Composition #1: Debussy Composition | Write a short composition of at least16-24 measures in the style of Debussy. Requirements Composition Requirements
 | You may write for any combination of instruments, though keep in mind that Debussy favored instruments like the piano, winds (especially flute and oboe), and harp. |
| You should use at least 3 of the following devices: chromatic mediants
free chromaticism
parallelism (planing) chords of addition and omission 7th, 9th, 11th, and 13th chords
(non-functional) whole tone scale pentatonic scale modal melody
non-metrical rhythms |
| You should also use some other elements that characterize much of Debussy's music: tonal or modal centers ABA' form brief, pretty melodies recurring with different harmonies light texture (avoid "doublings")
lyrical winds
delicate brass and
percussion subtle dynamics, fade-outs a few cadences |
Analysis Requirements
| On a separate page (Word document), analyze your composition. |
| Refer to every device you have used, by measure number; if they are not mentioned in your analysis, they will not count toward your grade. |
| Describe your form, tonal or modal center, and any other relevant compositional decision you made toward making your composition sound like Debussy. |
| This is a formal paper. Write and format accordingly. (Do not use "I"; double space; correct sentence structure. |
Score preparation
| The composition must be submitted as a Finale file. No exceptions. |
| Number every measure. |
| Nothing in the score should be hand written. |
| Give your composition a title (not "Composition #1"). |
| Your name as composer. |
| Include tempo, phrasing, dynamics, articulations, etc. |
| Use proper formatting (no extra measures or staves, measures per line look balanced). |
Submission
| Save your Finale file as Comp1_lastname_firstname.mus (substituting your name) |
| Email your file to me (vjohnson@tarleton.edu) |
| Print a paper copy to turn in (the score and the analysis) |
| Be SURE to save your file for revision. |
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French Impressionism was a reaction to the German
Romantic Wagnerian style.
Here are some samples to listen to:
Alexander Street Debussy: Preludes, Book I, "The Engulfed Cathedral" This one shows you an analysis of what compositional elements are being used. Debussy: Preludes, Book 1, "The Girl with the Flaxen Hair" ("La fille aux cheveaux de lin") Debussy: Preludes, Book II, "La Puerta del Vino" Debussy: Preludes, Book I, "Sails" (Voiles") Debussy: The Joyous Isle (L'isle joyeuse) Debussy: Preludes, Book II, "Fireworks" ("Feux d'artifice") | Composition #2: 20th Century Rhythmic Elements | Requirements Composition Requirements: Choose 2 of the following examples (each should be at least 12-16 measures in length) a polymetric passage for 2 different instruments in the Phrygian mode: | use explicit notation (barlines not coinciding) | | make sure it is tonicized to the Phrygian center |
a four-part percussion piece employing tempo modulation Note: it will sound better if you use 4 different instruments | use one of the equations given in your textbook; include your calculation in your analysis | | make sure the tempo modulation 'sounds' as if the music is getting faster |
a piece for 2 different instruments illustrating added values and nonretrogradable rhythms | identify each added value with a "+" (you must add the same value to each part somewhere in the measure for Finale to be able to play it synchronously) | | identify nonretrogradable rhythms with brackets |
an isorhythmic passage for three instruments | isorhythm may be in 1 or all 3 parts | | specify the color (a set of pitches) and the talea (a set of durations); mark them in brackets and label each |
Analysis Requirements | On a separate page (Word document), analyze your compositions. | | Refer to every device you have used, by measure number; if they are not mentioned in your analysis, they will not count toward your grade | | This is a formal paper. Write and format accordingly. |
Score preparation (refer to the Finale Page for scoring hints) | The composition must be submitted as a Finale file. No exceptions. | | Number every measure | | Nothing in the score should be hand written | | Give your compositions a title | | Your name as composer | | Include tempo, phrasing, dynamics, articulations, etc. | | Use proper formatting (no extra measures or staves, measures per line look balanced) | | See the Finale page for instructions on starting a new staff on the same page so you can put both of your compositions on the same page (do not try to use the "merge" feature) |
Submission | Save your Finale file as Comp2_lastname_firstname.mus (substituting your name) | | Email your file to me (vjohnson@tarleton.edu) | | Print a paper copy to turn in | | Be SURE to save your file for revision |
| Composition #3: 12-Tone Composition | Write a short composition of at least 16-24 measures in the style of classical serialism. Requirements Composition Requirements | Compose a piece for solo piano | | You should use at least 3 different row forms from your matrix | | Label the row forms and transpositions in your composition. | | The composition must have a recognizable form. |
Analysis Requirements | On a separate page (Word document), analyze your composition. | | Refer to every device you have used, by measure number; if they are not mentioned in your analysis, they will not count toward your grade | | Describe your form, the method you used to construct your row and reasoning behind your choices of row forms to use in your composition. | | This is a formal paper. Write and format accordingly, including 12 point Times New Roman font, write in paragraphs, one inch margins, etc. | | Turn in a copy of your matrix with your composition. |
Score preparation | The composition must be submitted as a Finale file. No exceptions. | | Number every measure | | Nothing in the score should be hand written | | Give your composition a title | | Your name as composer | | Include tempo, phrasing, dynamics, articulations, etc. | | Use proper formatting (no extra measures or staves, measures per line look balanced) | | Label each row used | | Label the large scale form (A,B, etc.) |
Submission | Save your Finale file as Comp3_lastname_firstname.mus (substituting your name) | | Email your file to me (vjohnson@tarleton.edu) | | Print a paper copy to turn in. Trace each row used from note to note along each tone row. Color is appreciated. | | Be SURE to save your file for revision |
| Magic Square Template Note: | Use rhythm as a unifying element in your piece. Rhythmic motives are a good choice. Random rhythms with serialized pitches sound very boring. Have a plan and be a composer. | | Use chords as well as melody in distribution of your row forms. | | Do not use a programmatic title, such as "Drunken Bum" to justify the chaos in your composition |
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Student Example #1
Student Example #2
Student Example #3 |
"Custom reconciles us to everything." -- Edmund Burke (1729-97; philosopher) |
