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 | The piece should be at least 16 to 30 bars long. |
| The melodic material should be lyrical (song-like). |
| Use the following devices liberally in your composition: Appoggiaturas, Unresolved Dissonances, Secondary Dominants, Borrowed Chords, Neapolitan 6th Chords, Rapid Modulation, Altered Dominants, Augmented 6th Chords, Foreign Modulation (modulation to remote keys). |
| Note on your composition ( you may do this by hand) where your form sections are. |
| Do a harmonic analysis (Roman numerals) of your piece. Circle and label your decorative pitches. You may enter this information by hand also. |
| Your piece should evoke a mood, scene, emotion or character |
| The composition must be notated on Finale. Part of your grade will be based on the appearance of your score. Remember to insert dynamics, phrasing, and other performance information. |
If you need help getting started, here’s one approach:
¯ Think of a narrative (story) you’d like to set to music - one that describes either a single subject or a dialogue between two characters.
¯ Decide on the overall shape of your piece (e.g., ABA).
¯ Write a lyrical melody (perhaps a contrasting one for the B section).
¯ Decide on an accompaniment pattern(s), such as a walking bass.
¯ Choose diatonic chords only in the accompaniment.
¯ Then “convert” some of these chords to chromatic chords.
¯ Be sure to include any applicable dynamic, expressive, and pedal markings.
HELPFUL HINTS
¯ Make a list of the few important character traits that the piece will focus on. Try to limit this list as too many ideas will be counterproductive.
¯ Stick with a limited number of melodic and rhythmic ideas also. Refer to some of the most well-known melodies and note the amount of repetition versus contrast that is used.
¯ Be sure to give your composition an appropriate title and don't forget to cite yourself as the composer.
Listen to the following examples of Character Pieces:
Schumann: Papillons (Butterflies), op. 2
Chopin: Prelude, op. 28 No. 15 in Db (Raindrops)
Chopin: Prelude, op. 28 No. 4 in E (Suffocation)
CHECKLIST
When you have finished your composition, use the checklist below:
¯ Play your melody through again, leaving out all harmony. Is it lyrical (song-like)? Does it skip around too much or have any awkward intervals?
¯ Play your accompaniment line alone. Is there a pattern? Does your accompaniment use good "voice-leading"? Is everything in root position causing too much skipping around?
¯ Look at your harmonic analysis. Have you used enough chromatic harmony to make your piece sound "Romantic"?
Common Mistakes
¯ Not using an accompaniment PATTERN: Don't write a melody and then just wander all over the place in your accompaniment. The pattern doesn't have to be strict, but should be recognizable as a pattern that coincides with the meter.
¯ Composing something that you like instead of a piece in the specified style: Feel free to express yourself freely in your compositions; but, if you want a good grade on this one, include the elements that make it sound like a Romantic character piece.
¯ Coming to a screeching halt when you get to a certain number of measures: If you are past the 16 measures, or the 30 measures and have not appropriately completed your B section or the return of your A section (depending on the form you have chosen), don't just insert a perfect authentic cadence and call it a day.
¯ Not using enough repetition: contrast is interesting only when used judiciously. If every phrase in your piece (or every melodic idea; or every harmonic progression; or every accompaniment pattern) is significantly different, your piece will sound random and without structure.
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