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    Grade 5 Compose A Melody Marking Theory

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    Lisa Barge
    The document provides grading criteria for composing an eight-bar melody for instrument or voice, including requirements for notation, length, performance directions, suitability to instrument, word stress, syllable breaking, sequencing of melody, cadences, and overall impact.

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    Grade 5 Compose A Melody Marking Theory

    Uploaded by

    Lisa Barge
    26 views1 page
    The document provides grading criteria for composing an eight-bar melody for instrument or voice, including requirements for notation, length, performance directions, suitability to instrument, word stress, syllable breaking, sequencing of melody, cadences, and overall impact.

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    grade 5 compose a melody marking theory

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    The document provides grading criteria for composing an eight-bar melody for instrument or voice, including requirements for notation, length, performance directions, suitability to instrument, word stress, syllable breaking, sequencing of melody, cadences, and overall impact.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    26 views1 page

    Grade 5 Compose A Melody Marking Theory

    Uploaded by

    Lisa Barge
    The document provides grading criteria for composing an eight-bar melody for instrument or voice, including requirements for notation, length, performance directions, suitability to instrument, word stress, syllable breaking, sequencing of melody, cadences, and overall impact.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    of 1

    Grade Five

    "Compose an eight-bar melody for instrument or voice." (15 points)

     Notation is legible and neat


     Notation is accurate
     Length is eight bars, with two complementary phrases of four bars each (taking into
    account upbeats).
     Performance directions are meaningful, and include tempo, dynamics and
    articulation. No spelling mistakes, written in the correct place (above/below stave,
    dynamics under note(s) affected).
     Suitability to instrument - range is appropriate, articulation/bowing/breathing marks.
    (Up/down bow marks are not obligatory but if present must be meaningful.)
     Word-stress is correct (the stressed syllable of a word should fall on the beat, the
    stressed words in a line of poetry should fall on the strong beats).
     Syllables are broken correctly (e.g. en-ter-tain-ment, not ent-ert-ainm-ent).
     Sequencing of melody - some of the opening material in bars 1-2 should be re-used
    elsewhere in the composition in the form of diatonic melodic sequences. Each
    phrase must be connected melodically by the re-use of material, preferably by
    reusing the melody in a slightly altered way. Rhythmic motifs can also be re-used,
    although their impact on making the piece cohesive is usually less powerful.
     Cadences. The piece should end with notes which would fit against a conventional
    cadence. Perfect cadences are easiest to manipulate, but plagal cadences also
    work. At the end of the first phrase (the half-way point) it is preferable to also keep
    a cadence in mind (perfect or imperfect).
     Overall impact. Sometimes a composition complies with the "rules" but doesn't
    sound good. Sometimes a piece breaks the conventional rules but is very pleasing.
    Having an "overall impact" category allows for this. I never tell my students "it
    doesn't sound nice" without giving a reason, because they will need to know why it
    doesn't sound nice. Often it is the use of augmented or diminished intervals in the
    melody, too much repetition making it monotonous, lack of sequencing making the
    piece sound "meandering", use of inappropriate syncopation or a melody which
    contains too many leaps (most melodies are based on small steps of movement).
    Melodies which break the above rules but sound ok are often based on modes
    rather than the diatonic system (like a lot of pop/folk music).

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