Composition 101: phrase expansion
REVISED: At least 26 mm. Grading: 25% each form, harmonic progression, part-writing, analysis. Extra-credit for proper use of chromatic harmonies, clever modulation. Part-writing assessed by genre: that is, if a choral work, voice-crossing and overlap will be judged, but not for instrumental works, and textural doubling will be allowed on instrumnetal works of more than 4 voices.
Possible Options
Classical Sonata form - Development - Recapitulation
Minuet or other dance-based rounded binary form
Theme and Variations form - Melodic - Ground Bass
32-Bar Song form
Rondo form
Use the examples from your textbook as a guide.
Your exposition should be at least 22 mm. long.
• One Main theme in the form of a sentence or period (the continuation or consequent phrase may be the same length as the presentation or antecedent phrase, or it may be expanded).
• Transition between MT group and ST group that closes on the dominant of the new key (can be as short as 1-2 mm.).
• One or more subordinate themes in a contrasting but related key, in a contrasting style to the first theme (i.e. if the MT uses 8th notes, the ST might use quarter notes , etc).
• A final cadence or codettas in the new key.
You will have only one key change, and the exposition will close in the new key.
Your development can be as short as 4 bars: a dominant prolongation, a sequence, or a new theme-like sentence or period based on fragments of one or both of your first two themes.
Make sure that you end the development on a dominant chord, and repeat the Exposition, but transpose the second theme into the tonic.
Feel free to shorten the repeated exposition if you like. A coda is optional, but recommended.
• The MT group may include one or two themes.
• The transition may use either sequence or any of the devices used in dominant prolongations.
• The ST group may include one to three themes.
• You may wish to attempt a development, which should begin in the new key, and travel through at least one additional key before the retransition, which brings the work back to the dominant of the home key.
• You may also wish to add a Recapitulation, which should repeat the Exposition, but keep the Subordinate theme(s) in the home key (it may be shorter, and cut out some of the ST group) and include a coda in the tonic.
Hand in a draft of your Exposition with the following:
• The first theme of the MT group.
• A tonal plan with approximate measure nos. (e.g., mm. 1-16 MT in G major, mm. 17-20 transition to V/V, mm. 21-35 ST group, m. 36 cadence).
• Choose a home key, and a related away key.
• Design a 2-8 measure theme (melody and accompaniment; all proportions below are approximate).
• Your opening phrase should be ca. twice as long as your theme, and end in a cadence (HC, IAC, PAC).
• Use your second phrase to tonicize the second key, using V/new key.
• End part A with a cadence in the new key (HC, IAC or PAC).
• Begin the B section with some kind of transitional material., This could be a short sequence or dominant prolongation (through repetition, etc.) that has something to do with the theme (perhaps a motive fragmented). This could be anywhere from 2-16 mm., but should end in the V of the home key, like a retransition.
• Repeat the first phrase, or part of it (codettas optional), ending with a PAC in I.
Optional: use cadential extensions, repeat your theme, add a coda or introduction.
Hand in a draft of your A section with the following:
• The first theme.
• A tonal plan with approximate measure nos. (e.g., mm. 1-16 A section in G major, B section: mm. 17-20 sequence to V/V, mm. 21-35 ornamented version of A theme).
There are two types of Theme and Variations: Melodic and Ground Bass.
Choose a home key, and design an 8-16 measure theme that is fairly simple, and tonally stable, ending in some form of closed (authentic) cadence.
Possible variations include but aren't limited to:
• melodic embellishment
• altered/interpolated harmonies (such as secondary dominants or other chromatic chords)
• change of style/texture (contrapuntal, chorale-like, arpeggiated, etc.)
• modulation to another key (note- modulation is NOT necessary in a Theme and Variations form; you can stay in the tonic throughout).
• End with a PAC in I.
Choose a home key, and design an 8-16 bassline/harmonic progression that ends in a HC.
Melodic: Repeat your theme at least twice (preferably at least 3x), with variation.
Ground Bass : Repeat your theme at least twice (preferably at least 3x), with variation.
Possible variations include but aren't limited to:
• a new melody for each bass cycle
• altered/interpolated harmonies (this is rare in GB variations, as is modulation)
• change of style/texture (contrapuntal, chorale-like, arpeggiated, etc.)
• a slightly-altered bassline.
• End with a PAC in I; this may be your only true PAC!.
Optional: add a coda or introduction, extend the final variation.
Hand in a draft of your with a full arrangement of your theme, and a plan that indicates the number and type of variations.
Although I've labeled this 32-bar song form, any AABA form with approximately equal sections will be considered here.
• Design an 8 measure theme (melody and accompaniment; all proportions below are approximate) that ends in a cadence (HC,DC, IAC, or PAC).
• Repeat your theme, exactly or with slight melodic or harmonic variation.
• Compose an ca. 8 m. bridge. This will be either a sequential progression, the theme or a related theme in a new key, or some kind of dominant prolongation. Whatever you choose will end on V in the tonic key.
• Repeat the first theme and end with a PAC in I.
Optional: use cadential extensions, modulate in the bridge, add a coda or introduction.
Hand in a draft of your A theme with a tonal plan and approximate measure nos. (e.g., mm. 1-16 A section in G major, bridge: mm. 17-20 sequence to V/V, mm. 21-29 ornamented version of A, 2 m. coda).
5-part Rondo form is standard, and includes the following:
• One A theme in the form of a sentence or period in the tonic key (this may be closed - ending on an AC, or open, ending on a HC).
• One B theme in a related key, approximately the same length.
• A bridge (C) section which may be shorter or longer than A or B, and which can take several forms: a new theme in one of the keys already presented, a new theme in a new key, a sequence, a dominant prolongation, similar ideas as in A and B but a new texture.
• Repeat the sections A-B-A-C-A and close with a PAC or codettas in the tonic.
This is all that is required, but you have a lot of options in Rondo form:
• Write a brief transition between A and B and/or A and C, and a retransition when returning to A
• Repeat the B twice, as in A-B-A-C-B-A or A-B-A-C-A-B-A
• Include a fourth section (A-B-A-C-A-D-A).
• Bring back B in the tonic, like Sonata form
• Vary any of your repeats
• Add a closing section
Hand in a draft of your A theme with a tonal plan and approximate measure nos. (e.g., mm. 1-8 A section in G major, B: mm. 9-16, C new theme in, mm.17-23, return of A, 2 m. coda).
Don't hesitate to show me or any of the TAs your work at any point during this process!
Composing in Sonata form guide