Music composition homework help

8/14/2009

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MUSI 1043

LESSON 1: The Modes

MUSI 1043

Before Harmony

• The earliest written music in Europe used a system of musical MODES,

which have their origins in Ancient Greece.

• This MODAL system predates, by several hundred years, what later

evolved into what is known as “classical harmony”.

MUSI 1043

The Seven Modes

• Here are the seven modes. Each mode is named after a place or tribe within

ancient Greece. Notice that the same seven tones are used in each mode,

but the starting note is different.

• C D E F G A B C (Ionian mode)

• D E F G A B C D (Dorian mode)

• E F G A B C D E (Phrygian mode)

• F G A B C D E F (Lydian mode)

• G A B C D E F G (Mixolydian mode)

• A B C D E F G A (Aeolian mode)

• B C D E F G A B (Lochrian mode)

MUSI 1043

Root and Fifth

• A mode is essentially a musical scale, but each mode contains its own set

of relationships. What is consistent within every mode is the importance of

the ROOT note, and the secondary importance of the FIFTH note.

• When played together, the root and fifth notes provide a drone, which are

used to accompany modal melodies.

MUSI 1043

Writing Modal Melodies

• MODALITY (or the sense of being “in” a mode) is reflected in several

ways. The most important is in the MELODIC SHAPE.

• Because the root note is the most “important” note in the mode, melodies

sound strong when they BEGIN AND END ON THE ROOT NOTE.

• As well, due to the secondary importance of the fifth note of a mode,

melodies also sound strong when they PAUSE OR “CADENCE”

MIDWAY THROUGH ON THE FIFTH NOTE.

MUSI 1043

Writing Modal Melodies

• A simple way of writing a modal melody is to think of it as a slow musical

journey from the root up to the fifth, and back down to the root.

• Stepwise motion is very common in modal music, as well. But like all great

journeys, a few twists and turns in the road are interesting and desirable.

Traveling in a straight line (from root to fifth, and back to root) can get

boring rather quickly!

• Scarborough Fair (traditional melody in Dorian mode)

8/14/2009

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MUSI 1043

New: BASS CLEF

• The “companion” clef to the now-familiar Treble Clef is the Bass Clef.

When placed at the beginning of the five-line staff, a bass clef indicates a

lower range of pitch than the treble clef.

• The note placement is different than in treble clef. The five lines indicate the pitches (from the bottom up)

G, B, D, F and A. The four spaces indicate the pitches (also from the bottom up) A, C, E and G.

• The PIANO STAFF is a joined combination of treble and bass clef.

• Pianists always read these two clefs simultaneously, one for

• each hand – the treble staff notates the higher-pitched

• notes for the right hand, while the bass staff is for

• the lower-pitched notes played by the left hand.

Bass Clef

MUSI 1043

ASSIGNMENT 1 – Part A

• Notate and submit the following modes (using your music notation

software) so that they play BOTH in treble and bass clef simultaneously. • (A “Piano” template would be appropriate for this assignment.)

• #1. Phrygian Mode (using Quarter Notes only)

• #2. Aeolian Mode (using Half Notes only)

• #3. Ionian Mode (using Eighth Notes only)

• notate Ionian mode in both ascending and descending form

MUSI 1043

ASSIGNMENT 1 – Part B

• Compose and submit TWO ORIGINAL 8-measure modal melodies in 4/4

time, using the melodic shape outlined in this lesson. (Choose a Piano template.)

• The first melody must be in Dorian Mode. The second melody must be in

Mixolydian Mode.

• The treble clef staff should contain the melodies, and the bass clef staff

should contain a drone (root and fifth) that is appropriate for the given

mode. The rhythm of the drone part must be a repeating series of half notes.

• Choose a “sustaining” instrument sound (wind or string) for the melody

and drone.

• Choose a slow to moderate tempo (between 60 – 72)

• * The submission of one rough draft is allowed for this assignment.