Sleeve Note AS Resit Composition First Draft David Jackson
Explain and comment on form and structure, indicating in
particular how repetition and context are balanced
My composition represents a rivers journey, from where the river
begins, to where it ends, with various sections in-between. I began
by drafting out different stages of a river in which I would
represent through music using different compositional techniques. I
began with a rivers source/spring, which I decided I would
represent through the use of a quiet staccato theme, followed by
some use of counterpoint using the same initial theme. This theme
is one I consider my main theme, and would be used again later on
in the piece. Following the counterpoint and introduction of the
first theme, I introduced my second theme, which would represent
the meanders in a rivers journey. I achieved this by slowing down
the tempo of the section, making a switch to the relative major (Bb
major) of my initial key (G minor), and having arpeggio
accompaniment that undulated upwards and downwards to symbolise the
twists and turns found in a rivers meanders. My third section
represented the idea of a fairground on a riverbank in which the
river would flow past. It was based on the first theme, but in the
key of Ab major with heavy Chromaticism, giving it the aura of a
fairground ride (or organ). The next section represents the
harshness and ferocity of the lower course of a rivers journey, and
is also loosely based on my first theme. I achieved this through
modulating it back into a minor key (F minor, then back to the
initial key of G minor) and making the melody frequently ascend and
descend throughout the section. My penultimate section is the
waterfall part of the river. I represented this using descending
chromatic scales, before finally preparing for the finale in the
tonic major of G major. My final section symbolises the final part
of the rivers journey, or the mouth. It consists of the main theme,
with large grand chords to give it a concluding feel.
Mention four other features of interest. You can refer to any
two or more of the following:
Rhythm Melodic development Texture Handling of instrument(s)
and/or voices Harmony
1. Rhythm Texture: Between the bars of 9-16, I make use of
imitative counterpoint between the right and left hand to symbolise
the different springs from a rivers source.
2. Melodic Development: I use the main theme featured at the
beginning between the bars of 44-58 but in a major key, with heavy
Chromaticism much added chromatic movement, to give the playful
atmosphere of a fairground.
3. Handling of instrument: From the opening of the piece to bar
24, the music descends down the piano making it lower in pitch, I
did this to symbolise the downhill journey that the river would
take.
4. Harmony: An interesting chord sequence is used with a
descending chromatic bassline in the finale between bars 84-87
before the cadence. I use a German 6th chord in bar 87 before the
final Ic V I.
Refer to pieces from the New Anthology of Music and/or elsewhere
to explain how other pieces of music have influences you in your
composition
1. One influence I used in my composition is the use of regular,
periodic phrasing, more specifically the Classical period standard
2+2+4 phrasing seen between bars 1-8 in Haydns String Quartet The
Joke. It can be seen most clearly between bars 9-16 and 17-24 in my
composition. 2. Between the first two bars of Beethovens Piano
Sonata No. 5 you can see clear ascending arpeggio movement in the
tonic of C minor. I have taken influence from this which can be
seen in bars 37-38 of my composition, in the form of an ascending
arpeggio of Eb major.Is it also in 3rds in the Beethoven?3. Another
influence I have used from Beethovens 5th Piano Sonata is the idea
of hearing the main theme of the piece in the tonic major as
opposed to the tonic minor. We first see Beethovens first subject
in the opening of the piece in C minor, but we then hear it again
in the tonic major (C major) between bars 106-107. The main theme
of my composition also returns in the form of its tonic major (G
major) between the bars of 80-90. 4. In bar 81, and 83 in Chopins
Waltz in B minor, we hear the melody moving in parallel thirds. I
have taken influence from this for my composition, the melody can
be seen also moving in parallel thirds between bars 33-36 in the
meanders section of my piece.5. The opening section of Bachs 4th
Brandenburg Concerto (1st Movement) contains constant shifts
between tonic and dominant chords (bars 1-12). The main theme of my
piece also features predominantly tonic and dominant chords, seen
clearly between bars 9-24.6. The melody of the Fairground section
of my composition (bars 44-58) features a heavily chromatic melody
which helps me achieve my aims for the section. I have taken
influence from Fuciks Entry of the Gladiators with the chromatic
melody, seen between bars 13-21 of Fuciks score. 7. Beethovens
Septet features many chromatic scales in order to lead to new
keys/sections, seen specifically between bars 25-26. I have taken
influence from this in my piece between bars 24-25 which leads to
the second section of my piece.8. One section within Chopins
Nocturne No. 11 in G minor features the use of large chords to
establish keys and to aid the melody, seen clearly between bars
38-62. I have taken inspiration from this for my composition, seen
between bars 64-69.9. One part of Married Life, a piece composed by
Michael Giachinno for the film Up! includes an ascending chromatic
scale that immediately descends after it has been played (bars
41-44). I have also used this technique in my composition, seen
between bars 52-55.10. Haydn within his piece the 1st movement of
his Lamentatione Symphony uses an arpeggio-orientated bassline to
comply with accompany the melody line above it, seen between bars
1-8 in the Bassoon part of Haydns score. I have taken influence
from this idea, seen most clearly between bars 17-24 in the left
hand.11. Throughout almost the entirety of Liszts piece Consolation
No. 3, the right hand/melody plays against triplet accompaniment in
the left hand, seen most specifically between bars 3-8. I have used
this idea briefly in my piece, seen on beats 2, 3 and 4 in bar 31,
and between bars 26-27.12. Chopin uses three chords for a cadence
at the end of his Prelude in E minor (bars 23-24), a variation on
the Ic-V-I cadence structure. I have taken influence from Chopins
use of these chords (not entirely with some modifications) for the
end of my piece, seen between bars 88-90. (The end of your piece is
just a standard Ic V I cadence. Does it need to be modified to be
more like the Chopin?)13. Another influence I have taken from
Giachinnos Married Life is the waltz style accompaniment making up
the chords. Seen between bars 5-12 of his piece, and bars 44-63 of
my composition.14. Between bars 9-16 of my composition, there is
heavy use of counterpoint and imitation. One piece I decided to
take great influence from for this was Bachs Invention No. 8 in
which counterpoint and imitation can be clearly seen in the first
opening four bars.15. At the end of my piece, I repeat the final
cadence chord of G major twice, in order to emphasize the chord
(bars 90-91). I took influence from the end of Frank Bridges piece:
Berceuse in which he repeats his final cadence chord of Bb major
(bars 92-93).16. The opening of Beethovens piece Fur Elise revolves
around two notes that are only a semitone apart (anacrusis and bar
1) E and D#. I took indirect influence from this idea for my
composition, which can be seen in the opening section of my
composition which centres on the notes D and Eb (bars 1-8).
You need a couple more points:How about finding an example of
piano music where both hands play in octaves or parallel augmented
4ths (bars 72-75)? And what about a descending scale under a
dominant pedal or trill (bars 7-8)? (Waterloo Sunset springs to
mind for this one.)
Put the points into chronological order so that the examiner
doesnt have to jump backwards and forwards to find each point in
the score.
