Submission and format: While you may sketch your composition by hand in draft, you should submit a typeset score of your piece. If you don’t have notation software, I recommend MuseScore (free!). Your composition should be printed and handed in to your TA at the beginning of section. Include this instruction sheet as a cover sheet and staple your project. You should include musical elements in your final submission, such as dynamics and articulations.

Form: Compose a theme and two variations.

Instrumentation: Piano, or for one single-line instrument and piano. If you write for voice, you may choose a text. If you write for a transposing instrument, be careful to provide the transposed version of the score and take the transposition into account while composing.

Length: The theme should be an 8-measure period. The two variations should also be eight measures. I recommend that the periods use parallel phrases (antecedent–consequent).

Key: The theme should begin in any major key except C Major. One variation can be in minor.

Harmony: With a solid understanding of harmonic functional syntax, you may devise your own harmonic progression for the theme. The harmony should say consistent (little-to-no change in chords) for the variations. If the idea of creating your own progression makes you nervous, you may base your theme on the progression below. Notice that the harmonies are almost identical for the second phrase: create a parallel phrase, where you use repetition at the beginning of the second phrase, but end with a stronger cadence (PAC or IAC instead of HC).

mm. 1–4:
I V | V(7) I | I6 ii6 (or IV) | V6/4 – 5/3 |

mm. 5–8:
I V | V(7) I | I6 ii6 (or IV) | V6/4 – 5/3 I |

Variations: Both variations should alter the theme enough to create novel musical ideas, but not so much that the theme is unrecognizable. I recommend altering one or two musical domains (think SHMRTFO); for example, you can alter the rhythm and texture, but leave the melody and harmony intact. Or, you can alter the harmony (slightly!) and change some melodic aspects, but leave the texture, accompaniment, and rhythm relatively unchanged.

-ShadowOfTheFuture- wrote:

Neat!

One small thing: in the third and fourth beats of your first measure, I feel like it might have been a bit better to put A-F-C-F instead of A-Eb-C-Eb. You don't have an F anywhere else in the chord, so to me it feels more like a diminished chord than a dominant seventh. Some of your variations also have that, too. Just my personal opinion, though. I think it would also sound cool if there were a smooth transition between the variations, though I suppose the assignment wouldn't really have allowed for that.

when green flag clicked
forever
if <(Your music) = [Great]> then 

  
say [your music is great]

else
There is no need for this part, your music is great!
end
end

when green flag clicked
forever
Za-chary's composition is nice
Fun fact: I played piano for 3 years
It's weird that I understand everything that you say, even though I'm nine years old :o
end

-Infinity64- wrote:

Do you know how to play trills fast? I'm struggling to play a measure long trill that (basically) plays 32nd notes at a tempo of 120 bpm. (It's Sonata k545 first movement)

-Infinity64- wrote:

Do you know how to play trills fast? I'm struggling to play a measure long trill that (basically) plays 32nd notes at a tempo of 120 bpm. (It's Sonata k545 first movement)

when green flag clicked
forever
Za-chary's composition is nice
Fun fact: I played piano for 3 years
It's weird that I understand everything that you say, even though I'm nine years old :o
end

15-MinuteGaming wrote:

I have the same question from Beethoven's waldstein sonata. I am having some trouble on the trills.

when I receive [ awesome]
forever
think [] for (2) secs
set [epicness] to [infinity]
end

when green flag clicked                                                                                 
when I receive [ v]
say [Za-Chary music is epic!]
if <touching [ v] ?> then
broadcast [ v]
end

Za-Chary wrote:

Below is the instruction sheet and description for my composition assignment, which you can listen to here: https://scratch.mit.edu/projects/356334991/

If you don't know what something means, and are interested, feel free to ask. I'll do my best to explain it, but it will be easier if you're already familiar with some musical terms.

Submission and format: While you may sketch your composition by hand in draft, you should submit a typeset score of your piece. If you don’t have notation software, I recommend MuseScore (free!). Your composition should be printed and handed in to your TA at the beginning of section. Include this instruction sheet as a cover sheet and staple your project. You should include musical elements in your final submission, such as dynamics and articulations.

Form: Compose a theme and two variations.

Instrumentation: Piano, or for one single-line instrument and piano. If you write for voice, you may choose a text. If you write for a transposing instrument, be careful to provide the transposed version of the score and take the transposition into account while composing.

Length: The theme should be an 8-measure period. The two variations should also be eight measures. I recommend that the periods use parallel phrases (antecedent–consequent).

Key: The theme should begin in any major key except C Major. One variation can be in minor.

Harmony: With a solid understanding of harmonic functional syntax, you may devise your own harmonic progression for the theme. The harmony should say consistent (little-to-no change in chords) for the variations. If the idea of creating your own progression makes you nervous, you may base your theme on the progression below. Notice that the harmonies are almost identical for the second phrase: create a parallel phrase, where you use repetition at the beginning of the second phrase, but end with a stronger cadence (PAC or IAC instead of HC).

mm. 1–4:
I V | V(7) I | I6 ii6 (or IV) | V6/4 – 5/3 |

mm. 5–8:
I V | V(7) I | I6 ii6 (or IV) | V6/4 – 5/3 I |

Variations: Both variations should alter the theme enough to create novel musical ideas, but not so much that the theme is unrecognizable. I recommend altering one or two musical domains (think SHMRTFO); for example, you can alter the rhythm and texture, but leave the melody and harmony intact. Or, you can alter the harmony (slightly!) and change some melodic aspects, but leave the texture, accompaniment, and rhythm relatively unchanged.

extend music :: sound