10

Complete the melody   model answer

6  EITHER

(A)   Compose a complete melody for unaccompanied oboe or trumpet, using the given opening. Indicate the tempo and other performance directions, including any that might be particularly required for the instrument chosen. The complete melody should be eight bars long.

Instrument for which melody is written: ______________________________

1

I play neither instrument, so that doesn’t help me choose.  I know though that the trumpet is a transposing instrument and I want to avoid that complication so I’ll pick oboe.  I know that the oboe’s range is the B just below middle C (B3) up to third G above middle C (G6). I won’t be writing any melody notes that high but I need to take care over my lower melody notes.  I know oboist’s need a chance to recover their breath so I’d better plan some rests in my melody.

2

The melody starts on an up-beat so my final (9th) bar must be two beats long.

My second phrase has to start on the 3rd beat in the 5th bar.

The melody is in A major, given the  key signature and the principal chords notes of A and C#  in the first bars. The final two notes suggest the V( dominant chord) of E-G#-B so I have a

I-V progression already given in the supplied melody.

I’ll stage an imperfect cadence in bar 5 to complete the first phrase and can pitch the final note as an E with 2 beat duration.  I want a strong perfect cadence ending so I’ve decided on a leading note (G#) to tonic (A) finish, with the A completing the final bar as minim.

Is the distinctive rhythm of the first phrase, so I’ll use it again at the beginning of the second phrase.

Tapping out the rhythm of the supplied notes, I quite like answering it with a long run of quavers ending with the minim final note. So I now have the structure of my melody , which I’ll write down on some scrap (m/script) paper.

3

Select the instrument

Design the Phrases

Pitch the Melody

For the first phrase, I’ll use a I-V-I-V progression and for the second phrase a IV-II-V-I progression.

With this outline, I’m ready to start pitch the melody. Pretty much anything is acceptable but make sure

chord notes are on the beat and passing notes are off the beat (mostly) and avoid extreme leaps in pitch and “exotic” rhythms. The pitch shape of the first half phase is an upward arch, so I’ll answer this with a downward sequence of notes. This allows me to prolong the use of V chord by moving up a register to use higher chord notes without the melody becoming too monotonous.

I’ve just remembered that my oboist  will need at least one rest so I’ll change the minim that ends the first phrase to a dotted crotchet, giving the performer a half beat rest in which to regain breath.

To distinguish passing notes from chord notes, I’ve written passing notes with  ‘x’ note-heads - you wouldn’t of course write them like this in your exam or leave in the roman numerals for the chords.  While passing notes generally connect “step-by-step” between chord notes, you don’t have to stick to this rule at the expense of a better melody. In bar 7, the passing note leaps a third to the next chord note (a step up to G would have led to a repetition of this note and lessened its effect as the peak of the phrase). In bar 8 two passing notes are introduced in quick succession to connect the E-B chords notes, to maintain the quick flow of notes of the second half of each phrase.

Finally I double-check that all my notes are within the range of the oboe.

4

Add performance directions

In the last step, add performance directions.   In my imagination, I think the piece is gentle in both pace and dynamic, so I’ve chosen an “Andante” tempo marking and a “piano” opening dynamic.

My other dynamics show “crescendos” and “diminuendos” that shape the phrase arching .  

Some contrasted articulation is always a good idea, so I’ve indicated that the first half of each phrase should be played legato, while the second half staccato.   And of course a  closing “rit.”  

Put tempo markings above  and dynamic markings below the staff.