1. Never use a rest

2. Don't repeat anything

3. Use a different rhythm in every measure.

4. Avoid establishing tonality

5. Use more skips than steps

6. Let Finale place the notes on random pitches

7. Let Finale make sense of the meter after the fact

8. Put every chord in the accompaniment in root position

Exposition (the original material)

Repetition (do it again)

Variation (do it slightly differently)

Contrast (something totally different)

Think of a rhyme or a poem you already know.  Any nursery rhyme will do.  Say it out loud

Use a rhythmic idea from that poem and use different notes to make a new melody.

Don't be afraid of repetition.  Sing through a popular tune, a folk melody or a classical theme and you will find that ideas (melodic, rhythmic or both) repeat often.  Repetition and Contrast - Example:  "Yesterday"

Think of a question/answer format as illustrated below:  the first line asks a question, the second answers, the third line asks the same question again, the fourth line answers in a way that gives the final answer.

A key signature other than the key of C or A minor

A clear tonal center with the key labeled under the key signature

4 bar phrases (unless approved by me)

At least 16 measures (can certainly be longer)

At least 2 phrases written in an antecedent-consequent relationship.  Label these 2 phrases.

At least one sequence.  Sequence should consist of more than 2 segments (the original statement and at least 2 more segments) and should be marked above your score as "Segment 1, Segment 2, Segment 3", etc.  Go to the Finale Page  and click on the "Add Text" under Miscellaneous for instructions on adding text in Finale.  Here is an example of a song with a sequence in the B section:  The Ash Grove

Melody should be singable (keep it within a singable range; generally an octave or a 9th)

Be careful not to use too many skips (how many are too many?  depends!  that's why you should be careful)

Don't forget about rests

Use rhythmic patterns to unite your theme

Used "Engraved" font - do not use "Jazz" font

Choose "Garritan" sounds, "Keyboard," "Steinway"

You will then have 2 staves.  You will need the 2nd one for Composition #2.  To temporarily hide it (do this before turning it in as Composition#1),  follow instructions here.  The instructions to 'unhide' it are also there for later.

A title ("Composition #1" is not an acceptable title)

Your name as composer

No extra measures at the end and no unnecessary staves

Measures numbered (every measure)

Phrases marked

Save the Finale file as “YourNameComposition1” (Please save exactly like this, not by the title you have given your piece - this is for my file organization to grade Composition #1 and #2 separately and to be able to find your file to listen in class)

E-mail your completed Finale file as an attachment to vjohnson@tarleton.edu by 8:30am on the due date

Turn in a printed copy of your score at the beginning of class on the due date

The purpose of Composition #1 is for you to demonstrate your knowledge. 

Your Composition #1 should say:

1. I can write a hummable tune that includes an appropriate amount of repetition and contrast.

2. I understand what antecedent and consequent phrases and sequences are and can incorporate them into a melody.

3. I know how to use Finale to make my score look publishable.

A clear large-scale form, marked in the appropriate spots above your score by letter (AB, ABA, etc.)  The letter should be directly above the first note of the section.  You should already have a form, just label it.

An accompaniment which follows a standard progression (See diagram below).  Your accompaniment pattern should outline a chord and not be another melody.  The accompaniment pattern should remain constant throughout the piece with the possible exception of cadential material.  A change in pattern may be appropriate with the introduction of contrasting material, but must be approved.

Label your accompaniment with a lead sheet analysis using chord symbols above the melody line.  Do not use the Chord Tool (CM7 on the toolbar) or the chords will sound on playback

Label your accompaniment with a harmonic analysis using Roman numerals and including inversions.  Place the Roman numerals directly under the chords to which they apply using the Lyrics tool.  See the Finale page for instructions on adding Roman numeral analysis.  There should be no word extensions (red lines) visible.

A title ("Composition #2" is not an acceptable title)

Your name as composer

Tempo indication

Dynamic markings

 Cadences marked above the score using abbreviations

Large-scale form marked using A, B, etc. above the score.  The letter should appear immediately above the first note of the section, never centered in a section.

Lead sheet analysis (above)

Roman numeral analysis (below)

Proper formatting (no extra measures at the end and balanced on the page)

Measures numbered (every measure)

ABSOLUTELY NOTHING HANDWRITTEN

Save the Finale file as “YourNameComposition2”

E-mail your completed Finale file as an attachment to vjohnson@tarleton.edu by 8:30am on the due date.  The subject line of the email should also read "YourNameComposition2"

Turn in a printed copy of your score at the beginning of class on the due date

The purpose of Composition #2 is for you to demonstrate your knowledge. 

Your Composition #2 should say:

1. I know what a traditional harmonic progression is and I know how to apply it to harmonize my melody.

2. I can write an accompaniment for my melody that uses a single pattern.

3. I know how to use Finale to make my score look publishable.

At least 16-24 measures long

Must contain harmony (no solos without accompaniment)

Correctly formatted in Finale

Seriously revised (not just thrown together)

The purpose of Composition #3 is for you to demonstrate your creativity. 

Your Composition #3 should say:

1. This is what I think sounds cool.