique.umontreal.ca/personnel/Belkin/bk/index.html Introduction • Introduction: Why this book? • Stylistic assumptions • Forms and form • Using this book as a textbook • Sources • A final note Basic Notions • Foreground vs. background • Flow vs. break; continuity vs. surprise • Articulation and degrees of punctuation © Alan Belkin, 2008.
2 • Rate of presentation of information • Stability vs. instability • Progression • Momentum Beginning • Psychological functions of structural elements • Structural requirements for the beginning of a musical work • Some typical starting gestures • The opening as a distinct section Elaboration/Continuation, pt. 1 • Organization of this chapter • General requirements for successful continuation • Transitional technique: the basis of satisfactory musical flow • Contrast • Suspense • Points of reference • Climax Elaboration/Continuation, pt. 2 • Flow • Major contrasts • Creating suspense over larger spans of time • Long range points of reference • Gradations of climax Ending • How can the composer conclude the piece convincingly? • Resolution: the main issue • Rounding Off • Ending gestures • The ending as a distinct section: the coda Forms: a Glossary • Introduction • Specific forms Conclusion, acknowledgements, bibliography
Prerequisites A student attempting these exercises should, at a minimum, have completed a year of tonal harmony. (Note that I do not mean analysis of tonal harmony but, actual writing of music. Analysis can be useful, but it is no substitute for actual practice.) At least a semester of introduction to the basics of writing for instruments will also be very useful.
© Alan Belkin, 2008.
3
Instructions and Guidance for the Exercises N.B. All exercises must be written with real voices and instruments in mind. All necessary performance indications – tempo, dynamics, articulation, etc. – must be furnished, as these are a concrete part of actual composition. Exercises must be heard! Aim for idiomatic writing for instruments. Part 1: Review of Elementary Harmony A (2 exercises) harmonise for 4 part choir, in keeping with the given beginning: -
determine the cadences compose the bass line fill in the middle parts
B (4 exercises) Add a figured bass to the given melody, in keeping with the given beginning (instrumental style, the harmonic rhythm may vary): -
determine the cadences compose the bass line
In these exercises, aim for clear tonal direction, well prepared, flowing modulations, smooth voice leading, and a bass line which is harmonically solid and melodically interesting Part 2: Motives (4 exercises) For each exercise, continue the accompaniment to the end of the phrase, using the same motive. In these exercises, aim for: -
logical and coherent use of motives logical harmonization of motives; coherent treatment of dissonances control of rhythmic momentum
Motives add to linear coherence. A motive is a short, memorable pattern, which is repeated and varied. Usually motives are melodic/rhythmic patterns. Such patterns create associative richness. Motives stimulate the memory, and thus can be used to create connections going beyond simple short term continuity. Conversely, introducing a characteristic motive and then ignoring it usually creates distraction and weakens the overall effect. Dissonance formulas, apart from the most basic ones (passing and neighbour notes in neutral rhythm), in effect create motives, requiring continuation.
© Alan Belkin, 2008.
4 The standard ways of using motives are listed in many texts and are not worth detailing again here. However one distinction I have found useful is between "close" and "distant" variants of a motive. The frequent repetition undergone by most motives requires more or less continual variation to maintain interest. The key point is whether an attentive listener is more struck by the novelty of a given motivic transformation or the association with the original. Certain motivic variants, for example retrograde, augmentation and diminution, often upset the rhythmic flow; they may be easy to seize visually, but when heard are often quite dissimilar to the original form. Part 3: The Construction of a Phrase (For more detailed information on the following forms, please the glossary in my book on musical form, at: http://www.musique.umontreal.ca/personnel/Belkin/bk/F-7.html) A (3 exercises) Continue the given melody to the end of the phrase, developing the original motive. Add figures to the bass line. -
Determine the harmonic implications of the bass line; Analyse the use of dissonance in the given motive; In the melody, find the richest note which corresponds to each change of harmony and incorporate the motive(s) around it.
A single phrase demonstrates in a microcosm all the basic elements of a musical design. A phrase must have a beginning that provokes interest; it must develop coherently, inviting increasing involvement on the part of the listener, and it must supply a sense of resolution at its end. The degree of finality implicit in its punctuation will depend on the phrase's position in the whole piece. B Additional exercises: Compose three phrases, following the harmonic schemes given below: invent a motive, and develop it throughout the phrase. (You may use inversions of the given chords.) 1) I V VI IV II V I 2) I III IV V I V I 3) I IV II V VI III IV V I Part 4: Grouping Phrases A – the Period (3 exercises) Continue the given beginning to an open cadence as indicated; then add a second, consequent phrase, based on the same material, finishing with a closed cadence, to form a period structure. Only a (figured) bass is required in addition to the melody. In these exercises, aim for: -
coherent motivic development and logical harmony in a 2 phrase period.
© Alan Belkin, 2008.
5 -
an interesting melodic line, with solid harmony.
A period contains two phrases, in a question and answer relationship. This relationship largely results from the cadences: the first is open, and the second closed. The listener hears the second phrase in the light of the first, and the antecedent-consequent relationship is evident at least at the start and at the end of the second phrase. As in a single phrase, over the whole period the listener should be drawn in quickly, experience a gradual intensification, and feel closure at the end. B – the Double Period (4 exercises) -
-
Bring the given opening to a half cadence, or else to a full cadence in a closely related key. Add three more phrases to make a double period: the beginning of the third phrase should echo the beginning of the first phrase, and the fourth should echo the second phrase. The final cadence should clearly be the strongest of all. Add a figured bass to clarify the harmony.
The double period is a highly symmetrical - and therefore stable and predictable structure which also gradually develops in intensity. However the tension is prolonged over four phrases. The three internal cadences are subordinate to the final cadence, which provides a proportionately stronger release. Because the structure is stable and reinforces memory, a double period is especially useful for presenting new material; it is more often found in exposition than in development. Part 5: Transitions (3 exercises) For more detailed information on transitions, please the following chapters in my book on musical form: http://www.musique.umontreal.ca/personnel/Belkin/bk/F-4.html (the section entitled “Transitional technique: the basis of satisfactory musical flow”); and http://www.musique.umontreal.ca/personnel/Belkin/bk/F-5.html (the section called “Transition”). Smoothly connect each of the 1st ideas (represented by the first two bars) to the 2nd idea on the same system. The transition may be any reasonable length; it is not limited to one bar. You may develop the ideas to be joined at more length as well, if desired. The difficulty of making a convincing transition lies in balancing the number of things which change and the amount of time available. Depending on where the transition appears in the form, it may need to happen quickly, or there may be quite a lot of time available. In either case, the goal is to prepare the new idea convincingly, camouflaging the joint.
© Alan Belkin, 2008.
6
Part 1: Review of Elementary Harmony (A)
U œœ œœ œ œ œ œ œ œ
### 4 & 4 œœ p ? ### 4 œ 4 œ
1)
Andante
U ˙.
œ œ œ œ
œ
œ œœ œ
### œ #œ œ œ &
U œ œ œ œ œ
œ œ œ œ
œ
U œ ˙
? ### bb 4 œ b & 4 œ f œ ? b b 44 œ b
2)
œ œ œ œ œ œ
Andante
b &b b œ ? bb
jU œ œ œ
œ.
œ œ œ œ œ
b
© Alan Belkin, 2008
œ
œ
œ
œ
œ
œ
œ
œ œ œ œ
œ
˙
U w
U œ nœ œ œ
7
Part 1: Review of Elementary Harmony (B)
### 2 œ œ œ œ œ & 4 p ? # # # cello 2 pizz. œ 4 œ
1)
&
œ œ œ œ
Allegro violin
###
œ œ œ œ œ
œ
˙
œ
6
œ
œ œ œ œ œ
6 5
œ
œ
œ
œ œ œ œ œ
˙
? ### . . . . . . . # 6 œ. œ . œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ & 8 J p cello pizz. ?# 6 . œ . œ. 8 œ . œ 4
2)
Allegro flute
. œ. . œ œ œ œ. œ
6
# œ œ œ. œ œ œ. & ?#
© Alan Belkin, 2008
œ.
2
œœ . . œ #œ œ œ #œ œ œ œ œ œ
œ.
œœ
nœ œ œ œ
8
. œ # œ . œ œ . œ œ . œ œ . œ œ œ œ J œ. œ œ œ ˙. œ œ & œ œ œ ?# oboe b œ œ œ œ œ œ œ œ œ œ 6 b & 8 p
3)
Andante
? b b 68 . œ
bassoon
b œ &b
œ.
œ.
6
6
j œ. # œ œ œ n œ œ
? bb b & b œ œ œ œ œ œ œ. ? bb
© Alan Belkin, 2008
. œ . œ œ œ œ œ.
œ
j b œ. œ œ œ œ œ
œ. 4 2
. œ œ œ œ œ œ
œ œ œ œ œ œ œ.
.œ œ œ œ œ œ œ œ. œ. œ œ œ œ œ
œ.
Œ.
9
4) Moderato clarinet (concert pitch)
4 &b 4 œ œ œ p ? 4 ‰ #œ b 4 bassoon
œ œ nœ . œ ˙ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œœœ œ J œ œ œ œ œ nœ œ
œ œ œ œ b œœ œ ˙ . b & bœ œ œ . J œ ?
œ
œœœ
œ œ bœ bœ œ œ œ #œ œ . b œj œ œ œ œ œ
b
œœ œœœœ œ w œ œ n œ œ œ œ #œ ‰ nœ œ œ œ œ œ Œ œ œ œ œ #œ . J &b J œ ?b
œ
© Alan Belkin, 2008
10
Part 2: Motives
œ
## 3 ˙ & 4 f
1)
Allegro trumpet
# # 3 string orchestra & 4 ‰ œœ œ œœ œœ œœ œœ f . . . . ? # # 34
œ
# 2 & 4 ‰
2)
œ
Andante oboe
œ
j œ œ p
œ
œ
&
œ
œ
œ
œ
œ
œ.
œ
œ
œ
œ œ
œ
œ
œ œ
œ œ
# 2piano & 4 œœœœœœœ œ p ? # 24 œ œ œ # œ &
œ œ œ œ œ œ œ œ œ œ ˙. ‰J
œ œ ˙
œ
œ œ
œ
œ
œ #œ
œ œ
œ.
œ
˙ œ
˙
#
?#
œ
© Alan Belkin, 2008
œ
˙
œ
œ
˙.
˙
œ J
11 3)
Moderato horn in F (concert pitch)
2 &b 2 p˙
˙
˙
piano . . . 2 b & 2 ‰ œœ œœ œœ œœ œœ œœ. œœ. p ? b 22 ˙ ˙
&b &b ?b 4)
˙
˙
w
b b 2 &b b 4 ˙ p
Moderato flute
? b b b 24 b œ
© Alan Belkin, 2008
Œ
˙.
˙
˙
˙
˙
˙
n˙
˙
˙
œ
piano j œ œ b 2 b b ‰ b œ 4 & p
˙
˙
œ œ
œ œ
œ
˙ œ
œ
˙
˙
˙
w
w
˙ œ
˙
œ
œ
œ
Œ
œ
Œ
œ œ Œ
œ
12
b b œ b & b
œ
œ
œ
Œ
œ
œ
œ
œ œ
œ œ
˙
œ
nœ
˙
Œ
œ-
b b &b b ? bb b b nœ
Part 3: The Construction of a Phrase
. œ œ œ œ & 24 ‰ p
1)
. œ
Allegro clarinet (concert pitch)
?2 œ 4 -
bassoon
. œ
œ
œ-
Œ
œ-
Œ
& ? #œ -
Œ
© Alan Belkin, 2008
œ-
Œ
œ-
œ-
˙
Œ
13
b 4 ‰ œ. œ œ b & 4 J œ . . f ? b 4 b 4 œ Œ >œ
2)
Allegro piano
b b & œ
œ œ œœ œ œœ œ œœ œ. œœ œ œ œ œ . œ >œ
œ >œ
? bb œ Œ œ œ> >œ œœ >
3)
œ >œ
œ >œ
œ >œ
Andante violin
& b 34 ‰ . œJ œ . œ œ . œ œ œ œ # ˙ f ? 3cello˙ b 4
Œ
œ Œ œœ œ > œ >œ > 3
Œ
œ
œ
œ
œ œ œœ œ œ> >œ > œ >
œ >œ
œ
œ
œ
œ
&b ?b
œ
œ
© Alan Belkin, 2008
œ
œ
œ
œ
œ
>œ œ œ œ œ œ> >œ >œ
nœ Œ œ n >œ >œ œœ >
œ
œ
˙.
˙ >˙
œ >œ
œ
œ
14 Part 4: Grouping Phrases (A)
1) Moderato violin
3 & 4 œj f
œ. œ œ œ
‰
3 &4
harpsichord
? 34 2)
Allegro
oboe b 2 & b b 4 œJ p piano b 2 &b b 4
œ
? b b 24 b
œ.
#œ 6
˙
#œ
œ
œ œ œ œ œ œ. J 6
˙
˙
6
6
# # 4trumpetœ. œ. œ. œ. >œ . œ. œ & 4 ‰
3)
Allegro
f ? # # 44 >œ Œ œ Œ > trombone
© Alan Belkin, 2008
> > >œ œ Œ Œ œ
œ
œ
˙
15
Part 4: Grouping Phrases (B)
1)
2)
Adagio
# piano 4 & 4 œ œ œ œ œ #œ œ œ œ œ p ? # 4 œ. œ . œ 4 J #œ J
nœ . œ #œ . œ . #œ ˙ œ œ œ ‰ . Jœ œ . B b 34 ‰ œj œ . # œ œ œ. œ f Moderato viola
? b 34
cello
### 3 & 4
3)
Andante violin
? # # # 34
œ p
œ
Moderato oboe
? b b 34
œ. œ œ
cello or bassoon
b & b 34 ˙ .
4)
œ
œ œ. œ œ. œ œ. . œ . œ œ œ œ œ. œ
p
cello or bassoon
© Alan Belkin, 2008
œ œ œ ˙ œ œ œ œ ˙ œ nœ œ œ ˙ œ œ œ œ ˙.
16 Part 5: Transitions
1)
Allegro
# 2 ‰pianoœ œ œ œœ œ & 4 œ œ œ f ?# 2 œ 4 >œ œœ # œ > # >œ b & b b b 34 œœœ œœœ œœ œ p ? b b b 34 b œ œ œ
2)
Adagio
3)
& 44
piano
j œœ œœ œœ œœ >>
Allegro piano
œœ ... œœ . > f
? 44 œ . . >œ
œœ œœ >
œ œ œœ œ> >œ >
œ >œ
œœ œ
œœ œ<
œ
œ< œ<
œœ œœ ww œœ œœ # ww >> >
j œ œ œ œœ >œ >œ >œ >œ >œ
© Alan Belkin, 2008
œœ œ œœ œ œ œ œ œ #œ œ
w w>
œœ œ<
œ œ œMeno Mosso
œ.
œœ œ
p œœ œ œœœœ œœœœœœœœ œ
f
œ. œ. œ. œ œ ‰ Jœ œ œ œ œ
‰ j œ œ œ œ œ nœ . œ. œ. œ. œ œ n œ . .œ œ. œ. œ œ œ œ œ ‰ J p . . œ. œ œ. œ. œ. œJ
j œ œ œ œ
