Music Theory 2312 Composition Assignment: Character Piece
A Character Piece is a one-movement programmatic work for piano. It suggests a mood, character, or scene that is indicated by the title. ___________________________________________________________ REQUIREMENTS
 | The piece should be at least 16 to 30 bars long. It can be longer if you wish. Do not write in C major or A minor. If in minor, use harmonic minor. |
| The melodic material should be lyrical (song-like). |
| Use the following devices liberally in your composition: appoggiaturas, unresolved dissonances, secondary dominants, borrowed chords, Neapolitan 6th chords, rapid modulation, altered dominants, augmented 6th chords, foreign modulation (modulation to remote keys). Do not write counterpoint. Resolve chords appropriately (Ex: N6 - V) |
| At least 4 examples of chromatic harmony is the minimum and a foreign modulation is required. The modulation should be enharmonic, using a Gr6 or fully diminished 7th chord as the pivot chord. Change the key signature in your score. Note: If you do not accomplish this requirement, it will cost you a letter grade. |
| Note on your composition where your form sections are. |
| Do a harmonic analysis (Roman numerals) of your piece. Indicate the beginning key. |
| Your piece should evoke a mood, scene, emotion or character. This is a style of the Romantic era, so think Chopin, Schumann, Schubert. |
| The composition must be notated in Finale. Part of your grade will be based on the appearance of your score. Remember to insert dynamics, phrasing, and other performance information. |
If you need help getting started, here’s one approach:
¯ Think of a painting or an image that evokes a feeling or a mood (an ocean or a billy goat or a family gathering) ¯ Decide on the overall shape of your piece (e.g., ABA). ¯ Write a lyrical melody (perhaps a contrasting one for the B section). ¯ Decide on an accompaniment pattern(s). ¯ Choose diatonic chords only in the accompaniment. ¯ Then “convert” some of these chords to chromatic chords (see list below for suggestions). ¯ Be sure to include any applicable dynamic, expressive, and pedal markings. We should be able to hear these in Finale.
HELPFUL HINTS ¯ Make a list of the few important character traits that the piece will focus on. Try to limit this list as too many ideas will be counterproductive. ¯ Stick with a limited number of melodic and rhythmic ideas also. Refer to some of the most well-known melodies and note the amount of repetition versus contrast that is used. ¯ Be sure to give your composition an appropriate title and don't forget to cite yourself as the composer. Listen to the following examples of Character Pieces: Schumann: Papillons (Butterflies), op. 2 Chopin: Prelude, op. 28 No. 15 in Db (Raindrops) Chopin: Prelude, op. 28 No. 4 in E (Suffocation) Schumann: Album for the Young (The Happy Farmer)
When you have finished your composition, use the checklist below: CHARACTER PIECE CHECKLIST THEN, follow these instructions before turning in your composition: ¯ Play your melody through again, leaving out all harmony. Is it lyrical (song-like)? Does it skip around too much or have any awkward intervals? ¯ Play your accompaniment line alone. Is there a pattern? Does your accompaniment use good "voice-leading"? Is everything in root position causing too much skipping around? If so, consider using some inversions. (Be careful about second inversions.) ¯ Look at your harmonic analysis. Have you used enough chromatic harmony to make your piece sound "Romantic"? Common Mistakes ¯ Not using an accompaniment PATTERN: Don't write a melody and then just wander all over the place in your accompaniment. The pattern doesn't have to be strict, but should be recognizable as a pattern that coincides with the meter. ¯ Composing something that you like instead of a piece in the specified style: Feel free to express yourself freely in your compositions; but, if you want a good grade on this one, include the elements that make it sound like a Romantic character piece. ¯ Coming to a screeching halt when you get to a certain number of measures: If you are past the 16 measures, or the 30 measures and have not appropriately completed your B section or the return of your A section (depending on the form you have chosen), don't just insert a perfect authentic cadence and call it a day. ¯ Not using enough repetition: contrast is interesting only when used judiciously. If every phrase in your piece (or every melodic idea; or every harmonic progression; or every accompaniment pattern) is significantly different, your piece will sound random and without structure. Convert Diatonic to Chromatic Chords or Insert Chromatic Chords ¯ Convert a ii or iio chord to N6 (flat the root of the chord and make it major - don't forget to put it in first inversion) ¯ Convert a iv or IV chord to an augmented 6th chord (find the root of the V chord in your key and place the augmented 6th one half step inside that octave) ¯ Convert a V to an altered dominant (raise or lower the 5th of the V chord) ¯ Convert the chord type by borrowing from the parallel mode (I/i, ii/iio, iii/III/III+, IV/iv, V/v, vi/VI) ¯ Insert a secondary dominant chord (build a Mm7 chord a P4 below another chord). ¯ Insert a secondary leading tone chord (build a dd7 chord one half step below another chord). |