24 Bar Ternary Composition Draft

by Michael on February 20, 2017

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Accompaniment

I tried to use an alberti bass as the accompaniment for the first part of the B section. I initially wanted this to carry out through the whole B section, but I found it hard to find the right notes for it and I couldn’t seem to incorporate it into the melody I created for the second half. One problem that I have with the accompaniment in the B section is the 2nd bar, as the notes in the accompaniment don’t match well with the melody, and I can’t seem to fix this. (It’s quite hard to hear that part when heard through here, it can be heard better in the final.) Another problem that I have with this is how it suddenly changes from a jumpy alberti bass to a series of big chords when transitioning to phrase 4 of section B. For my second A section, I decided to keep the accompaniment similar to that of the first A section, as I didn’t see why not to use it.

Phrasing

As you can see in my A section, the first phrase and the second phrase were very balanced. In the B section, the fourth phrase isn’t completely different from the third one, but I intended for it not to be that balanced. This is because of the gradual ending that I wanted it to have which leads to the beginning of the second A section. I had a huge crescendo that went straight through the melody of the third phrase, as I wanted it to build up to the climax of that section, then conclude with a diminuendo at bar 16, which then gives a smooth transition to the next section.

Second A Section

I really like how my A section sounds, and so do my friends that gave me feedback on this, which is why I wanted to keep it very similar to the first section. The first A section was meant to be like this (one octave lower) when I first started making this, but then I realised that A note in bar 2 wasn’t playable when it was that low, so I changed everything to be an octave higher. Now that I can edit some stuff in the second A section, I decided to change that bar so the A would be held up there. This turned out to help the flow of the melody very well and I am very satisfied with this change. I tried to simplify things up a bit in the second A section because I want it to end calmer than the first section. Because Mr. O’Tools said the syncopation and sequence sounded good in my first A section, I decided to keep it in the second one and even extended it a bit. I wanted to make the last 2 bars go in a descending fashion, as that makes the song sound like it’s coming to and end. The reason why I put the ritardando in the 3rd to last bar is just because Finale triggers it quite slowly, and I want the song to start slowing down at the 2nd to last bar.

{ 3 comments… read them below or add one }

Jonax February 22, 2017 at 10:01 am

I really like how your song changed from 8 bars to 24. I liked the variation that you had in your piece, especially between the 2 A parts. The only suggestion that I have is to make the piano piece louder in the B section as it is somewhat absent.

110075 February 20, 2017 at 8:20 am

The song flows really nicely together, the second part flows really nicely and I like how you didn’t make the chords so strong at first and finally building up to the A part once again you reinforce the chorus of the song. The note choice is somewhat similar and doesn’t completely isolate itself from the rest of the song. Some things you could improve though is maybe the use of more dynamics and maybe the use of staccato would add more to the idea of your song.

053472 February 20, 2017 at 8:12 am

I really liked your melody but I feel that it sounded a bit weird and at some times the melody mixed up and created some unflattering sounds and chords. I also feel like you couldve added more articulation into the piece and you needed the chords named

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