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Also called exploiting a Motive, Theme, Line, Riff or Cantus firmus.   Original melody:
Thumbnail image for Example one.png


Epilogue. The final example in "Variations on a Melody.

Epilogue.png

Reading vertically from left to right here are the created chords: (based upon the original melody Example 1) 

C major - second inversion, A minor seventh no third - second inversion, G major five suspended fourth in bass resolving to third in bass, (bar 2) D minor no fifth - second inversion descending scale wise to D minor add nine - suspended fourth in bass descending scale wise to F major sixth, C major - first inversion moving to C major sixth in bass, (bar 3) C major suspended fourth - first inversion (in treble clef) add fifth, C major seventh - suspended fourth (in bass clef) add nine, E flat minor add nine, to root, E flat minor major seven add sharp eleventh - third inversion, (bar 4) B flat major seventh - first inversion to B flat major sixth, B flat major sixth augmented, A dominant seventh, D major seven suspended fourth add flat nine - second inversion, sixteenth note arpeggio = A dominant seventh (treble clef)  against F major sixth sharp five - bass clef = polytonality, A flat major, A flat major seventh - third inversion (bar 5) E minor seventh, A sharp major, ascending chromatic scale, B major seventh, ascending chromatic scale resolves B five, (bar 6) C major, sixteenth note arpeggio = C6, C6, C, Csus4, C/9, C/#9, C, C/9, C, C/G, C/D, C, C/D, C/D#, C/E, C, bass clef = C major, C first inversion, C augmented, C augmented suspended fourth, C major - second inversion, C unison.


Now in Roman Numerals:

I, vi, V, V, (bar 2) ii, ii/9, IV6, I, I, (bar3) Isus4, Imaj7/9, biii/9, biii, biiimaj7/#11, (bar 4) bVIImaj7, bVII6, bVII6+, VI7, IImaj7sus4/b9, arpeggio TC = VI7, arpeggio BC = IV6, (bar 5) iii7, #VI, D cs to B note, (bar 6) I.   cs= chromatic scale TC= treble clef BC= bass clef   


Notice in bar three the C major suspended fourth starts in the treble clef resolves then switch's to the bass clef, this mimics what was done in the first measure with the G suspended fourth except it remained in the bass clef. In bar three the E flat minor gives a nice temporary key change (tonicization). In bar four the B flat major sixth augmented to the A dominant seventh temporary goes in to D harmonic minor (partial diatonic see:2010.01.23: Harmonic function of chords - How do we use chords and scales in songs? Part I part 3). 

By resolving to the D major (instead of the D minor or D harmonic minor) this is a Picardy third. (see blog: 2010.01.24: Harmonic function of chords - How do we use chords and scales in songs? Part IIIn bar six notice how the counterpoint melodies work to create a final resolve.

 

Now analyze the chords in relation to the melody so you can use these techniques for your own compositions. It is essential to not only learn the example but absorb the ideas and create your own examples utilizing these technique.

Transpose above examples to each position (register) of your instrument, then once your comfortable in one key transpose to all 15 keys. Then do same idea using all scales/modes (same) covered so far. Also create three of your own melodies and apply this technique.

As always transpose to all fifteen keys.

Remember to write out you ideas on the musical staff.

If you do not read or write music consider getting a book and learning how to.

 

 

All materials for personal use only.

Vince Lauria Sun and Earth Music

Copyright © 2011


Also called exploiting a Motive, Theme, Line, Riff or Cantus firmus.   Original melody:
Thumbnail image for Example one.png

Melody with Horror Feel.

Horror.png

Now analyze the chords in relation to the melody so you can use these techniques for your own compositions. It is essential to not only learn the example but absorb the ideas and create your own examples utilizing these technique.

Transpose above examples to each position (register) of your instrument, then once your comfortable in one key transpose to all 15 keys. Then do same idea using all scales/modes (same) covered so far. Also create three of your own melodies and apply this technique.

As always transpose to all fifteen keys.

Remember to write out you ideas on the musical staff.

If you do not read or write music consider getting a book and learning how to.

 

 

All materials for personal use only.

Vince Lauria Sun and Earth Music

Copyright © 2011


Also called exploiting a Motive, Theme, Line, Riff or Cantus firmus.   Original melody:
Thumbnail image for Example one.png

Melody with Dramatic Feel.

Dramatic.png

As always analyze chords, note values and overall construction. Now analyze the chords in relation to the melody so you can use these techniques for your own compositions. It is essential to not only learn the example but absorb the ideas and create your own examples utilizing these technique. Also write Roman Numerals for each chord. 

In the first measure see how the octaves add new life to the original melody. In the third measure notice the use of half and dotted half notes against the the high register melody. In the fourth measure notice the counter point in relation to the chords and melodies. In the last measure the melody is in the bass clef and the treble clef holds the chord.

Transpose above examples to each position (register) of your instrument, then once your comfortable in one key transpose to all 15 keys. Then do same idea using all scales/modes (same) covered so far. Also create three of your own melodies and apply this technique.

As always transpose to all fifteen keys.

Remember to write out you ideas on the musical staff.

If you do not read or write music consider getting a book and learning how to.



All materials for personal use only.

Vince Lauria Sun and Earth Music

Copyright © 2011




Also called exploiting a Motive, Theme, Line, Riff or Cantus firmus.   Original melody:
Thumbnail image for Example one.png

Melody with Humor.

Humor.png


As always analyze chords, note values and overall construction. See how the new melody is a fragment from the original melody. Now analyze the chords in relation to the melody so you can use these techniques for your own compositions. It is essential to not only learn the example but absorb the ideas and create your own examples utilizing these technique. Also write Roman Numerals for each chord. 

In the third measure see how the diminished arpeggio adds new life before the A dominant seventh chord. In the fifth measure I repeat the same note sequence in three keys using planing. In the sixth measure the pedal tone against the major scale melody in the bass clef adds variety.In the last measure the thirty second notes with the counterpoint bass builds to a powerful cadence. 
Notice how the Ornamentation adds dimension to the melody.

Observe how note durations (sixteenth, eight, quarter, half, dotted quarter, dotted half) effect the original melody and the new "Humor" melody.


Transpose above examples to each position (register) of your instrument, then once your comfortable in one key transpose to all 15 keys. Then do same idea using all scales/modes (same) covered so far. Also create three of your own melodies and apply this technique.

As always transpose to all fifteen keys.

Remember to write out you ideas on the musical staff.

If you do not read or write music consider getting a book and learning how to.



All materials for personal use only.

Vince Lauria Sun and Earth Music

Copyright © 2011



Also called exploiting a Motive, Theme, Line, Riff or Cantus firmus.   Original melody:
Thumbnail image for Example one.png

Melody with Romantic Feel and Ornamentation.

Melody with Romantic Feel 2.png

As always analyze chords, note values and overall construction. See how the new melody is a fragment from the original melody. Also the the use of whole notes to create a smooth accompaniment to the melody. Now analyze the chords in relation to the melody so you can use these techniques for your own compositions. It is essential to not only learn the example but absorb the ideas and create your own examples utilizing these technique. Also write Roman Numerals for each chord. 
Notice how the Ornamentation adds dimension to the melody.

See how the new melodies compliment the original melody.

Observe how note durations (quarter, half, dotted quarter, dotted half) effect the original melody and the new "Romantic-melody".

Transpose above examples to each position (register) of your instrument, then once your comfortable in one key transpose to all 15 keys. Then do same idea using all scales/modes (same) covered so far. Also create three of your own melodies and apply this technique.

As always transpose to all fifteen keys.

Remember to write out you ideas on the musical staff.

If you do not read or write music consider getting a book and learning how to.



All materials for personal use only.

Vince Lauria Sun and Earth Music

Copyright © 2011


Also called exploiting a Motive, Theme, Line, Riff or Cantus firmus.   Original melody:
Thumbnail image for Example one.png

Melody with Romantic Feel.

Melody wth Romantic Feel.png
As always analyze chords, note values and overall construction. See how the new melody is a fragment from the original melody. Also the the use of whole notes to create a smooth accompaniment to the melody. Now analyze the chords in relation to the melody so you can use these techniques for your own compositions. It is essential to not only learn the example but absorb the ideas and create your own examples utilizing these technique. Also write Roman Numerals for each chord. 
Notice how the new melody has been raised one octave an is a variation of the original melody. 

See how the new melodies compliment the original melody.

Observe how note durations (quarter, half, dotted quarter, dotted half) effect the original melody and the new "Romantic-melody".

Transpose above examples to each position (register) of your instrument, then once your comfortable in one key transpose to all 15 keys. Then do same idea using all scales/modes (same) covered so far. Also create three of your own melodies and apply this technique.

As always transpose to all fifteen keys.

Remember to write out you ideas on the musical staff.

If you do not read or write music consider getting a book and learning how to.




All materials for personal use only.

Vince Lauria Sun and Earth Music

Copyright © 2011


Also called exploiting a Motive, Theme, Line, Riff or Cantus firmus.   Original melody:
Thumbnail image for Example one.png

Variation of Melody. Fragments of melody with a new melody.

Variation of Melody.png

Now analyze the chords in relation to the melody so you can use these techniques for your own compositions. It is essential to not only learn the example but absorb the ideas and create your own examples utilizing these technique. Also write Roman Numerals for each chord. 
Notice how the original melody has been raised one octave. 
See how the new melodies compliment the original melody.

Observe how note durations (quarter,half, dotted quarter, dotted half) effect original melody and the new "poly-melody".

Transpose above examples to each position (register) of your instrument, then once your comfortable in one key transpose to all 15 keys. Then do same idea using all scales/modes (same) covered so far. Also create three of your own melodies and apply this technique.

As always transpose to all fifteen keys.

Remember to write out you ideas on the musical staff.

If you do not read or write music consider getting a book and learning how to.




All materials for personal use only.

Vince Lauria Sun and Earth Music

Copyright © 2011




Also called exploiting a Motive, Theme, Line, Riff or Cantus firmus.   Original melody:
Thumbnail image for Example one.png


Same Melody with Accompaniment 3.

Melody with Accompaniment 3.png

Now analyze the chords in relation to the melody so you can use these techniques for your own compositions. It is essential to not only learn the example but absorb the ideas and create your own examples utilizing these technique. Also write Roman Numerals for each chord. 
Notice how the original melody has been raised one octave. 
See how the new melodies compliment the original melody.

Observe how note durations (quarter,half, dotted quarter, dotted half) effect original melody and the new "poly-melody".

Transpose above examples to each position (register) of your instrument, then once your comfortable in one key transpose to all 15 keys. Then do same idea using all scales/modes (same) covered so far. Also create three of your own melodies and apply this technique.

As always transpose to all fifteen keys.

Remember to write out you ideas on the musical staff.

If you do not read or write music consider getting a book and learning how to.




All materials for personal use only.

Vince Lauria Sun and Earth Music

Copyright © 2011


Also called exploiting a Motive, Theme, Line, Riff or Cantus firmus.   Original melody:
Thumbnail image for Example one.png


Same Melody with Accompaniment 2.

Melody with Acc 2.png


Now analyze the chords in relation to the melody so you can use these techniques for your own compositions. It is essential to not only learn the example but absorb the ideas and create your own examples utilizing these technique. Also write Roman Numerals for each chord. 
Notice how the original melody has been raised one octave. 
See how the new melodies compliment the original melody.

Observe how note durations (quarter,half, dotted quarter, dotted half) effect original melody and the new "poly-melody".

Transpose above examples to each position (register) of your instrument, then once your comfortable in one key transpose to all 15 keys. Then do same idea using all scales/modes (same) covered so far. Also create three of your own melodies and apply this technique.

As always transpose to all fifteen keys.

Remember to write out you ideas on the musical staff.

If you do not read or write music consider getting a book and learning how to.




All materials for personal use only.

Vince Lauria Sun and Earth Music

Copyright © 2011


Also called exploiting a Motive, Theme, Line, Riff or Cantus firmus.   Original melody:
Thumbnail image for Example one.png


Same Melody with Accompaniment.

Melody with Accompaniment.png

Now analyze the chords in relation to the melody so you can use these techniques for your own compositions. It is essential to not only learn the example but absorb the ideas and create your own examples utilizing these technique. Also write Roman Numerals for each chord.


Transpose above examples to each position (register) of your instrument, then once your comfortable in one key transpose to all 15 keys. Then do same idea using all scales/modes (same) covered so far. Also create three of your own melodies and apply this technique.

As always transpose to all fifteen keys.

Remember to write out you ideas on the musical staff.

If you do not read or write music consider getting a book and learning how to.




All materials for personal use only.

Vince Lauria Sun and Earth Music

Copyright © 2011